ALMOST
PERFECT
by Anthony McGrann
A Perfect Ganesh
by Terence McNally
Directed by Glynis Leyshon
Now playing at the Vancouver Playhouse
Until December 20th, 1997
Tickets: 873-3311
Two women who take not just a vacation to India but more so a spiritual journey
is the theme of this play. McNally takes two characters whose lives are so
different yet similar--they are both searching to be healed from their inner
demons--two middle class, North American women embarking on a quest. Ganesha
(an Indian god) narrates part of the story and acts as guide through their
journey--a spiritual tour guide of sorts.
One finds himself laughing through McNally’s witty humour as he places
these women in a setting where the culture is completely foreign to them.
However, as each of their dark secrets are revealed, the play takes on a
very emotional and intense tone. Both women deal with relationships that
are stale, and together they feel this is a good trip to take. Leaving their
husbands behind, they embark on their quest. Throughout their trip, their
buried secrets haunt them.
Margaret Civil (Patti Allan) deals not only with a lump on her breast that
isn’t going away, but also the secret that even her best friend, Katherine
Brynne (Nicola Cavendish) doesn’t know--the death of her four-year old
son over twenty years ago. Katherine also has her secret: she has to face
up to the guilt of losing her son to a gay bashing. On top of that, she has
to deal with her racism, fueled by the fact that the men who killed her son
were black.
The cast executes this entertaining yet complex play very well. Both Patti
Allan and Nicola Cavendish do an excellent job, particularly Cavendish who
is a delight to watch. But the actor who really stands out in this production
is Vik Sahay, who plays Ganesha. He takes on female and male roles of various
different cultures and does so rather brilliantly. Although the many foreign
accents he uses are slightly stereotypical, it works well in this play. Also
commendable is Roman Danylo who takes on several characters including
Margaret’s four-year old son, Gabriel, as well as Katherine’s gay
son, Walter.
Another success in this play is the set. Visually stunning in its simplicity,
yet highly effective as scene changes occur very frequently.
The wonderful direction of Glynis Leyshon is quite seamless and almost goes
unnoticed. The characters are all believable. Together with the stunning
set and strong performances, McNally’s words are woven in a play which
would be a perfect ending to a perfect day.