The Great Canadian Theatre Company’s (GCTC) production of Daisy, co-produced with Horseshoes & Hand Grenades Theatre, came back to life for a do-over opening night on Dec. 2.
Nearly two years ago, the company’s production of Daisy was postponed after only one of 18 official planned performances on March 12, 2020, due to the onset of the COVID-19 pandemic. In front of a sold-out, socially-distanced crowd, the cast and production team succeeded in expressing that a passion for theatre is something that can never be lost.
The production is set in 1964 in the streets of America, where threatening nuclear attacks and the upcoming presidential election are on everyone’s minds. Written by Sean Devine and based on a true story, Daisy follows advertising team Sid Myers, Louise Brown, and Aaron Ehrlich as they’re tasked with spearheading the advertising campaign for Democratic candidate Lyndon Johnson. Collaborating with sound specialist Tony Schwartz, the advertising team produces “Daisy,” the most powerful political advertisement of its time.
Daisy grapples with themes of racism and political manipulation that have taken on new meanings in light of the political activism that has occurred since the play’s initial debut in March 2020. The Black Lives Matter protests and the 2020 United States presidential election have highlighted the immense power of the media that Daisy asks its audience to reckon with.
The cast and production team showed how the past and present work in tandem to reflect the significance of these political issues in the ‘60s and their striking parallels to modern day. The cast’s meaningful portrayals brought a relevant and thought-provoking perspective to racism and the ethics of politics.
In the role of Louise Brown, Marion Day portrayed the fearlessness and authority of a woman advocating to find her place in a man’s world. Day’s command of the stage and line delivery conveyed fearless ambition as she advocated for herself amongst her male counterparts. While the advertising team dug deeper into the grim depths of political ads, Day poignantly expressed her character’s internal conflict of what was strategically profitable and what was morally right.
The play’s director Eric Coates was also an actor in the play, portraying sound genius Tony Schwartz. Through his portrayal of the real historical figure who inspired and crafted the “Daisy” ad, Coates thoughtfully brought Schwartz’s mind back to life and proved Shwartz’s genius was far beyond his time. Coates’ animation, natural storytelling abilities and soothing radio voice directed the performance on and off the stage.
The importance of sound as a lifeline for information and connectivity in mid-20th century America was accentuated by Venessa Lachance’s sound designs and executions. The show’s numerous sound cues were impeccably synced, often occurring immediately after the press of a button as if coming from the props themselves. Lachance’s careful attention to detail added yet another layer of complexity to this performance.
Black-and-white video segments documenting true historical events were projected on the back of the set throughout the performance, effectively grounding the play’s events in history. Designed and compiled by Frank Donato, the videos complemented the stark tone set by the actors and provided a grim reminder of the true events that form the play’s basis. Each video clip was punctiliously formatted to fit the geometric outlines when projected on the backdrop.
Daisy was shocking, grim and thought-provoking. The cast and production team of the GCTC elegantly delivered this conveniently-timed piece that draws striking parallels to the modern world.
Daisy is playing at the GCTC theatre on Wellington Street until Dec.17.
Featured image provided by the Great Canadian Theatre Company.
