“A lovely play about the importance of connection to others and doing whatever is possible to maintain it.”
Curmudgeon widower Garfield Lyons (Scott Wentworth) recuperates from a heart attack at his secluded rural Parry Sound cottage. His nurse, Maggie (Lauren Bowler), maintains clear boundaries and does not tolerate disrespectful remarks from him. During his recovery, he receives a letter that his estranged 14-year-old grandson, Brandon (Dominic Moody), will be staying with him. Brandon has encountered disciplinary issues at school with legal trouble, resulting in house arrest. Unable to manage her son’s behaviour because she must go to work, Brandon’s mother has arranged for him to reside temporarily with his grandfather. As the two spend time together, Brandon and Garfield struggle and somehow learn to accept their roles in how they see themselves at this time in their lives.
Kristen Da Silva’s script presents a story that is amusing and, at times, reflective. It is reminiscent of Ernest Thompson’s ‘On Golden Pond.’ Da Silva’s narrative explores interactions among three generations that ultimately lead to mutual respect and a sense of connection with each other.
Patricia Reilly’s crowded mess of a set design duly reflects Garfield’s state of mind. Throughout the mess, there is a semblance of Garfield having lived a life years ago. His floral-patterned easy chair (possibly picked out by his late wife?) sits centre stage. To the right is a table with chairs. On the back wall is a rotary dial telephone (I’m sure young kids today would have no idea how to operate one). Bric à brac objects found scattered inside the cottage represent various events that occur yearly – Christmas wreath decorations, a large candle, and a few Hallowe’en items. Louise Guinand’s lighting design duly reflects sunlight streaming through cottage windows. Sam Snyder selects appropriate pre-show music that reflects the theme of Da Silva’s play.
Sheila McCarthy approaches her direction thoughtfully. She acknowledges that the characters have three significant backstories and aims to present them with depth rather than superficiality.
Dominic Moody shows potential for future stage work. His portrayal of Brandon aligns with the character’s moody and impulsive qualities. Moody presents the challenges a fourteen-year-old faces in expressing his thoughts, particularly during emotionally charged scenes. Patricia Reilly’s choice of dark clothing for Brandon visually supports the character’s temperament. At times, Dominic’s enunciation could be more precise. Some lines of his dialogue were challenging to understand from the back of the Here for Now theatre due to slight slurring.
Lauren Bowler adeptly manages and demonstrates an intuitive understanding of Garfield’s sense of loss for his wife. In her portrayal, Bowler serves as a thoughtful confidant, providing essential support within the narrative. She cares about Garfield. At the top of the show, while she takes and reads his blood pressure, she is genuinely concerned for his health. Later, as Scott Wentworth delivers a compelling monologue as Garfield, reflecting on his role in life, Bowler remains composed and attentive at the table. Her posture conveys significant meaning, highlighting her character’s connection to Garfield and her willingness to listen.
Scott Wentworth delivers a compelling performance as Garfield Lyons. He’s crusty and grouchy. Bland clothing selections by Patricia Reilly become indicative of the person he has become. Furthermore, as the reality concerning Garfield’s history and his estranged relationship with his son David (Brandon’s father) emerges, Wentworth skillfully conveys these complexities through Da Silva’s script, particularly in the pivotal scene at the table with Maggie. His deliberate pacing, measured pauses, and thoughtful delivery enhance tremendously the dramatic impact of the performance.
Leaving the theatre at the end of the play, I couldn’t help but think how appropriate the title of this play is. I’ve only played Risk (a game detailing world domination) twice in my life. When Maggie suggests that Garfield and Brandon play the game to help pass the time, I couldn’t help but smile at the metaphor that came to my mind.
We all continue taking risks in our lives in our connection with and to others. The Catholic Christian faith even calls people to live in relationship and connection with each other, and to put an end to strife and isolation and create welcoming communities.
Sometimes those risks in connections become formed and begin a slow bonding. Other times, there’s a sense of brokenness with hopefully a repair in mending and maintaining connection.
These kinds of risks in connecting to others are worth it.
And so is seeing this play.
Running time: approximately 75 minutes with no interval/intermission.
‘The Rules of Playing Risk’ runs until August 16 at Here for Now Theatre, 24 St. Andrew Street, Stratford. For tickets: herefornowtheatre.com or call the Box Office (519) 272-4368.
HERE FOR NOW THEATRE presents
“The Rules of Playing Risk’ by Kristen Da Silva
Directed by Sheila McCarthy
Lighting Design: Louise Guinand
Set and Costume Design: Patricia Reilly
Sound Design: Sam Snyders
Stage Manager: Jocelyn Nicholson
Performers: Lauren Bowler, Dominic Moody, Scott Wentworth
