“Although the pace is brisk in ‘The Thanksgiving Play,’ there are more questions than laughs.”
Opening this week at the CAA Mirvish Theatre is Larissa Fasthorse’s satirical play ‘The Thanksgiving Play.’ As part of the ‘Off-Mirvish’ series, this play explores issues of stereotyping, racial bias, native American misrepresentation, and political correctness – a handful to be sure, but a noble voyage.
Satire is often defined as vice or folly held up to ridicule. The folly here is the misrepresentation mentioned above and political correctness, and a great deal of ridicule is exposed, but the satire is muted, and no answers are forthcoming.
Although the pace is brisk, there are more questions than laughs. While mocking political correctness, the opposite – extreme political incorrectness or insensitivity buffets the audience. Is this meant as a balancing act, or do we find humour by exposing the extremes? Neither seems to work.
An energetic cast of four is highlighted by a superb performance by Rachel Cairns, who admirably holds the manic group together while questioning her own responsibility for seamless political correctness. Logan is an elementary drama teacher whose goal is to create a Thanksgiving play with historical accuracy and unbiased sensitivity.
Jaxton, played by Colin A. Doyle, tries to help with his overly ridiculous political correctness. They seem to have some romantic relationship, but it needs a kind of dance/movement routine to move them in and out of social appropriateness. Caden (Craig Lauzon) is a well-meaning history teacher who appears foolish as he is overly excited about seeing his writing performed. What baffles the audience are his moments of moving toward some aggressive leadership but ultimately caving again.
Jada Rifkin plays Alicia, a perky, B-level actor with little depth. Logan has mistakenly hired her because she thinks she is Native American, and that will give the play cultural authenticity. She is not Native American. Instead, she becomes a Glinda to Logan’s Elphaba with hair twirling and makeovers—it further complicates Logan’s own self-questioning.
The play then swirls into philosophic inanity as the group tries desperately to reclaim their goal of creating an accurate and sensitive picture of the first Thanksgiving. The goal seems to be lost, and we end with a Godot-like emptiness where nothing has been accomplished.
The dialogue registers with some good wit. As Logan introduces each character, it is hilariously awkward as she goes through her perception of each person’s pronoun comfort. Other jokes fall flat – we groan at the plump breast or moist leg scenario more than once. It needed more subtlety if it was meant to shock the audience into awareness.
Recorded videos slam the audience with more extreme political incorrectness. Again, the idea was maybe meant to shock and educate, but the audience was left more deflated.
Some outstanding physical humour helped raise a number of comedic highlights.
The set design by Anahita Dehbonehie creates a realistic school classroom with the usual mayhem that reflects the chaos of the play. Desks mismatched with sports equipment asunder remind us of the children who are the focus of the place. Silly props and costumes seem to derail the angst of trying to accomplish the impossible political balance.
Logan’s goal is, of course, impossible. To work towards it is admirable. Larissa Fasthorse’s efforts are also admirable, but if the humour was more subtle, maybe it would be more effective.
‘The Thanksgiving Play’ by Larissa Fasthorse
Presented by David Mirvish and Pop-up Theatre Canada
Director – Vinetta Strombergs
Performers – Rachel Cairns, Colin A. Doyle, Craig Lauzon, Jada Rifkin
Set Design – Anahita Dehbonehie
Costumes and props – Niloufar Aiaee
Runs through – October 20, 2024.
Tickets – mirvish.com
