“A highly engaging story with memories of the unsettling and disturbing. Jonathan Wilson speaks with the audience in a funny, likeable, and big-hearted way. He remains present as that is a present itself.”

The world premiere of Jonathan Wilson’s ‘A Public Display of Affection’ is more than just his autobiographical story of a queer youth arriving in the often-unsafe Toronto of the late 1970s and early 1980s.

In 1979, when Jonathan arrived in Toronto to start life anew, he did not arrive in the boundaries of Toronto’s Gay Village as it is known today. The boundaries have changed since the late 1970s and early 1980s. Remembering the often-puritanical historical context of that time is vital to understanding Jonathan’s script.

Staging this world premiere in the Studio Theatre at Crow’s Theatre is a good choice. The intimacy of the space brings the audience closer to walking figuratively with Jonathan as he reminisces on the changes in his life and the Toronto he once knew.

Under Director Mark McGrinder’s steadfast hands and compassionate care for the subject matter, Wilson remains a highly engaging storyteller. He’s funny, likeable, and big-hearted. Shades of Jonathan’s Second City and standup comedy work gloriously shine through.

His gentle and tender nature eclipses the sometimes-horrific news emanating from Toronto then. What comes to mind (and Wilson discusses this in the show) is the murder of shoeshine boy Emanuel Jaques, found atop a body rub parlour in the early '80s. Another is the emergence of what was then called Gay Cancer, which we now recognize as AIDS.

The talent behind McGrinder’s creative team enhances Wilson’s story visually. Denyse Karn designs a two-level set with multiple angles. As the audience enters, Karn’s neon projections of an urban landscape featuring various towers in the background effectively transport us to the big city. She also selects a range of newspaper clippings and photos documenting significant historical events in Toronto from the 70s and 80s.

André du Toit’s lighting sharply spotlights Jonathan as he speaks to the audience. Lyon Smith emphasizes specific sound designs that the audience can hear for auditory effects. The selection of pre-show and exit music from the 70s and 80s is effective. Those of us from that era would be humming along in our heads.

Wilson’s script is fascinating, intriguing, unsettling, engaging, and distressing. He effortlessly moves to all sides of the stage to address the audience. He looks at ease doing this. He is not just an actor recounting his life and the events of his youth.

He’s gone one step further in this performance.

I’m reminded of something once written by Albert Camus:

“Don’t walk in front of me. I may not follow. Don’t walk behind me. I may not lead. Walk beside me…just be my friend.”

This is exactly what Jonathan achieves and what the audience does. The audience walks beside him the entire time during the performance.

He is not harsh about his past experiences growing up in Oshawa and leaving after Grade Nine to start anew in Toronto. His excavation of his life has not hardened him at all.

Jonathan exudes a confident and personal dignity throughout these chapters.

In a friendly, humorous and enlightening manner, he reminds the audience that being in the present is a present itself. By being present, Wilson wants to leave a legacy of life. He stays grounded while speaking to each of us directly as we figuratively walk beside him through Boys’ Town and the vanishing landmarks of Toronto's Gay District in the 1980s.

In a recent interview Wilson held with theatre critic Glenn Sumi, Jonathan stated that the genesis of ‘Public Display’ came from being asked by ACTRA (Alliance of Canadian Cinema, Television and Radio Artists) to speak as a ‘queer elder’ and then theatrically unpacking what that meant and its implications.

I’ll admit that when I heard the term ‘queer elder,’ I was puzzled at first. Isn’t labelling wrong? Isn’t elder a stereotype? Aren’t we supposed to recognize the human and the person first and foremost?

A bit of research helped clarify.

In Indigenous culture, ‘elder’ is highly regarded and respected. Wisdom is accrued through life experience. Wilson’s 80-minute intermission less figurative walk with the audience reveals how he has quietly earned respect without fanfare. At his age, Jonathan desires no further fanfare. He and his partner remain quiet in their twenty-five-year relationship. They’re set in their ways since they’ve been together for a quarter century. They’re comfortable in their skin and who they are.

‘A Public Display of Affection’ is not the loud, boisterous parade at the end of June, which concludes Pride month.

The public display is quiet. Giving it away here would spoil its emotional impact, and I don’t want to do that.

Allow Jonathan to share that with you on the walk he takes with you.

Go and see ‘A Public Display of Affection.”

Running time: approximately 80 minutes with no intermission.

‘A Public Display of Affection’ runs until April 20 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call (647) 341-7390 ex. 1010.

STUDIO 180 THEATRE PRODUCTION, in association with CROW’S THEATRE, present
The WORLD PREMIERE of

‘A PUBLIC DISPLAY OF AFFECTION’ by Jonathan Wilson

Director: Mark McGrinder
Set and Projection Designer: Denyse Karn
Lighting Designer: André du Toit
Sound Designer: Lyon Smith
Stage Manager: Sandi Becker

Performer: Jonathan Wilson