By Joe Szekeres

I gotta see more indie Toronto theatre, and I encourage playgoers to do the same. Just a point of clarification - I believe the Toronto indie theatre scene includes the Fringe in July, Summerworks in August plus other opportunities to see low budget/no budget theatrical presentations.

The reason I stopped attending? Several summers ago, I saw some July Fringe productions that were plain awful. Some plots were absolute hell, some performances were dreadful, some so wordy I’m sure I had fallen asleep. Was it worth my time and effort to come into the city to see and pay for awful theatre? I didn’t think it was and just didn’t bother going anymore.

And then it dawned on me tonight on the train ride home after seeing Malcontent Theatre Company’s production of ‘The Bartender’ written and directed by Duncan Gibson-Lockhart. Indie theatre introduces up and coming talent that we need to get out and support because these are the very individuals who will grace our future stages as they continue to grow and learn more of the craft. Yes, there will probably be some stinkers, and yes there will probably be some bombs, but performers must get out and perform in front of audience as much as possible.

One may get lucky and see a solid production. One may be fortunate to see a good production with some areas that still need work.

In July, I had the opportunity to hear a staged reading of ‘The Bartender’ in Port Perry. I will be honest and say that I didn’t care for its’ plot as I could not make any personal connection whatsoever. When I heard it would be staged in Toronto in September (in a bar, nonetheless), I had given some thought again and made the choice to go and see it again with a fresh perspective.

And I am happy to write that I have had a change of heart about ‘The Bartender’. Mind you, the script is still not up to a polished version for me, but seeing it staged with movement and developed with varied characterizations did hold my interest for ninety-minutes sans interval. It is a good production for its innovative creativity from Director Gibson-Lockhart (who makes a cameo appearance, but I’m not going to tell you where. Mea culpa for the spoiler). Some elements still require another look.

We enter Toronto’s Flying Pony café in the Gerrard East/Coxwell area. The café looks to be the local hangout for the locals for its’ kitschy appearance. There are no stage lights for the natural lighting through the windows. Actors make their appearances through the door to the café while some never leave the stage. Michael Williamson’s original music composition underscores well the time forgotten motif that strings throughout the play. Frances Loiselle’s choreography near the conclusion of the production is feverish at times, stylized at times, playful at times and awkward at times. But her work fits nicely into the theme of the play.

Gibson-Lockhart writes in his Director’s Note, “In a modern twist on a classic myth, Demeter (Victoria Zubick), the Greek Goddess of agriculture has turned the world barren after her child, a willow tree, was unwittingly cut down in a barley field. All that remains in a world turned to sand is the Flying Pony, a bartender (Jonas Trottier), Jerry (I think, as I couldn’t hear the name clearly from my seat at the back of the café). There is a same sex couple, Sam (Lily Scriven) and Lou (Catherine Teichmann), with all the problems that can arise in a world with nothing in it. It’s also been raining, something which has not happened since.” It has been a very long time since there have been other patrons of this pub, but on this day two beautifully tempting women, Petrushka (Manon Ens-Lapointe) and Petia (Natalie Scagnetto) enter the bar and play havoc with the relationship between Sam and Lou. Finally, The Crow (Nick Eddie) enters and changes the tone and direction of the play.

The first highlight of the production at this performance was the strong ensemble work from this seven-member cast. Although each character brings a deliberate form of restlessness about his or her life, each always appeared to be in the moment. If the action was focused elsewhere, the other cast members listened attentively and did not drop the persona he or she played. For example, Ms. Zubick subtly did not upstage any of the performers in her role as Demeter. She responded when necessary through her eyes and her nervous tic which spoke volumes about her characterization.

A few minutes before the production began, Jonas Trottier quietly took his spot behind the bar and immediately began to assume his characterization quietly while opening remarks were given. Nice work there as he made me want to pay attention to see what was possibly bothering him. Nick Eddie’s The Crow was the second highlight of the production. His lanky stature and height, while dressed in black, made me pay attention to every single word he spoke along with the relationships he developed with each of the characters. From the fact he is dressed in black, one can almost guess what his character in this world represents.

Where the production still needs further editing is the wordy exposition in some of the dialogue. Too much about life is thrown at us – from relationships gone sour, to positive same sex relationships, to friendships, to faith, to philosophy. It’s all thrown upon us that we don’t have a chance to think about what is being said and the implications.

‘The Bartender’ is still a work in progress, but it’s worth checking out. Performances run September 13, 14, 18, 19, 20 and 21 at 7:00 pm at The Flying Pony, 1481 Gerrard Street East, Toronto. To learn more about the company, check out Malcontent Theatre Company on their website.