A razor-sharp, intense, dramatic, and often hilarious commentary of context. ‘Redbone Coonhound’ invites us to mean what we say and say what we mean. There are several scenes where a lot happens in words, action and intent so pay close attention.
Mike (Christopher Allen) and Marissa (Chala Hunter) are out for a walk in their west-end Vancouver neighbourhood. They are an interracial couple who meet a dog, a Redbone Coonhound, who never appears on the stage. For some reason, this ‘imaginary’ dog takes a particular interest in Mike. He and Marissa are horrified at learning the breed of this dog in conversation with its owner which sparks some extremely intense dialogue. Much to the ire of passing joggers, (Kwesi Ameyaw, Jesse Dwyre and Lucinda Davis), the dog’s owners (Deborah Drakeford and Brian Dooley) allow the animal to run without a leash.
What follows this first scene are historical segments and futuristic vignettes about societal social issues (prejudice, racism, belonging, power, identity, privilege, sexism) stemming from the context of Mike and Marissa’s chance encounter with the dog. Additionally, the ensuing fallout from this moment with the dog continues as Mike and Marissa share their feelings in the present with friends Gerald (Ameyaw), Aisha (Davis) and Roger (Dwyre).
Jawon Kang’s clever set design nicely establishes a yin and yang symbol. The playing space is a circle divided into two halves by a curved line. One half of the circle is black which represents the yin side while the other half is white which represents the yang. Initially, this ancient symbol suggests a duality of co-existence and complementing each other. Michelle Ramsay’s lighting designer is tight. I especially liked those initial moments in the opening scene where the lights change slightly as the dog sniffs Mike. The Projection Design of Frank Donato along with Dezmond Arnkvarn’s animation is one of the striking visual highlights of the production as we travel back and forth in time. I liked seeing the image of the running dog and some of the words from the previous scene’s dialogue projected onto the screen.
With humour, Amy Lee Lavoie and Omari Newton’s script at times punctures and rips apart these inherent systemic social issues of prejudice and racism in the past and future. Lucinda Davis’s daring portrayal of Harriet Tubman and the language she uses is perfect. The spaceship futuristic setting where individuals are beamed up and face the issues of cultural appropriation is funny.
However, these moments from the past and future did not resonate as powerfully as they should. Why? Has anything really changed from the past at all regarding cultural social upheaval? Because these social divisions have run so deep for hundreds of years, will or can anything be transformed going forward? I hope and pray there is change, but will we ever be able to measure that potential growth?
Michelene Chevrier (with assistance from Kwaku Okyere) directs the production clearly and with purpose.
The actor ensemble is wonderful.
There is some very fine performance work in the present scenes with Christopher Allen, Chala Hunter, Lucinda Davis, Jesse Dwyre and Kwesi Ameyaw. Allen and Hunter remain in beautiful synchronistic tune with each other as husband and wife. Their performances indicate they just seem to ‘get’ each other. Their conversation with Lucinda Davis, Jesse Dwyre and Kwesi Ameyaw near the end of the play as tempers flare and accusations fly left me on the edge of my seat. Their words flung back and forth have consequential meanings and harsh understanding, and I kept wondering if their actions could ever be rectified.
Deborah Drakeford and Brian Dooley are terrific in their comic portrayal of parents who become upset their daughter has feelings and wants to marry a white man instead of having the possibility of a future black son-in-law. These parents have done what they consider everything they can to show they understand what it means to be accepting of other cultures. Their house décor is accoutered with ‘African’ looking items. Mom is dressed in clothing that appears to be ‘African’ but she looks ridiculous. It’s a hilarious look at cultural appropriation on the part of the parents, but the message is clear. Do these parents realize what their actions and words really mean?
‘Redbone Coonhound’ becomes that humoristic conversation starter for problematic systemic social issues.
See it for the performance work.
Running time: approximately one hour and 40 minutes with no intermission.
‘Redbone Coonhound’ runs until March 5 in the Mainspace at Tarragon Theatre, 30 Bridgman Avenue, Toronto. For tickets, visit www.tarragontheatre.com or call 1-416-531-1827.
AN ARTS CLUB SILVER COMMISSION AS PART OF A ROLLING WORLD PREMIERE WITH TARRAGON THEATRE AND IMAGO THEATRE (MONTREAL)
‘REDBONE COONHOUND’ by Amy Lee Lavoie & Omari Newton
Directed with Micheline Chevrier with Kwaku Okyere
Set Designer: Jawong Kang
Costume Designer: Malo Soyini Bruce
Lighting Designer: Michelle Ramsay
Projection Designer: Frank Donato
Animator: Dezmond Arnkvarn
Sound Designer: Thomas Ryder Payne
Fight Director: Jack Rennie
Rap Coach: Donna-Michelle St. Bernard
Stage Manager: Daniel Oulton
Performers: Christopher Allen, Chala Hunter, Kwesi Ameyaw, Deborah Drakeford, Jesse Dwyre, Lucinda Davis, Brian Dooley
