Where: Buddies in Bad Times Theatre, 12 Alexander St.
Highlight: Catchy rhythmic sound design
Rating: NNN (out of 5)
Why you should go: A world premiere with a compelling sci-fi premise
What would you do at the end of the world?
For the characters of This Feels Like the End, it’s to try their best to go on with their lives after the sun seemingly disappears. Against scientific theory, life continues in the dark. There’s a little girl trying to make sense of the world, a reporter and her boyfriend, a therapist, and a man trying to convince others to see the light when there is none. This 85-minute world premiere unfolds like a series of vignettes, but soon, the story of each character begins to twist and interconnect in unexpected ways.
Playwright Bonnie Duff crafts a delightfully Torontonian show, filled with references to Woodbine Beach, the 401 and even the slightly off-kilter Yonge and Dundas Square. The darkness she plunges her world into is a compelling concept that is taken to unexpected places with its characters. At times, some of the characters err on the side of two-dimensional, but as it barrels towards its end, everything comes together in an enthralling conclusion.
Performances from the ensemble cast (Jasmine Case, Tara Koehler, Cameron Laurie, Landon Nesbitt and playwright Bonnie Duff) are delightful across the board and have great chemistry. Case in particular plays a quite convincing and spunky eight-year-old. This is all accompanied by the catchy rhythmic sound design and compositions by Jake Schindler, creating an inquisitive and spellbinding sonic throughline.
In a show that is meant to take place in the dark, lighting designer Mathilda Kane certainly had her work cut out for her. It’s executed through lights set up on the sides of the stage giving the impression of darkness, and by many light sources on stage, such as flashlights and lanterns. This is cool but does present its share of challenges as it results in some awkward moments where actors are only half lit.
Direction by Michelle Blight ties these weaving stories together with a playful energy, even incorporating fun shadow work. Around the middle of the show, the pacing droops a bit as the transitions between scenes sometimes feel bloated, but it is no deal breaker as the scenes themselves hold their own.
Though there are areas where the show can mature more, there’s a delightful enthusiasm radiating from this show. I wouldn’t be sorry to see it develop over time and come back to Toronto at some point.