Pi Theatre

Helen's Necklace
by Carole Frechette
translated by John Murrell

Date April 7 - 16 2005 Venue The Vancouver East Cultural Centre

Reviewer Jane Penistan


 

 

Director Del Surjik Costumes Barbara Clayden Set David Roberts Composer Boris Sichon Lighting Del Surjik Stage Manager David Kerr

 

 


Elizabeth McLaughlin and Sanjay Talwar

Boris Sichon opens this performance with haunting Middle Eastern music played on both wind and percussion instruments. He continues to accompany it throughout, sometimes as a character in the play. There is a variety of unfamiliar instruments here, but all evoke an exotic North African aura.

Helen (Elizabeth McLaughlin) is visiting an unknown Middle Eastern city and loses her pearl necklace. While this is of no great value, it is of importance to Helen. Determined to revisit all the sites she has explored with her friends, she decides not to leave the city immediately.

Engaging a taxi driven by the obliging Nabil (Sanjay Talwar), she endeavours to explain her loss and her wishes to return to various locations. These explanations lead to much miming and mirth, because of a misinterpretation of the sign or spoken language of both actors. The constantly beaming Nabil does his best to find the different places Helen thinks she remembers. He also introduces her to several other local places and people.

 

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He becomes a chameleon actor, playing various roles, as a seller of jewelry, a guide to ruins sites or a vendor of other merchandise. During this peregrination Helen learns that she is not the only person who has suffered in the past. She is on this journey to forget her sorrows. Now she learns of the much greater losses and sorrows of others. Finally, by the seashore, she recognizes that her lost necklace is of no value, and is only a symbol of a past she needs to expunge.

Both actors and the musician sustain the entertaining comedy with humour and sensibility throughout. Their performance never becomes uninteresting and their changing locations and characters are always clearly defined.

David Roberts' simple set with its marble blocks, billowing curtain backdrop and sandy floor, is nowhere definable, but essentially North African. At times the light could be more glaring to produce the effect of intense heat and sunlight, and the shadowy mysterious alleys could have been darker and more menacing. Helen's dress is charming and suitable in both colouring and style -- just what one would expect her to wear. Nabil's quick changes are all-disguising and role enhancing. The work of a clever designer.

All in all this is a satisfying and enjoyable evenings entertainment. It is a pity this is such a short run.

© 2005 Jane Penistan

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