Criminal Masterminds

It’s a question that social theorists have debated for centuries: just how easy is class mobility in a modern liberal democracy? Mainstream political leaders will always tell you—with a twinkle in their eye—that with determination, hard work, and something called “gumption,” anyone should be able to pull themselves up from the lower classes, if they truly want to. Those who don’t succeed simply don’t want it bad enough.

Criminals in Love, written by Toronto- born dramatist George F. Walker in 1984, tackles this ugly question of free will with poise and wit. While focusing on the life of Junior Dawson (Neil Adams), a young man living on the fringe of society in Toronto’s east end, Walker paints the picture of a person who really, truly wants to move up in the world, but seems destined for destitution regardless of his ambition.

After finding the love of his life in the lovely Gail (Esther Maloney), all Junior wants is to escape the slumlife rut his now-incarcerated father raised him in and settle down into the predictable safety of domestic bliss.

Unfortunately for Junior, Walker is out to show that sinister forces— much stronger than individual will and determination—are at work in the city.

Just as things are starting to look up for Junior, he suddenly finds himself fired from his job and blackmailed into participating in a harebrained crimewave. Along the way he befriends a well-spoken, philosophically- inclined vagrant named William (Peter Higginson) who drinks “pretty much non-stop,” yet vehemently denies being an alcoholic.

Literally helped up from the gutter by Junior, William becomes his friend and advisor—a new father of sorts—and offers to guide him into the life he desperately aspires to live.

While the plot is thematically dark, Walker balances things out by making the play essentially a comedy. Plot twists are surreal, very funny, yet not altogether out of the realm of possibility. A great example is the character William. Played flawlessly by Higginson, William is an old bum barely clinging to life on the street, who eagerly guzzles aftershave to get a buzz. He is also an optimist—well-versed in history and philosophy—who claims to be homeless by choice. In a word, hilarious.

While the whole ensemble was more than competent, Higginson stole the show through his seamless delivery and spot-on comic timing. Both a source of pathetic comedic relief and a fountain of true knowledge for Junior and Gail, Higginson was also great at depicting William as a badass when he personally delivers a wake-up call to Junior’s father in jail. In this production, Higginson has perfected the timelapsed interface between author and actor, and has rebuilt William perfectly to Walker’s specifications.

Director Andrea Wasserman kept things fastpaced and interesting, and did well to keep the action grounded in a form of heightened realism. Aspects that could have been mishandled (the complex, multi-purpose transforming set, and an off-stage explosion) actually worked very well.

Also giving strong performances were Annemieke Wade as Junior’s scheming, revolutionary aunt Wineva, and Jon-Paul Khouri as Junior’s father Henry.

Both insightful and genuinely humorous, Criminals in Love does a great job of exploring themes of criminal behaviour, mentorship, and destiny. As good as any show I’ve seen in my years covering Hart House Theatre, this play is a must-see.

Criminals in Love runs at Hart House Theatre until January 26, 2008. For more information, visit www.harthousetheatre.ca.