Martin Hunter is arguably the most qualified person still alive to direct Hart House’s production of The Stillborn Lover, Timothy Findley’s dark look at the unspoken underbelly of Canadian politics. Not only is Hunter a Hart House alumnus (acting in the ’50s and directing there since the ’60s), he was also a longtime friend of Findley’s and personally knew each of the two real-life diplomats that this tragedy is based on.
The play, set in a lavish government safe-house overlooking the Ottawa River, follows the mysterious return of Harry Raymond, the aging Canadian ambassador to Moscow, following the highly suspicious death of a young Russian man. A prime suspect in the murder, Raymond is confronted by his longtime politico pal Michael Riordan, the sitting minister of External Affairs, who has suddenly found himself at the centre of a power vacuum.
With his eyes on the prize of leadership, Riordan is desperate to quietly resolve the issue of the dead Muscovite, while keeping news of the potential international incident from the ailing prime minister and the press. He quickly arranges for a cocky RCMP attaché to monitor Raymond and his family, who have been remanded into protective custody. With his wife already showing signs of severe Alzheimer’s disease, Raymond complicates things further by denying a role in the murder, but admitting to being the murdered man’s illicit lover.
Over and above Findley’s genius script, this production excels thanks to the terrific realistic design by Martha Mann, inspired direction from Hunter, and standout performances by both Thomas Gough (Raymond) and Kay Montgomery (as his disturbed wife).
Mann does an excellent job of creating a feeling of Canadian grandeur and government luxury in a house that is essentially a holding cell and interrogation room all rolled into one. Turning leaves on tree branches adorned the corners of the ceiling, which nicely called to mind the pathetic fallacy of a personal downfall during autumn. Creative lighting work accented a sketched backdrop of the Parliament buildings and served to separate portions of the stage into believably soundproof rooms.
Gough’s commanding performance was emphasized by his all-Canadian appearance and accent (he could easily give Rick Mercer a run for his money in the ‘Most Canadian-Sounding Voice’ competition, which I’m sure exists somewhere). Findley does an excellent job of creating a powerful, polite, well-intentioned patriot who loves his wife, his country, and (secretly) other men.
Clever references to Alan Turing (another brilliant gay man brought down by government blackmail) at Cambridge and Bletchley Park shows that Findley was meticulous in researching his semi-fictional history, and serves to further nuance his already intelligent text.
Exploring the powerful line between private and public allegiances and weighing friendship against personal ambition, Hunter creates an epic portrait of anxiety and admissions in Cold War-era Ottawa. A splendid end to Hart House Theatre’s season, The Stillborn Lover is the best play I’ve seen there this year.
