What do fraternal twins, a man named after a fish, and a missing stripper who happens to be a Scrabble champion all have in common? According to playwright Claudia Dey, these seemingly haphazard items are intrinsically linked.
In her new play Trout Stanley, which opened last week at the Factory Theatre, Dey takes us on a journey of tragedy and love as she explores the minds of two sisters and a travelling stranger who stops by for a visit.
Grace and Sugar Ducharme have led rather unusual lives in the town of Tumbler Ridge. Plagued by a decade of heartache and troubles, they strive to create a new life for themselves as they enter their 30s. On the eve of their birthday, however, a local stripper- who also happens to be the local Scrabble champ-goes missing. As if on cue, a stranger shows up at the house, claiming to be a man “who has never told a lie.”
It’s easy to pity and fall in love with Dey’s fascinating characters in the same instant. Piece by piece, Dey adds layers of narrative to the work, pulling the audience in for an emotional ride that finds laughter followed by moments of profound thought.
Melody A. Johnson plays the socially inept Sugar, who takes on the role of protective mother figure after the death of the twins’ parents 10 years earlier. From the moment she steps on stage in her mother’s tracksuit and slippers, Johnson sketches a tragicomic life, one where every moment is an unfortunate joke. Her awkward monologues are among the play’s most memorable moments.
Having to play various emotional stages throughout, Michelle Giroux as sister Grace takes a while to match Johnson’s strong performance. The chemistry between the two is quite evident, though, and any difficult moments are circumvented by the tight blocking and quick pace set by director Eda Holmes. Holmes’ production utilizes the set creatively, keeping the audience engaged throughout.
Thrown into the mix is a vagabond traveler played by Gord Rand, who is searching for the story behind the death of his own parents. U of T alum Rand recently finished a run directing his own play, Pond Life, at Factory, and his return to the stage is well merited. Playing the title character, Rand brings an unwavering honesty to his role, one that aids in keeping the plot fresh and relevant.
Factory Theatre is like a great bottle of wine-their current season continues to develop and improve with time. In that vein, consider Trout Stanley quite the robust vintage.
