“A witty, expositional script of politics versus policy, sharply directed by Glynis Leyshon. Nathan Howe, Jay Hindle and Luisa Jojic deliver a bravura ensemble performance. Hilarious one moment while enlightening the next.”
Mark Dusseault, Director of Marketing and Communications at the Belfry, recently stated that Victoria audiences have a strong appreciation for quality theatre. Furthermore, the Belfry has had the privilege of collaborating with some of Canada’s accomplished artists.
Attending Michael Healey’s 1979 allowed me to confirm Dusseault’s statement. There’s good theatre going on right now at the Belfry. I saw three of Canada’s finest artists deliver a bravura ensemble performance.
It’s December 13, 1979. Healey’s witty, expositional script unfolds in Prime Minister Joe Clark’s office. Off stage, the sound of a Christmas party in full swing can be heard. With the federal Conservatives holding a minority government, Clark (Nathan Howe) faces a looming budget defeat and the possibility of an election. It has been sixteen years since the federal Conservatives held office in Ottawa. Healey highlights Clark’s idealism, describing him as someone whose principles and integrity hinder political success. While Clark ponders and decides on his next course of action, various political figures and other influential people enter his revolving office door, all wielding some hilarious yet enlightening machinations. These individuals, ranging from Pierre Trudeau, Flora Macdonald, John Crosbie, Maureen McTeer, Brian Mulroney and a young, upcoming Stephen Harper, are all grandly played by Jay Hindle and Luisa Jojic.
Set Designer Pam Johnson, in collaboration with Carole Klemm, demonstrates meticulous planning in utilizing every inch of space of the Belfry Mainstage. The thoughtfully chosen props enhance the authenticity and depth of the office setting, which is beautifully complemented by wood panelling throughout. The set includes two entrances—one located upstage left and the other upstage right—while Clark’s desk is centrally positioned downstage center, placed over an upscale-looking rug. A side bureau features a ceramic tabletop Christmas tree reminiscent of the 1970s, and a large boom box on the back bureau plays loud music to signal Nathan Howe’s first entrance. A standing Canadian flag is proudly displayed upstage and to the left. Kevin Lamotte’s lighting design precisely directs focus as needed; notably, the use of desk and tabletop lamps at the beginning of the performance effectively establishes a sombre atmosphere.
Tobin Stokes makes solid choices in his musical composition and sound design. Preshow Christmas music underscores the theatre lobby as the audience enters, and the Muzak continues in the auditorium. Listening to the holiday tunes while experiencing the fading light of the British Columbia summer evening piqued my curiosity. There are several critical sound effects where timing is essential, and Stokes successfully achieves the desired impact. Keith Houghton’s visual projections on the back wall provide important historical context when each character enters. Some of these quick bits of context are pretty humorous. Charlotte Dean deserves applause for her exceptional work in costume design. She captures the late 1970s fashion accurately, from Clark’s brown corduroy clothing to Flora Macdonald’s pastel scarf around her neck.
I’m also going to applaud the behind-the-scenes work of Stage Manager, Katerina Sokyrko and Assistant Stage Manager, Hannah Abbey. Jay Hindle and Luisa Jojic have some quick costume changes. I’m quite impressed with Sokyrko and Abbey’s diligence in ensuring the various transformations remain seamless.
Director Glynis Leyshon expertly maintains the play’s rapid pacing with sharp precision and perfect timing. The satirical and political cat-and-mouse maneuverings of the characters entering and exiting Clark’s office must move quickly, and Leyshon ensures that the pacing remains steady without veering off course. The dialogue between the characters never feels rushed or forced. Additionally, Tobin Stokes provides a balanced sound design that allows the audience to hear the dialogue clearly.
The three-member cast remains the primary reason to see the show.
They’re having a hell of a lot of fun, as is the audience, from the opening night’s raucous laughter.
In his portrayal of Joe Clark, Nathan Howe confidently presents a conscientious leader of integrity who values principles of decency and conviction. There are moments when Howe makes the audience empathize with his Clark, especially given the eccentric and well-known Canadian politicians surrounding him. For instance, Jay Hindle’s portrayal of Pierre Trudeau is a prime example. Hindle effectively captures Trudeau’s narcissism right from the start, showcasing it through his pretentious swagger, form-fitting tan suit, and the tulip boutonniere pinned to his jacket’s lapel. Hindle also plays the bombastic Finance Minister John Crosbie with great flair, much to the point where one can almost hear the word ‘baby’ coming out of his mouth. Remember the Sheila Copps incident in Parliament?
Luisa Jojic’s portrayal of Maureen McTeer, Clark’s wife, is quite entertaining when it becomes clear that she is getting aroused by her husband and is eager to be intimate with him on his office desk. Jojic’s performance as a young Stephen Harper is also fascinating to watch, especially as Howe’s Clark tries to persuade the young man to stay in his office.
I don’t want to spoil the fun in stating which of the two plays Flora Macdonald, Clark’s Minister of Foreign Affairs. All I will say is that the performance succinctly captures the essence of the woman.
Belfry Artistic Director Michael Shamata states in his Programme Note that 1979 was initially scheduled to be performed in 2020 but fell victim to the pandemic. He chose this play because it was rumoured that then Prime Minister Justin Trudeau would call an election in the fall of 2025. As Canadians, we are all familiar with what happened next.
With the sad and tragic events unfolding in the United States right now, and the unravelling of Conservative Pierre Poilievre’s possible bid for the Prime Minister’s role, Shamata felt the time was right to stage 1979 for audiences to contemplate the value of (conservative?) morals in government.
Shamata was forward-thinking in staging the production.
It’s worth a trip to the Belfry to see this theatrical treat.
1979 runs to October 5 at the Belfry Theatre, 1291 Gladstone Avenue, Victoria, British Columbia. For tickets: (250) 385-6835 or visit belfry.bc.ca.
THE BELFRY THEATRE presents
1979 by Michael Healey
Directed by Glynis Leyshon
Set Designer: Pam Johnson
Associate Set Designer: Carole Klemm
Costume Designer: Charlotte Dean
Lighting Designer: Kevin Lamotte
Composer and Sound Designer: Tobin Stokes
Projection Designer: Keith Houghton
Stage Manager: Katerina Sokyrko
Assistant Stage Manager: Hannah Abbey
Dialect Coach: Adrienne Smook
Performers: Nathan Howe as Joe Clark, Jay Hindle as Actor A, Louisa Jojik as Actor B
