If there was ever an appropriate and necessary time for ‘The Time Capsule,’ it is now. Raucous and hilarious in its silly and simple plot, and poignantly sweet the next. Mary Francis Moore directs with a giving and full heart.
What’s the one line I always remember from the play and film version of Steel Magnolias? “Things were getting far too serious, and we needed to laugh.“
Right now, we Canadians need to laugh. Laugh loud and long.
Hamilton’s Theatre Aquarius is giving audiences a chance to do just that.
Kicking off its 52nd season, Matt Murray’s The Time Capsule opens the 25-26 slate. Described as a love letter to the city’s nickname, Steeltown, and its references to local establishments, places, and even some residents, the show aims to provide a warm and much-needed escape for audiences. The production invites audiences to do as Judy Garland once sang: “Forget your troubles, c’mon get happy.“
It’s March, and snow is falling steadily outside a Hamilton United church basement. Local high school History teacher Erin (Deborah Drakeford) has placed an advertisement in the local paper, The Hamilton Spectator, inviting anyone interested in learning more about putting items in a time capsule that will be opened one hundred years from now. Her husband, Rick (Richard Alan Campbell), has been outside shovelling snow to ensure that guests can enter safely without slipping on the wet church terrazzo floor. Erin is feeling anxious about the evening ahead. No one has shown up yet, and it’s nearly time to start. The weather is terrible outside, and Erin has spent days preparing snacks for the guests and compiling notes for her presentation. As her nerves escalate, she snaps at Rick for taking one of the treats from the tray, as he is hungry after working outdoors. Rick takes that gesture in stride. He knows this time capsule meeting means a great deal to his wife. There is a sense, however, that Erin has snapped at Rick more than once in their marriage.
Church caretaker Louise (Mary Long) must ensure that Erin and the meeting attendees leave the basement by 10 PM. The first to arrive is Marcus (Richard Young), a kind-hearted guy who brings donuts because his mother always advised him never to attend a gathering empty-handed. Next to arrive is Jess (Stephanie Sy), a tough-talking, no-nonsense young person. Her backstory, revealed in Act 2, initially surprised me. However, upon further reflection, I realized it highlights one of the play’s central themes: “We are not defined by the things we leave behind, but by the people we share our lives with.”
Snow continues to pile high outside, making it unsafe to drive. The five individuals must spend the night on cots in the basement without any heat. What follows are comical misunderstandings at first (with the actual capsule being one). Eventually, the characters share an experience that reveals the real people behind the façades we all present to each other.
Robin Fisher’s set design on the Aquarius stage is outstanding. We are immersed in an authentic church basement, with impressive attention to detail—from the items tucked behind the curtain on the makeshift stage to the baked goods displayed on the fold-out institutional tables. The red brick interior serves as a reminder of Hamilton’s rich architectural history. Additionally, Steve Lucas’s lighting effectively captures the sterile atmosphere created by institutional fluorescent tubes. Sonia Nardi Lewis selects clothing styles for each character that provide insight into their personalities, ranging from Erin’s expensive-looking blouse to Jess’s tough guy flannel shirt and backward baseball cap.
Mary Francis Moore directs playwright Murray’s at times farcical and ridiculous script with a giving and full heart. She writes in her Director’s Programme Note: “Every laugh, every heartbreak, every story only resonates when it is shared in community.”
This dedicated and determined ensemble maintains a lively and smooth pace, ensuring that the humanity, laughter, and heartbreak are preserved throughout the communal sharing.
Deborah Drakeford’s overworked Erin appropriately maintains a façade of well-being and in control, despite the challenges she faces both personally and professionally. Her Erin’s situation, however, is far from fine, particularly concerning her job, the time capsule project, and her relationship with Rick. Richard Alan Campbell’s Rick is an honourable working-class man. He’s a typical guy, though. He wants to be at home watching the hockey game. Yet Rick genuinely wants to ensure his wife’s happiness, embodying the philosophy of “Happy Wife, Happy Life.” The heart-to-heart conversation in Act 2 between Rick and Erin resonates deeply, highlighting a discussion they should have had a long time ago.
As the church caretaker, Louise, played by Mary Long, is straightforward and practical. She embodies a ‘state your business and let’s get on with it’ attitude. For example, when Erin attempts to start her speech, Louise is seen wheeling out the mop and bucket, highlighting her belief that work must continue, even in difficult situations.
Richard Young and Stephanie Sy play two distinctly different yet genuinely believable characters. Young’s Marcus is a nice guy with a difficult past that led him to Hamilton after spending some time in Ajax. Despite his background, Marcus is resilient and determined not to let it define him. He follows his mother’s advice to get out and meet new people, ironically, even when the outdoor weather is harsh. In contrast, Stephanie Sy’s Jess maintains a gritty demeanour and a “no-shit-from-anyone” attitude. Sy skillfully demonstrates that appearances can be deceiving, particularly through Jess’s blunt comments about Erin’s snobbish behaviour. Both Young and Sy effectively highlight the complexity of personal experiences and the truths that lie beneath them.
Moore mentions a particular idea in her Director’s Note that still has me thinking today:
“For a few fleeting hours, [theatre] creates a shared experience that will never be repeated in exactly the same way. And in that brief exchange, something extraordinary happens: we connect.”
I needed to connect with others and share laughter. It felt great to experience that camaraderie. As I exited the theatre, I had a smile on my face, feeling as if a weight had been lifted from my shoulders.
You should do the same. Go and see The Time Capsule.
Running time: approximately two hours and 15 minutes with one interval/intermission
The Time Capsule runs until October 18 at Theatre Aquarius, 185 King William Street, Hamilton. For tickets: theatreaquarius.org or call the Box Office: 905.522.7529 OR 1.800.465.7529.
THEATRE AQUARIUS presents
The Time Capsule by Matt Murray
Directed by Mary Francis Moore
Set Design: Robin Fisher
Lighting Design: Steve Lucas
Costume Design: Sonia Nardi Lewis
Stage Manager: Beatrice Campbell
Performers: Richard Alan Campbell, Deborah Drakeford, Mary Long, Stephanie Sy, Richard Young
