"Roland Schimmelpfennig’s ‘Winter Solstice’ is strangely hypnotic yet entrancing. From ‘welcoming’ the stranger at the door on Christmas Eve to a chilling conclusion when the truth is revealed, this top-notch cast has solidified one thing for me. I know I’ll never look upon a future winter solstice in the same way again."

It's Christmas Eve, but the specific setting remains unclear. Let’s not forget the meaning of the winter solstice – it is the shortest day and the longest night of the year. The characters in ‘Winter Solstice’ endure much on what is supposed to be the holiest and most joyous nights of the year in the Christian tradition.

This connection of the solstice to what unravels in the story makes this opening night production a revelation in many ways. The publicity for the production tells us the stranger at the door is a fascist. Buckle up, then, folks. Knowing the guest is a fascist, especially given what is going on in the United States currently, leads me to an unsettling feeling amidst some of the laughter in the play.

That, nevertheless, is the sign of good theatre – when an audience is knocked right out of its complacency, and we have to do some work in getting to understand, to listen and to hear what’s going on. I know I relish that opportunity when I have the chance.

A narrator (Frank Cox-O’Connell) begins telling the story of Bettina (Kira Guloien) and Albert (Cyrus Lane), a middle-upper-class family. They are the parents of an offstage nine-year-old daughter whom we never see. Bettina and Albert have secrets they keep from each other, which are later revealed. Cox-O’Connell later becomes Konrad, a friend of Bettina and Albert. Konrad is a painter, and one of his works is hanging at Bettina and Albert’s home.

Bettina’s mother, Corinna (Nancy Palk), has just arrived to stay with her daughter, son-in-law, and granddaughter for the holiday. However, it quickly becomes apparent that Corinna gets on Bettina and Albert’s nerves. A stranger, Rudolph (Diego Matamoros), arrives in the early evening hours of Christmas Eve. He’s from Paraguay. Corinna invited Rudolph to the house.

Director Alan Dilworth has made thoughtful choices in David Tushingham’s translation of Roland Schimmelpfennig’s often satirically dark script. At times, the words are lyrical, while a few minutes later, a harshness in tone and intent veers the story in another direction, knowing who Rudolph is.

Dilworth knows a thing or two about building suspense in a story. This time around, he cleverly maintains simplicity by not being concerned with many physical details and accoutrements, allowing the audience to focus more on what is being said and implied in the dialogue and thoughts of the characters. What’s also strangely entrancing about this opening night production? There are moments when I feel I’m being told in third-person narration what will happen rather than seeing the events unfold. The brief moments of laughter are particularly welcome as the mysterious layers of the stranger Rudolph and his identity are gradually revealed.

Dilworth’s talented creative team embodies a visionary approach that embraces the principle of "less is more." Lorenzo Savoini’s set design features a rectangular space with cushions along the upstage wall, ensuring clear sightlines for the audience. Savoini’s lighting effectively directs the audience's attention to key moments in the performance. Additionally, Debashis Sinha’s composition and sound designs heighten the dramatic tension surrounding the ironic unravelling of this family during what is meant to be the holiest night of the year in the Christian tradition: Christmas Eve. Ming Wong has selected costumes that reflect the characters' various states of mind. Although he is neatly dressed, Matamoros’ entrance oddly reminds me of Father Merrin’s appearance at the McNeill house in ‘The Exorcist.’

The cast is top-notch and prepared to take the audience on its emotional journey.

At the top of the show, Frank Cox-O’Connell’s narration remains aloof until he joins the story as Konrad, a mutual friend of Bettina and Albert. As the narrator, O’Connell is here to tell the audience something crucial about what will come and how this family will deal with it. The press release states what O’Connell hints at in this narration: Extremism doesn’t kick the door down on arrival. It waits for an invite and then makes itself at home.

Kira Guloien and Cyrus Lane are strangely connected in their disconnection from each other as husband and wife. Bettina is in a secret and mutually consensual relationship with Konrad, and Albert is high on drugs and wine. Yet, Bettina and Albert do not resolve anything in their relationship because neither appears to want it—or so it seems.

The connection between Nancy Palk’s Corinna and Diego Matamoros’s Rudolph is needed in Bettina and Albert's relationship. Rudolph and Corinna have a respect that appears missing from the younger couple. For some reason, Rudolph calls Corinna Gudrun. Playful? Possibly. A little unsettling? On a personal note, yes. But Corinna doesn’t seem to be bothered by it at all.

‘Winter Solstice’ certainly sparked many conversations between my guest and me on the way home.

Discovering that Rudolph has fascist beliefs leads to further questions—after all, he’s from Paraguay. Who else fled to Paraguay? Nazi supporters. Rudolph's values provoke some unsettling and heated discussions with Albert late on Christmas Eve. The others don’t seem to share Albert’s intense feelings about Rudolph. Why is that? Have the others succumbed to the charms of Rudolph, the stranger?

A program insert states Schimmelpfennig asks the audience: “to consider something new—the idea of fascist seduction, which is nothing new since it works every time. “ Again, given that this possible seduction has braced citizens to the south of us, what could this mean for Canadians?

That same insert also states the following line from the play: “The past does not exist..it haunts us, and that makes it part of the present.”

How much of this is the actual truth?

‘Winter Solstice’ promotes discussion after the curtain calls. That’s the sign of good theatre.

Go and see it.

Running time: approximately one hour and 40 minutes with no intermission.

‘Winter Solstice’ runs until February 2 at the Berkeley Street Theatre, 26 Berkeley Street, Toronto. For tickets, www.canadianstage.com or call the Box Office at (416) 368-3110.

NECESSARY ANGEL THEATRE COMPANY, CANADIAN STAGE and BIRDLAND THEATRE present:
WINTER SOLSTICE by Roland Schimmelpfennig
Translated by David Tushingham

Directed by Alan Dilworth
Set and Lighting Designer: Lorenzo Savoini
Composer and Sound Designer: Debashis Sinha
Costume Designer: Ming Wong
Associate Costume Designer: Ellie Koffman
Stage Manager: Sarah Miller
Production Manager and Technical Director: Rick Bonville

Performers: Frank Cox-O’Connell, Kira Guloien, Cyrus Lane, Diego Matamoros, Nancy Pal