This North American premiere boldly and unflinchingly stings and unnerves. But that’s good theatre when that happens. ‘profoundly’ is good theatre.
debbie tucker green’s a profoundly affectionate, passionate devotion to someone (-noun) (in a co-production with Tarragon and Obsidian Theatres) explores viscerally genuine, honest conversations between couples that are hurtful, passionate, comforting and antagonistic.
At times, profoundly’s ‘rhythm of words’ is raw. It’s a play about love, desire and ultimately human connection to another. Within that desire to love and connect with another human, there is discomfort. There are nasty implications when hurtful words are flung back and forth.
But this opening-night performance, North American premiere, earns a Voice Choice designation.
It’s riveting. It’s unnerving. It’s challenging.
There are moments where I didn’t blink, breathe, or even flinch out of fear of missing what is said, conveyed or implied.
Under Mumbi Tindyebwa’s Otu’s engaging direction, profoundly becomes a master class in theatrical finesse from an inspired creative production team to winning performances delivering razor-sharp dialogue not only for what is said but also for what is implied.
Jawon Kang’s arresting, sleek set design featuring raised rectangular platforms and staircases with hidden LED lights catches the eye. A raised runway platform from Stage Left to centre is used effectively for visual impact. Raha Javanfar’s focused lighting enhances the subdued, earth-tone costumes designed by Arianna Lilith Moodie. Jacob Lin’s sound design is well executed when needed. The silhouetted shadows of people on the back wall are softly illuminated by Javanfar’s lighting.
There are three distinct couples: A (Virgilia Griffith) and B (Dwain Murphy), Woman (Warona Setshwaelo) and Man (Andrew Moodie), Young Woman (Jasmine Case) and Moodie returns as Man.
Don’t be misled into thinking ‘profoundly’ is only about three couples sharing their relationship experiences. As the title indicates, tucker green and Tindyebwa Otu carefully craft a sense of the ‘profound’ in modern relationships, warts and all. The stylized script remains chock-full of delicious, underlying implications of a plethora of double meanings.
This top-notch ensemble delivers compelling performances. Sometimes, the performers are hilarious in what they say. Other times, their dialogue remains raw and uncomfortable. Judging by the loud audience response around me, the actors strike a deep, resonant nerve not only in their on-stage performance but also with many in attendance who have been there before, who have lived through what these couples are experiencing, and who instinctively know how it will probably end.
As A and B, Virgilia Griffith and Dwain Murphy are passionate. They love hard and fight hard. Sometimes they finish each other’s sentences. Their conversations take place over time, but it’s never specified how long. Javanfar’s brief lighting transition cleanly denotes the passage of time. Griffith and Murphy remain barefoot throughout their vignettes.
As Woman and Man, Warona Setshawelo and Andrew Moodie have been together for years. They do not finish each other’s sentences. While Setshawelo may adeptly harp on the issue of a lack of sex life between them, Moodie nicely allows the implication and connotation to hang in the air. He says nothing. It’s an effective dramatic technique. Silence allows the Woman to sit with what she has just said to her husband. Silence also allows the audience to sit with that awful retort. The conversation then turns to how older couples feel about their bodies in front of their spouse or partner.
The third features a young woman (Jasmine Case) and the reappearance of Andrew Moodie as Man. There is a slight age difference between them that raises concerns. Without spoiling the plot, it also becomes clear why Andrew Moodie appears as Man in the third vignette. This third couple occasionally experiences a lack of communication – is it because of their age or their life experiences?
Shadow Director Germaine Konji writes in the Artist’s Note how the creative team was welcomed into the playroom of the playwright’s private room of relationships – the silences, the misfires, the tenderness and the ache – without warning and apology.
Seeing a play like profoundly leads me to ruminate further about the state of modern relationships, whether married or common law.
Is it a good thing to be in relationship? Especially when we hear the questions that are asked of those involved?
Where does love fit into relationships of the twenty-first century?
If anything, tucker green’s work profoundly serves as a reminder for everyone (singles, married, common law) to reflect more on why we desire to be in relationships with others.
Ah, the joys of good theatre. Once again, to see plays that (oh, my goodness) get audiences to think.
profoundly is not only good theatre. It’s terrific theatre.
Please see it.
Running time: approximately 85 minutes with no interval/intermission
profoundly runs to December 7 at Tarragon Theatre on the Mainstage, 30 Bridgman Avenue. For tickets: tarragontheatre.com or call (416) 531-1827.
TARRAGON THEATRE AND OBSIDIAN THEATRE COMPANY present
a profoundly affectionate, passionate devotion to someone (-noun) by debbie tucker green
Directed by Mumbi Tindyebwa Out
Set Designer: Jawon Kang
Costume Designer: Arianna Lilith Moodie
Lighting Designer: Raha Javanfar
Sound Designer: Jacob Lin 林鴻恩
Movement and Intimacy Director: Lisa Karen Cox
Stage Manager: Alice Ferreyra Galliani
Performers: Virgilia Griffith, Dwain Murphy, Warona Setshwaelo, Andrew Moodie, Jasmine Case
