A compelling, standing ovation-worthy performance, slickly directed by Gregory Prest
Some of Canada’s most revered acting talent converge in Gregory Prest’s production of ‘Bremen Town’ at Tarragon Theatre in Toronto. Prest’s rollicking and moving portrait of the curse of age and the fears of the dispensable is slickly directed by Prest himself.
Nancy Palk leads a star-filled cast as the irreverent and caustic Frau Esel, who has been tossed aside after forty-plus years of faithful service at Volksenhaus. Her portrait of a brutal dismissal and her pathetic journey to an unknown future is heartbreaking. With few resources and no support, Frau Esel begins her journey on foot to look for her son in Bremen, miles away. On the way, she meets several absurdist characters – most of whom are the antithesis of her angry spirit.
Based on the fairy tales of the Grimm Brothers, these characters experience extraordinary, yet grim, manic situations. Esel’s first partner on her journey is the ever-optimistic, and bad magician, Herr Hund, played by Oliver Dennis, who is to guide her to Bremen. He is sentimental, naïve and constantly running from his debtors. Dennis’ quixotic portrayal is big and loud – hiding the pathos of his life.
They meet another lonely senior, Herr Katz (William Webster), wandering without aim and as untethered as the others. An even more bizarre event brings the unhinged Frau Henne, played by the thoroughly talented Sheila McCarthy, into the fold. McCarthy is brilliant as the addled mother of two evil children who seek to sell her or melt her down for candles (more Grimm reference). As horrific as it is, hilarity ensues as the various parties auction the old woman to the lowest bidder. Her searching, vacant eyes draw us into her tragedy.
It is an Ozian journey, but there is no Emerald City in their pitiable future. Palk’s character softens slightly, burnished by her good-natured fellow travellers.
The partners fall off one by one through various misadventures, and Frau Esel finally meets up with her estranged son, and the reunion is less than lukewarm.
Of the support cast, Veronica Hortiguela stands out with her versatility. She is splendid as the excitable youngster with her hand waving high, volunteering to be the magician’s next victim. Her face is contorted like the pitchfork she is wielding as the mad daughter selling her mother. In another (Grimm-like) moment, she is discovered tied up in a bag in the forest, and history comes full circle as she is found to be Frau Esel’s replacement at Volksenhaus.
Tatjana Cornij composed and performed the original music that was both haunting and playful. She also performed as a narrator of sorts, acting as a Greek chorus engaging the audience at timely moments.
The play is described as a “rural folk tragicomedy,” and this is partly achieved by Nancy Perrin’s set and costume design. It is a full-on period piece with well-detailed 18th-century German costumes. The proscenium stage is impressive with beautiful silhouette-style images of German towns and countryside.
Impressive stage stylings: characters running on the spot at various speeds was a simple but effective tool. Kites flying with assistance from poles turned elegant. Hortiguela’s character reaches down and gently holds Frau Esel’s skirt slightly out, creating the illusion of flight.
The Grimm’s fairy tale motif created the magic of this play. The dazzling acting, especially from Palk and McCarthy, created the heart of this play.
Ageism and the treatment of retirees, an ongoing contemporary issue, are brought dramatically into focus with Gregory Prest’s vision.
‘Bremen Town’ by Gregory Prest
Performers: Tatjana Cornij, Oliver Dennis, Farhang Ghajar, Veronica Hortiguela, Sheila McCarthy, Dan Mousseau, Nancy Palk, William Webster.
Director: Gregory Prest
Original music and composition: Tatjana Cornij
Costume designer: Nancy Perrin
Production runs through: October 26, 2025.
Tickets: tarragontheatre.com
