Archive for August 2018
[NEWS] Five links on Canada and North American integration in the era of Trump
- This John Ivison article noting Canada and Mexico need to be united on trade issues versus Trump’s United States still makes sense, and can be read at the National Post.
- MacLean’s last month took a look at what Mexico’s new president, AMLO, meant for bilateral Canadian-Mexican relations and wider North America.
- Freezing out Canada from NAFTA negotiations is apparently a Trump tactic presented in The Art of the Deal. Business Insider reports.
- The proposed terms of the NAFTA renegotiations, which involve higher wages for workers, may have a minimal effect on Canada. Global News reports.
- Is it possible, as suggested at Quartz, that the renegotiated NAFTA might play to the benefit of Canada?
[REVIEW] Box 4901, Summerworks
I learned of the existence, at this year’s incarnation of the SummerWorks theatre festival, of the play Box 4901 through a post at critic Drew Rowsome’s blog. The mention in the first paragraph that the playwright was Brian Francis sold me entirely on the show. Francis, for me, stands out particularly for his second novel the 2011 Natural Order, in the course of which he first created a character undeserving of sympathy and then managed to persuade me into shedding tears of sympathy for her. (It still does that.) At that point, I was ready to go down to the Theatre Centre on 1115 Queen Street West to catch a performance, even taking a visiting friend down with me to take in the show last Sunday.
Box 4901 is an autobiographical play. In 1992, while still in the process of coming out in the southwestern Ontario city of London as a student at the University of Western Ontario, Francis placed a personal ad in the local paper looking for contacts. He received dozens of replies to his ad, but left 13 unanswered. Box 4901 is structured as Francis’ systematic, belated, responses to this answers, each answer getting portrayed by a different actor on the stage, Francis himself delivering his response behind a lectern on that same stage.
One thing that I found fascinating about this storyline was the amount of distance. The distance in time was not so significant–the language of the ad and of many of the answers could well appear on any of the online social networking platforms that I use today–as the distance in mentality imposed by speed. (My only encounter with said was via a Sunday school teacher of mine who briefly tried to persuade her students to protest against the local paper sharing ads for same-sex couples; my cohort, happily, responded with confusion to this.) The call-and-response nature of the personal ad may be eternal, but the era of the personal ad stands out from my experiences for its slowness and disconnection. Replies would necessarily have to take days, even weeks, to be dispatched; meetings would need be arranged meticulously in detail, in an environment rather more hostile than now. Box 4901 did a great job of communicating the tenuous nature of the community being knit together; it let me, a theatre-goer, get a vidi sense of the mindsets of the time.
I rather liked the performances. The different actors, interviewed by Rowsome at his blog, all did great jobs with their material, presenting different sorts of characters delivering their lines in ways alternatively silly or sensuous or sincere (and, in at least one memorable case, all at the same time). Francis began his performance by noting that he was not an actor by training, and while that may be true that self-evaluation undersells his performance. Francis was a perfect straight man for his actors, someone more than capable of sharing his memories of the past, of delivering self-aware and wise commentary on his own past and his own community in a way that connected with the audience. All the performers, Francis included, did a great job of bringing together a vivid depiction of a past just outside of easy recall.
If Box 4901 has a flaw, it lies in its tight focus, on its drawing from the particular experiences of a single man looking back for the first time in his adult life at a particular moment in his life. What would future productions of Box 4901 look like? Will they be altered by the process of reflection? How reproducible is this play? I can only say that I was very lucky to have been able to catch Box 4901. I hope others will be able to be able to share in this particular theatrical experience.
(If you are curious to see others’ take on Box 4901, see the reviews of Glenn Sumi at NOW Toronto, Sam Mooney at Mooney on Theatre, Martha Schabas at The Globe and Mail.)