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Culture Theatre

Review: Emily’s Piano

EMILYS PIANO by Charlotte Gingras, adapted by Mark Cassidy (Young Peoples Theatre, 165 Front East). Runs to May 2 see website for performances. $15-$30. 416-862-2222, youngpeoplestheatre.ca. Rating: NNN

A musical instrument holds the key to salving the pain of a familys breakup in Charlotte Gingrass novel Emilys Piano, adapted for the stage by Mark Cassidy.

Emily (Hilary Carroll), the youngest daughter, is distraught when the family downsizes, especially since it means moving her grandmother to a nursing home, and she realizes there are cracks in her parents (Heather Marie Annis and Christopher Sawchyn) relationship.

When her fathers involvement with another woman pushes her mother into depression and Emily overhears secrets whispered by her elder married sisters (Mary Ellen MacLean and Ginette Mohr), memories of past happiness make her determined to find the beloved family piano sold as part of the downsizing.

Cassidys fluid direction gives a cinematic quality to the action, especially when Emily turns detective midway through the play to track down the piano. Cassidy and movement director Viv Moore give sharpness to the scenes where Emily travels around town, especially in the affluent district with its exotic fountains and doorbells, all portrayed by the actors.

Less successful are the trio of black-garbed figures who represent what to Emily is the evil curse hanging over the family. Their function isnt clear until their final appearance, and they should be scarier throughout.

Some other elements could also use fixing. Emily becomes a focused character only when she goes sleuthing until then, Carroll doesnt stand out as the figure at the narratives centre. The ending holds a resolution for Emily, but its staging is flat and doesnt bring a real sense of satisfaction.

Theres fine work by the other actors. Annis captures the eccentric mothers descent into isolation, while Sawchyn gives a note of sympathy to the father who still loves his family but needs something they cant give him.

The parental arguments arent the kind of thing we usually in theatre for young audiences, and they ring true, as does Emilys anger at the events going on around her, events over which she has no control.

MacLean and Mohr have fun with the competitive sisters, insistent that Emilys purpose in life is to babysit for them. Think of the pair as contemporary versions of Cinderellas dismissive siblings.

Beth Katess fine design, which incorporates the brick walls of Young Peoples Theatre and a pair of movable spiral staircases, also never lets us forget the piano, which is disassembled at the start of the show. Its parts become elements of the set, and Laura Gardner cleverly incorporates the pianos white, black and woody brown colours into her costume designs.

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