TACTICS’ newest play, Shorelines, boasts a non-linear poetic performance. The production’s unique half-play, half-narrative style leaves conflicting emotions in its wake.
The play paints an imaginative picture of a dystopian future while drawing attention to present-day environmental injustices. However, the room left for imagination in the storyline also left room for improvement in the play’s overall message.
Written by Mishka Lavigne and directed by Nicholas Leno, Shorelines highlights the stories of four characters: fraternal twins Evan and Alix, their grandmother and a government official named Portia. Set in a crumbling and low-income coastal neighbourhood with limited access to clean water, they grapple with climate change’s intersecting impacts.
The play’s reliance on personal narratives and monologues amid a minimalistic set allowed audience members’ imaginations to interpret gaps on stage. This seemed like an odd choice, but stellar storytelling, sound, lighting and costume design still guided the story forward effortlessly.
Shorelines’ rugged and apocalyptic plot showcases themes from current realities. The characters’ struggle to escape their flooding city, troubled by insufficient resources and totalitarian rule, sheds light on instances of environmental injustice in North America.
The cast’s collective storytelling was impressive. Surrounded by seats on three sides of the stage, the actors’ eye contact with the crowd made the play feel intimate.
Jacqui Du Toit delivered the role of Gran—a science journalist turned lost-and-forgetful grandmother—with grace and believability, especially as her character’s actions intertwined with the past, present and future stories of the others.
Du Toit’s onstage grandchildren Alix and Evan, played by Vanessa Onukagha and Letréal Farquharson, had perfect chemistry despite minor performance flaws.
While Farquharson stumbled over his lines at various points, he skillfully portrayed a range of emotions—from denying his father’s disappearance and claiming his collection of animal figurines was “not a collection,” to the dread of realizing his family’s powerlessness.
Similarly, Onukagha’s somewhat stiff act as Alix still reliably moved the story forward as she mastered emotional scenes throughout the play.
The only non-familial character, Portia, played by Cara Pantalone, offered a strong performance rich with controlled expressions and an authoritative voice.
Stepping on stage in a pure white uniform, Pantalone’s layered performance masked her character’s true intentions. Her personal connection to the city calls into question her governmental role, which adds a welcome surprise of depth to the play.
Shorelines’ magic lies in its behind-the-scenes production.
From the characters’ shadowy figures cast behind a white tarp to Evan’s aggressively duct-taped running shoes, the production crew distilled an entire dystopian world into an intimate theatre.
The sound of softly rushing water bubbled throughout the entire play, setting the scene of a community threatened by the very thing they need to survive.
The crew successfully incorporated dynamic lighting designs into the story. At times interacting with the characters, spotlights indicated the location of smaller rooms and added layers of atmospheric storytelling during intense storms or peaceful, dreamy moments.
While the overall play was thought-provoking, the interpretive style left questions unanswered and would have benefitted from a clearer parting message. The plot certainly drew attention to the realities of environmental injustice and climate change, but relied too heavily on traumatic events without remedying them through a clear and satisfying ending.
Shorelines runs until May 15 at LabO in Ottawa. Tickets are available on Eventbrite.
Featured image by Marianne Duval.
