REVIEW: The Drowning Girls at Guild Festival Theatre
iPhoto caption: Photo by Raph Nogal.
One drowning’s a tragedy. Two’s an interesting coincidence. But three? Three’s a pattern.
That’s what three seemingly unrelated women come to realize after their untimely deaths at the hands of the same man in The Drowning Girls by Beth Graham, Charlie Tomlinson, and Daniela Vlaskalic. Directed by Helen Juvonen for Guild Festival Theatre, this hauntingly beautiful story of the lives and loves of these three women leaves a lasting impression.
The Drowning Girls details the stories of Bessie, Alice, and Margaret, who all meet the same fate of drowning in the bath not long after getting married. All three encounter a mysterious and wonderful man while on holiday; swept off their feet, they agree to marry him rather quickly. Suspiciously, all three get life insurance policies at the behest of their husband, make wills totally in his favour upon their death, and take out their entire life savings, only to be found by their husband in the tub days later. With intricate details told beautifully by the spirits of the brides, The Drowning Girls is captivating from start to finish.
The Greek Theatre in Guild Park makes for a striking, eerie backdrop for The Drowning Girls. As the sun sets, and the play approaches its dark conclusion, Adam Walters’ lighting design gives the towering pillars, as well as the three bathtubs on stage, a supernatural glow. Practical and entertaining, Kalina Popova’s design is brilliant; these elements work in tandem to remind the audience that this is a ghost story, and how perfect it is that we’re gathered outside to hear such a spooky tale. Amongst the swaying trees and garden of ruins, The Greek Theatre in Guild Park has the perfect ambiance for such a tale; you feel as if you’re gathered around the campfire while you’re being regaled with stories from the underworld.
The bathtubs themselves are functional, with shower heads above to douse the actors in water at pivotal moments in the plot. The period-style costuming not only cements the time-frame in which the play takes place, but also highlights how drenched the girls become with each return to their tub. The tubs serve their purpose as the place of death for each bride, but also store the props for the women to tell their stories. It’s almost comical how many items materialize from inside the tubs, all waterproof and dripping, just like the actors themselves.
The text itself is poetic and engaging, handled masterfully by its actors. An intriguing element of the text is how the stories of the women are so tragic, but that tragedy is then juxtaposed against hilarious side characters. The bankers, cleaning women, and even the man who swindles these ladies elicited plenty of laughter from the audience on opening night, allowing for moments of release and relief amidst the building tension of each bride’s story.
Alicia Barban, Georgia Findlay, and Blythe Haynes star in The Drowning Girls; their emotional and compelling performances entrancing the audience. Barban’s Bessie is the first victim, and Barban gives her such a sweet and vulnerable disposition. Her banker character, too, will have you in stitches, while Bessie absolutely broke my heart. Findlay plays the sassy, feisty Alice, the next drowned bride — her vivacity and light make Alice so endearing, and her comedic timing is fabulous. Haynes’ Margaret is the third and final bride, her composed and proper nature a good contrast against the other two characters. Her performance is chilling, and her passion comes through in every word. The three women work harmoniously to tell the haunting stories of their characters and the whirlwind romances that led them to their demise. In these moments their synchronicity is eerie, reinforcing the otherworldly nature of the tale they’re telling.
I must commend these three actors on not only delivering excellent performances, but doing so sopping wet and on a rather chilly evening. Opening night was only around 17 degrees, and the wind was up; we were all bundled up out in the audience, but the actors did the show in full without a pause despite being wet throughout. Stage management ensured that hot water was loaded into their tubs, and they persevered through the performance to great applause and appreciation.
Whether it’s your first time at Guild Park or you’re a season regular, you won’t want to miss this production of The Drowning Girls. A perfect start to #spookyszn, this incredible story will send shivers down your spine.
The Drowning Girls runs at Guild Festival Theatre through August 27. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Janine Marley
Janine Marley is an independent theatre reviewer born in Kingsville, Ontario and has been a Torontonian since November 2020. She holds Honours BA and MA Degrees from the University of Windsor in English Language and Literature with her studies primarily focused on theatre. She began acting at a young age and continued acting in productions until 2018. She started her blog, A View from the Box, as a personal project to share her passion for theatre.
LEARN MORE
iPhoto caption: Photo by Dahlia Katz.
The Dora Award-winning, family-friendly opera has returned to mark the opening of Tapestry's new venue on Yonge Street.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Pride and Prejudice gets a postmodern makeover at London’s Grand Theatre
In spite of some missed opportunities, Pride and Prejudice ends up a lighthearted recontextualization of its source material, which should appease all but the most stolid Janeites.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Takwahiminana explores what healing means when the past never quite lets go
While playwright Matthew MacKenzie’s lyrical storytelling is always a delight, there’s something astringent and detached about Takwahiminana that produces a distancing effect, preventing it from reaching the emotional highs of his other recent work.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Waitress blends retro charm with contemporary flair at Hamilton’s Theatre Aquarius
This co-production with the Grand Theatre stands up to its Broadway counterpart and makes for a truly delightful night out.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: A Strange Loop cycles between audacious spectacle and deeply personal reflection
A Strange Loop challenges the conventions of large-scale musical theatre while carving its radical place in the Broadway canon.
iPhoto caption: Photo by Marie-Andrée Lemire.
REVIEW: Cirque du Soleil’s family-friendly OVO spreads springtime glee like pollen on the breeze
OVO might not linger in the heart for long, but it’s a hell of a romp for the eyes.
iPhoto caption: Lakefront production still courtesy of Lighthouse Festival Theatre.
REVIEW: Sparks fly in Norm Foster’s uproarious Lakefront
In its world premiere at Lighthouse Festival Theatre, Lakefront is not only a love letter to Canada, but also a love letter to love.
iPhoto caption: Photo by Raph Nogal.
REVIEW: Guild Festival Theatre’s eerie Isle of Demons reverberates with hope and resilience
Isle of Demons is a superb way to spend a summer’s evening: with the stunning backdrop of Guild Park, and the breeze picking up as if on cue, it’s the ideal venue and time of year for such a tale.
iPhoto caption: Photo courtesy of Lighthouse Theatre Festival.
REVIEW: Doris and Ivy in the Home explores aging with heart and humour
Norm Foster’s Doris and Ivy in the Home, directed by Jane Spence, is an exploration of friendship, love, and intimacy amidst the inevitable process of aging.
REVIEW: The Ballad of Stompin’ Tom at Capitol Theatre Port Hope
Whether you’re a lifelong fan or new to Tom Connors’ music, you’re likely to love The Ballad of Stompin’ Tom. It’s a perfect blend of story and music that tells the tale of one of Canada’s heroes.
Comments