‘The Christmas Market’ encourages audiences to explore what the season truly signifies within various communities. This world premiere effectively guides a dramatic shift in our global understanding. Philip Akin directs with clear focus and compassionate care, never avoiding the factual truth of life on these farms. Performances remain entirely authentic and grounded.
Set about an hour’s drive outside Toronto, in the week before and leading up to the December holidays, The Christmas Market follows the lives of Joe (Matthew G. Brown), Lionel (Danté Prince), and Roy (Savion Roach), three Caribbean migrant workers on an Ontario farm spending their first Christmas away from home. While facing challenges in their work and personal lives, the men do their best to find a sense of belonging in the new world they now live in. This unfamiliar world often feels unforgiving. Friendship bonds form amid laughter, hope, and anger.
Set Designer Ken Mackenzie maximizes the Crow’s Studio Theatre’s intimate stage, highlighting how cramped and uncomfortable the sleeping quarters are for the workers as they climb into their beds. While it seems that everything on a working farm might have its place, Mackenzie’s design effectively emphasizes the tight confines of the bunkhouse. Shawn Henry’s shadowy lighting appropriately suggests that not all is fair for migrant workers. Why should they be treated any differently with inferior lighting? Des’ree Gray’s costumes vividly reflect the unjust working conditions. Jacob Lin selects fitting Christmas music that resonates with the diverse community living and working on the farm.
As I prepared for the opening night, I re-read the Crow’s press release and a couple of pre-show interviews. In a recent one, Divine Angubua writes: “[The Christmas Market] reorients the holiday away from its consumerist excess and toward the people who form the very ground upon which the season and its pleasures rest.”
This statement becomes the defining voice of the play, set during one of the most sacred traditions on the Christian calendar. The dialogue is often vivid and colourful. Playwright Kanika Ambrose’s authentic-sounding script and director Philip Akin’s focused, compassionate attention to the harsh reality of farm life speak volumes to everyone present, both on stage and in the audience.
Matthew G. Brown remains resolute in both mind and temperament as Joe, the peacemaker of the group. He aims to make Christmas happen for himself, Lionel, Roy, and everyone else this year. Sturdy in build and confident in his delivery, Brown uses his physicality if needed to stay impartial when addressing the anger or resentment from Prince’s Lionel and Roy’s Roach. Bown also offers some entertaining moments, especially in his unique response to the yearly televised film version of The Sound of Music.
Danté Prince and Savion Roach deliver gritty performances. Beneath that rawness are two men who hesitate to reveal their vulnerability. These men understand they are not supposed to do that. Prince’s Lionel is a passionate vocal activist who strongly advocates against injustices such as poor farm working conditions, including the need for proper breaks and suitable clothing in the rapidly changing fall weather. Lionel also speaks out strongly about how the farm owners treat the workers. While Savion Roach’s Roy recognizes the similar injustices, he is preoccupied with more urgent family issues that weigh heavily on him. Roach’s Roy is a man of principle and justice who strives for what is rightfully his. Unfortunately, he feels trapped in his current situation.
As farm supervisor, Ryan, Brenda Robins is persistent. She does her best, through her church and on her own, to help the workers as much as she can. Unfortunately, Robins’ Ryan also introduces problematic issues. While she believes she’s assisting, that often backfires. Ryan does not truly understand what Joe, Lionel, and Roy have gone through. She butts heads with Prince’s Lionel at one point, and it’s powerfully staged. There are some enlightening and tender moments between Ryan and Joe near the end. That reaching out makes the audience not only root for them but also for everyone who genuinely wants to reach out, help, and lend a hand where needed.
In the conflicted world of the twenty-first century, The Christmas Market encourages audiences to reflect, reconsider, and think differently about how people experience the holiday and the season. Not every Christmas story will be the same for everyone. What matters is listening and reaching out to help where, if or when we can.
That’s not an onerous ask of us at all.
If anything, that’s what it means to be Christian. To be called to service and reach out and assist if warranted or when called. That’s not an onerous task at all.
What I am pleased to see is the moment of Christian prayer near the end of the play. Sometimes, we need to see more of this in the theatre.
Thank you to all involved for this early Christmas present. Please get tickets to see it.
Running time: approximately 90 minutes with no interval/intermission.
The production runs to November 30 in the Studio Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com or call (647) 341-7390 or email boxoffice@crowstheatre.com.
CROW’S THEATRE, b current and STUDIO 180 THEATRE present
The Christmas Market by Kanika Ambrose
Director and Dramaturge: Philip Akin
Set Designer: Ken Mackenzie
Lighting Designer: Shawn Henry
Sound Designer: Jacob Lin 林鴻恩
Costume Designer: Des’ree Gray
Dialect Coach: Peter N. Bailey
Head of Props: Rhys Bernier
Stage Manager: Farnoosh Talebpour
Performers: Matthew G. Brown, Danté Prince, Savion Roach, Brenda Robins
