“We want to be the Invictus-bloody-Games of the arts!” declares actor David Solomon in his passionate curtain speech at the end of, the British import playing Toronto’s Berkeley Street Theatre. Solomon is referring not just to the play he’s acting in, but to its co-producer, the London-headquartered Soldiers’ Arts Academy.
It may, in fact, be too ambitious: there are so many characters and stories being told in Jonathan Lewis’s play that they tend to pull focus from one another. On top of that, writer-director Lewis tells them in the context of a play-within-a-play, in which the line between the real and the pretend is sometimes confusingly blurred.Yet for all that, when it comes down to individual scenes and performances,is quite effective.
They also bring that trauma into the rehearsal hall. It finds itself expressed in outbursts of violence and emotional breakdowns. The group’s joking cynic, Woody , turns out to be seething with unresolved rage. The taciturn older officer, Tom , slowly lets his reserve slip to reveal his vulnerability.
Woody isn’t the only cynic. Len , the lovably gruff legionnaire in charge of supervising the project, regards it as “airy-fairy” stuff – until, inevitably, he gets chomped on by the acting bug.
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