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Culture Theatre

Reflector doesn’t shine

REFLECTOR by Michael Spence (Theatre Gargantua). At Theatre Passe Muraille Mainspace (16 Ryerson). Runs to Nov 18. $20-$28. theatregargantua.ca. See listing. Rating: NN

Celebrating a quarter century of creating innovative, interactive and media-and-movement-based work, Theatre Gargantuas anniversary show attempts a stark look at photojournalism and the power of image, memory and social media. Unfortunately it doesnt quite click.

Written by Michael Spence and directed by Jacquie P.A. Thomas, the story follows Declan (Spence), a photojournalist seeking treatment from a neurologist/psychiatrist (Abraham Asto) for acute visual agnosia (the inability to recognize objects or shapes) seemingly brought on by PTSD after taking an award-winning picture of a Syrian child moments before her violent death in the ongoing civil war. The plot expands to include sessions with two other patients, Roula (Michelle Polak), who has a photographic memory and can recall every detail of her life, and Kelly (Louisa Zhu), a social-media star obsessed with content, followers and likes.

Through glimpses of their treatment interspersed with music and symbolic choreography involving lifts, spins, magic tricks and tablet screens, we learn about each person and their unique modes of perception. But the characters prove difficult to connect with and to root for. This could be fixed by giving Declan (already the focus) a more substantial and compelling arc, and cutting one or both of the other characters.

Polak does make Roula into a relatable and funny neurotic with lots of potential, but character depth, not breadth, would be much more effective here.

Appropriately, images loom large on stage: the space is adorned with six large screens that constantly display iconic photographs with an emphasis on hard-hitting and disturbing images from so-called conflict zones. In the program notes, Thomas and Spence say the show is inspired by the haunting photograph of Alan Kurdi, the three-year-old Syrian refugee found drowned on a beach that shocked the world in 2015. This photograph is shown repeatedly in the projected mix, and is referenced physically in chilling recurring tableaus with the performers lying face-down. It takes a while to ascertain that Declan is famous for taking a different photograph.

There is too much going on, and the result is hit and miss. In one scene, the doctor demonstrates Declans trouble recognizing objects with some clever and super-effective sleight of hand. But sections featuring long, possibly-Beastie-Boys-inspired raps miss the mark.

Its too bad this anniversary show isnt among their strongest work.

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