Fate is an intriguing topic, because the choices we make in every waking moment can impact our trajectories. TheatreGarden’s production of the one-act play Constellations by Nick Payne, offers the concept of a multiverse, where parallel existences allow us to have infinitely different lives while still being the same person. Directed by Ricardo, this intimate two-person show features fine performances by Marie Isserman and Connor Riopel, and is an interesting experience.
At the start of the play, we see Isserman and Riopel’s characters meet at a party – and then we see them meet again, and again, and again. Each time we relive the experience, the situation is a little different, even if some of the dialogue is the same. But some fundamentals always stay the same. Issermans’ character is Marianne, a cosmologist, and Riopel plays Roland, a beekeeper.
We follow the characters’ journeys as they start dating and move through their relationship. At every turn we’re offered multiple scenarios for how each situation could be played out differently and eventually we see how widely different Marianne and Roland’s lives could evolve because of the different choices they make and also the cards they are dealt in life.
Isserman and Riopel are extremely engaging and it’s a delight watching both of them. While they play the same characters for the entire show, there are multiple variations of each scene, and Isserman and Riopel are able to seamlessly switch from variation to variation in the blink of an eye.
One way they do this is by skillfully shaping their physicality and vocal delivery in each scenario. Each time a new variation begins, the actors’ movements, body carriage, and manner of speaking, gives us some context about this new scenario – it’s a richer telling than simply what’s scripted.
Isserman shows an impressive range of emotions and character development throughout the show. And Riopel has a really excellent stage presence, appearing natural and relaxed which helps make the show very watchable, given how intimate the setting is. I never got the vibe that Riopel and Isserman were “presenting” to the audience; moreover, they drew the audience into their world.
Something that I found interesting was that each time there was a switch to another variation, Isserman’s Marianne was always essentially the same type of person, but of course her reactions and choices reflected the new situation we were watching. But with Riopel, he actually has numerous versions of Roland that he keeps pulling out, and it’s very impressive. I could tell that Riopel has thought through and developed each version of Roland.
Isserman isn’t in the wrong for keeping her Marianne the same throughout the show; I’m just pointing out the different approach each actor seems to have made, and it’s interesting to watch both approaches side by side. It’s also important to point out that Issermann and Riopel are on stage for almost the entire performance, which I believe is about an hour and a half. To act for that long, and to remember each of the different variations for each scene is extremely impressive, so kudos to them.
There’s a charming ballroom dance number that closes out the show, and Issermann and Riopel’s smiles and enthusiasm are enduring. However, there’s also a contemporary dance number in the middle of the show that seemed unnecessary and out of place. While the ballroom dance number was a natural fit into the storyline, the contemporary dance was odd and distracted from the story as opposed to offering something to it.
In terms of the staging, director Ricardo has used the space well. This includes utilizing the balcony are over top of the stage, and the different entrances throughout the theatre. Cameron Fraser’s lighting and video design helps to change the mood each time we see a switch of scenarios, and I enjoyed how the video projections constantly kept us in a trippy multiverse setting. However, I feel the lighting design gave the show a bit of a cold feel, and after watching the play I feel the vibe of the show is meant to be a bit warmer and more whimsical.
The cold-feeling lighting, combined with the choice of music played before the show starts sets a different mood then what the actual mood of the play is. As mentioned, the show’s vibe is warm and whimsical, but the loud, aggressive pre-show music and cold lighting made me feel like we were in for a disturbing dystopian-type show.
Also, I’m not sure if this was just an error on the media night that I attended, but in some crowd scenes, an audio track would be played with peoples’ voices, etc. But this audio track wasn’t played in each variation of the scenes, even though each variation happened in the same setting.
Payne’s script is clever, putting the characters into interesting situations. However, I feel the play is too long. During the last quarter of the play, I was starting to lose interest in the stories. I liked how there was no intermission, because it helped keep us engaged; but the downside of that is that by the last part of the show, I was ready for the show to be over.
Overall, I enjoyed the show. I thought the concept was interesting, and Issermann and Riopel are easy to watch and deliver excellent performances. The areas where I feel the show falls a little short are in excessive length, and in missed opportunities to use the lighting and music to fit the show’s mood more. Putting on a show during these current times is a huge feat and accomplishment, so hats off to producer Kate Ely, the entire creative team, and everyone else involved with this production.
Constellations by Nick Payne, presented by TheatreGarden in association with the PHT Creative HUB, runs at the Presentation House Theatre in North Vancouver until February 20th. Visit the Presentation House Theatre’s site for ticket information.