By Joe Szekeres
For its’ 102 season, Alumnae Theatre has chosen to stage Wendy Wasserstein’s ‘The Heidi Chronicles’ with the theme of ‘awakenings’ for its 2019/2020 season.
This was a smart decision on the part of the Alumnae’s Board of Directors. Why? As Mayor John Tory wrote aptly in his Mayor’s Note: “I commend the theatre for using the stage as a platform that promotes our city’s diversity and inclusiveness [featuring] the production of adventurous theatre and skill development of women in theatre.”
The skill development of women is significant in Wasserstein’s 1988 text. It’s not a ‘chick play’. Although it might appear dated, Director Ilana Linden still believes the play is relevant today and I would agree with her. Yes, women have made strides since 1988; however, as we sadly see in our world today, women are still having to, as Ms. Linden says, “mitigate sadness and bitterness as time and our responsibilities chip away at our youthful ideals. [Women can still] enjoy both successful careers and a fulfilling family life with husbands [or sometimes not] and children, and we realize that life will not bring us everything we had hoped for.”
Since I’m still new in attending shows at Alumnae, I’m always impressed with the initiative and involvement of so many unsung heroes behind the stage who create theatre magic. It continues here in the fine look of Wasserstein’s play.
Alumnae’s opening night production has nicely captured the zeitgeist of the 1980s. The splashes of vibrant colour in Teodoro Dragonieri’s set design of squares and cubes painted on the floor and on some of the risers are a wonderful throwback to the era. Joan Jamieson’s costume design beautifully reflect the era for the women and the men. I remembered wearing some of those shirts the men wore as well, that’s how old I am. Nathan Bruce’s selection of preshow music and scene change music evoked the 80s. One of the challenges in staging ‘The Heidi Chronicles’ is the number of blackouts for scene changes. Elaine Freedman’s projection designs of selected major events from the 70s – 90s helped to focus our attention while set pieces were moved around. As performances continue, I’m sure these set changes will get tighter to help keep the pace of the show moving.
‘The Heidi Chronicles’ is not easy to stage by any means as central character Heidi Holland must mature before our eyes in a realistic and natural manner. I felt this was captured effectively for the most part when I could hear the dialogue. Following Heidi’s lecture at the top of the show, I had difficulty in hearing the dialogue clearly from the women in the next scene and I lost a great deal of their discussion. Please enunciate clearly, ladies, as it was very frustrating not to be able to hear what you were saying. The same thing occurred again at the baby shower as enunciation was not clear to this ol’ guy’s ears.
As central character Heidi Holland, Breanna Dillon had a remarkable Cynthia Nixon look. Ms. Dillon is an affable and likeable Heidi who sees so much going on around her from her friends getting married and having children to wondering what also lies in store for her. Heidi initially looks to two men to help define who she is, the arrogant, condescending, childish, womanizer, Scoop (soundly played by Daniel Jones). Heidi also allows into her life the sometimes-cynical smartass comment, gay pediatrician, Peter (a solid performance by Eitan Shalmon). Yes, these men do help to shape the woman whom Heidi becomes by the end of the play, but she does not allow them to control her destiny which is clear in the second act in a moving moment on Christmas Eve between Ms. Dillon and Mr. Shalmon. Very nice work on both parts.
Supporting actors in the production (Joyce Chan-Barretta, Brianna Diodati, Rebecca MacDonald, Noah Sisson and Nadine Charleson) are other sound influences on Heidi’s life. The Act 2 scene in the restaurant where Heidi’s two phony, air kissing dining companions who show no interest in her but only how important they look is terrifically staged and makes its obvious comment about changing views of women. The television segment in Act two pinpoints exactly what Heidi feels about what has gone on in her life. Scoop and Peter monopolize the on-air conversation, and Ms. Dillon’s silent, glaring looks at both men and her ripping into them after was handled terrifically.
Final Comments: For ‘The Heidi Chronicles’ to make its statement, we have to be able to hear and follow every word of the dialogue. At the intermission, a gentleman came up to me and asked how I was liking the show. He said he thought it was good when it could hear it. Let’s hope this slight quibble will be rectified for future performances.
‘The Heidi Chronicles’ continues to October 5, 2019 at the Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets, visit the website.