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Culture Theatre

>>> Who Killed Spalding Gray? is an intriguing meditation on storytelling

WHO KILLED SPALDING GRAY? by Daniel MacIvor (Canadian Stage). At Berkeley Street Theatre (26 Berkeley). Runs to December 11. $35-$69. canadianstage.com. 416-368-3110. See listing. Rating: NNNN

Not a whodunit about the 2004 death of noted American actor and monologist Spalding Gray, Daniel MacIvors new solo show is actually an exploration of his own past and an intriguing meditation on storytelling.

Using a simple set-up inspired by Grays famous monologues a man sits behind a microphone with a glass of water and tells true-ish stories about his life MacIvor, directed by long-time collaborator Daniel Brooks, expertly weaves together three seemingly unrelated narratives: an autobiographical one about his trip to California to visit a psychic surgeon one based on the events surrounding Grays mysterious suicide by drowning in New York harbour and one about a fictional character named Howard who takes out a hit on himself.

MacIvor addresses the audience directly, tacking back and forth between the stories and finding dark humour in each, teasing out deep thematic resonances about narrative, depression, death, spiritualism and interconnectedness.

The most interesting of the three is the one about MacIvor himself. Out of the blue, an old flame warns him that a malevolent entity has attached itself to him and suggests he connect with an intuitive in Oregon for help. This leads to his trip to the California coast to see the psychic. Lively tangents with plenty of self-deprecating humour include more than one yarn about drug-fuelled hookups.

Equally funny and poignant are bits about Grays suicide. MacIvor does a pretty good Helena Bonham Carter impression to flesh out the curious tidbit that Gray broke down weeping after a screening of Tim Burtons Big Fish the day he went missing. Photos MacIvor shows from a ride he took on the Staten Island ferry (the last place Gray was seen alive and from which he presumably jumped) are haunting.

Despite the behind-the-scenes subject matter, you dont really need to know anything about Grays work or suicide or MacIvors long history in Canadian theatre to feel youve witnessed something very personal and moving.

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