Centaur's 'Death' dark but hopeful
Toolbox
By Jim Lowe Staff Writer - Published: November 9, 2009
MONTREAL – The polish of Centaur Theatre's production of "Death and the Maiden" belies its raw power.
Montreal's major English-language theater opened a truly satisfying production of Ariel Dorfman's 1991 thriller set in Chile right after the demise of the murderous Pinochet regime. Well-cast and riveting, Friday's performance delivered the tension, fear and finally the relief that the victims of that time must have felt.
After 15 years, Paulina Escobar has not recovered from the brutal treatment – emotional, physical and sexual – that she received as a political prisoner. She is married to Gerardo, an up-and-coming politician about to become a member of the newly formed Truth and Justice Commission.
Paulina and Gerardo seem to be dealing well with the past, but that all changes when the good Samaritan who helped Gerardo with a flat tire drops in unexpectedly. That moment begins a battle of the wills and an unraveling of a mystery, that is to change the couple's life forever.
Centaur's taut production was directed by Gordon McCall, the company's artistic director for more than a decade until he left three years ago to teach at Perdue. (Earlier this year, McCall directed a delightful professional production of "Strawberries in January," by Michel Tremblay, at Burlington's Champlain College.)
Tanya Kontoyanni delivered a powerful and nuanced performance as Paulina, taking the audience through the kaleidoscope of emotions that the woman must have felt reliving her past. Save for a bit of superciliousness at the very end, Neil Napier convincingly delivered the doubt and passion of torn emotions as he sorts out his faith in his wife and his political ambition.
Although Wayne Burnett's portrayal of Dr. Miranda would have had more power if he had been a little less annoying in the beginning, he was convincing throughout. The result was that the audience was never sure until the end.
The physical production was attractive and neutral, allowing the insidiousness of the story emerge than making it obvious. Russell Jones' set was both beautiful and utilitarian, as were costumes by Susana Vera. Spike Lyne's lighting was particularly effective — dramatic and unexpected.
The Centaur's "Death and the Maiden" was dark and powerful, but what made it rewarding was its depth of characters and sense of hope.