The Madonna Painter: quenching theatre
Combine Michel Marc Bouchard’s admirable script, UBC’s talented Bachelor of Fine Arts students, and skilful director, Craig Holzschuh, and what do you get? A stunning, professional and praiseworthy production by Theatre at UBC.
The Madonna Painter was my first experience with both Bouchard’s work and UBC Theatre and I could not have been more impressed. The visuals of the production – ranging from interesting projections and effective lighting to the period costumes and set – are highly engaging, the acting is well-executed and the direction is creative, all of which makes for a strong, polished piece of theatre that should certainly not be missed.
Set in 1918 in a small Quebec town, the plot revolves around a handsome young priest (Eric Freilich) who brings news to the villagers that soldiers returning from the war are spreading the Spanish Flu. In an effort to protect the town and prevent the epidemic, he commissions an Italian artist (Jameson Parker) to paint a fresco, in the form of a triptych, to adorn the nave of the Church. The fresco is to portray the ascension of the Virgin Mary, “whose eyes will comfort us”, and the painter insists on using a local model, which naturally leads to a competition between the village women – all of whom, ironically, are named Mary.
The story is essentially a dark one, but there are plenty of humorous moments throughout. There is the creepy village doctor (Ben Whipple) and his bizarre attraction to the young priest, who claims at their first meeting: “Someday when you’re ready, I’d like to do your autopsy”. Then there is Mary Louise (Claire Hesselgrave), a laundress who takes joy in analysing the sheets of her fellow villagers to uncover their characters: “Gingerbread! He smells of gingerbread and tobacco from the West Indies!” And, Mary Frances (Barbara Kozicki) whose tales of the naked man’s genitals in the forest are readily believed by the more innocent Mary Anne (Christine Quintana): “It’s a slimy fish with a head of a dog and legs of an ox (etc.)….!”
The most innovative part of this production however, in my opinion, was the set. A triptych fresco hung above centre stage and doubled as a projection screen – or three individual screens to be exact. In order to define location or enhance the mood or tension of particular scenes, different images – sometimes iconic - were projected onto the screens within each frame, allowing the audience to engage at both a real and symbolic level. The fact that the theatre itself had also been arranged to resemble the seating in the actual church the priest would attend for his congregations, was an impressive touch of authenticity.
The actors are incredibly talented and director Craig Holzschuh has created some beautiful moments on stage that are truly engaging. Thank you, Theatre at UBC, for a refreshing evening at the theatre. It was definitely a great feeling after the show to realise my thirst for good-quality, professional theatre had been quenched!
The Madonna Painter continues at the Chan Centre out at UBC until November 20. For more information go to this nifty website.