Rez Gas

“A must-see performance to close out the Capitol’s summer line-up. Witty and entertaining. ‘Rez Gas’ becomes that universal reminder of how a sense of belonging within community remains crucial for human development.”

(Please be aware that there are some spoiler alerts. I’ve alerted in the article where they might be.)

Youthful-looking musician Destin (solid work by John Wamsley) left his home on his reservation years ago in hopes of pursuing a successful music career, but that dream never materialized. When Destin left, some people on the rez harboured resentment toward him. Destin is driving through the same reservation with his girlfriend, Mackenzie (Emma Rudy), who is not of First Nations heritage. They are on their way to a convention that Mackenzie wants to attend. Unfortunately, the couple experiences car trouble and becomes stranded at The Wide Wigwam, the local diner run by owner Lucy (Nicole Joy Fraser) for thirty-four years. Her son, Nolan (Vinnie Alberto), works as a busboy and dishwasher. An eccentric custodian and handyman named Wade (Jonathan Fisher) becomes significant to Destin later in the story.

The audience meets some people from Destin’s past. There’s Leon (Dillan Meighan Chiblow), one of Destin’s closest childhood friends. Leon still carries a chip on his shoulder from the falling out he had with Destin. There’s Aurora (Michelle Bardach), Destin’s former girlfriend, who is quite different from Mackenzie.

This opening night world premiere marks a must-see performance to close out Port Hope’s Capitol Theatre summer line-up.

Set designer Jung-Hye Kim uniquely captures the kitschy look of the diner on the stage. For instance, the diner’s marquee font signage, which points out the go-kart tracks and the gas station, is the first thing that caught my eye. Other unique details become part of the opening action. There’s an overturned chair on the floor at one of the tables. There are various adornments on the restaurant walls, from snowshoes to a fishing net. Upstage on a raised level are three tables. Kim has also taken a great deal of care to ensure the establishment’s minute details. There’s a sign for the restrooms. Restaurant props of condiments and rolled-up napkins with cutlery are also found there. What also becomes a visually striking element concerning the set is the angled imaginary bay window that the characters use to look outside periodically.

Yolonda Skelton’s costumes appropriately reflect the varied nuances and traits of each of the characters. Skelton’s flashy selection of clothing items for Aurora’s first entrance is a production highlight that made the audience applaud. Jareth Li’s lighting design remains crisp and focused. Sound designer Emily C. Porter ensures audibility is clear for the most part. There were some sound balance issues between the overpowering band and the singers in several of the vocal numbers that need to be addressed, and I know they will be.

Rez Gas’s assembled creative team is a theatre lover’s dream.

Herbie Barnes directs Cale Crowe and Genevieve Adam’s story with creativity and care. While their book aims for laughter and fun, Barnes wisely ensures the characters are not diminished in the process. These are not caricatures but rather believable individuals from First Nations, each with genuine human emotions. Jeff Newberry’s musical supervision, along with Sarah Richardson’s music direction, pays homage to the melodic sound of “Come from Away,” infused with the vibrant rhythms and musical beats reminiscent of Lin-Manuel Miranda’s “Hamilton.“

(From this point on, there are some spoiler alerts regarding the characters. Please be aware)

Nicole Joy Fraser delivers a confident, ‘cut the crap’, no-nonsense performance as Lucy, the diner owner. Managing a business comes with significant responsibilities, and it has taken a toll on Lucy’s life. She reflects on how the pandemic has made her realize that it might be time to either close the restaurant or allow the local council to take it over. Vinnie Alberto gives a heartfelt performance as Nolan, showcasing impressive comedic timing at the beginning of the show as he darts around the restaurant, placing rolled-up napkins with cutlery at the tables. At the same time, Lucy rushes behind Nolan and removes these items. Alberto’s portrayal of Nolan also reveals a gentle side, which is particularly moving when he expresses his feelings to Aurora.

Destin and Leon have made a habit of turning Nolan into the butt of their jokes and pranks. Nolan has tolerated the relentless teasing because he wants to fit in, but he’s beginning to show signs of frustration with the unfair treatment, which he has every right to feel. He has taken the opportunity to tell Destin and Leon that he considers them his friends. Lucy even recalls that years ago, when the boys were younger, she referred to them as the Three Musketeers. This realization prompts Destin and Leon to understand that things cannot always stay the same forever and that some things do change, particularly how we treat and speak about others.

Dillan Meighan Chiblow’s Leon is tough as nails. He utilizes his height and stature to remain in control, especially in a couple of explosive confrontations with Leon. Michelle Bardach’s flashy, high-maintenance Aurora offers an interesting juxtaposition to Leon. While he likes to remain low-key as much as possible, her second act opening number is aptly sung and danced with aplomb and fanfare. Aurora seeks the good life, and Bardach appears to be having a hell of a good time on stage doing just that in showcasing her vocal talents. Emma Rudy is likeable and personable as Destin’s current girlfriend, Mackenzie. She’s smart, intelligent, but also has a devilish side when she comes clean to Destin about the convention and ending up at the restaurant.

Cale Crowe was recently interviewed by Intermission magazine, where he discussed his difficulties with homecoming, similar to the struggles faced by Destin. Like Destin, who grapples with the disappointment of not succeeding as a musician, Crowe experienced a sense of shame if he returned home after moving around in his career as an artist. He felt that his return might be perceived as a sign of failure.

There’s a terrific moment in Act Two between Jonathan Fisher’s Wade and John Wamsley’s Destin which beautifully reflects Crowe’s comments about homecoming. Throughout Act One, Fisher’s Wade makes periodic appearances as the enigmatic handyman who doesn’t say much. It might be a one-sentence response. It might be just in the way Wade observes what’s going on around him that made me wonder what it is about this important character that I’m to remember.

In Act Two, Wade enters and begins to play a hand-held drum slowly, maintaining a specific rhythm. The conversation about belonging and community between Wade and Destin is crucial and has a profound impact on the latter. After Wade leaves, Destin continues to hold the drum with love, care, and respect. His fingers gently trace the shape of the instrument, as if he wants to commit it to memory. Watching Wamsley take the drum and treat it with a sense of respectful reverence creates a striking visual tableau. This moment is highly effective from my seat in the audience.

Rez Gas is billed on the Capitol website as a beautiful expression of Indigenous joy.

I concur with this statement.

The play’s universal message of belonging to a community is one that we all need to hear right now, given the challenging political times in our world.

These terrific First Nations artists tell the story with presence, with heart and with commitment.

And they also know how to make an audience laugh. That’s a good thing in my book.

Running time: approximately two hours with one interval/intermission.

The production runs until September 7 at the Capitol Theatre, 20 Queen Street, Port Hope. For tickets: capitoltheatre.com or call (905) 885-1071.

CAPITOL THEATRE presents the World Premiere of

Rez Gas by Cale Crowe & Genevieve Adam

Directed by Herbie Barnes

Music Supervision by Jeff Newberry

Choreography: Monica Dotter

Set Designer: Jung-Hye Kim

Sound Designer: Emily C. Porter

Costume Designer: Yolonda Skelton