TRUNK: experiencing what’s within
Hidden away on Franklin, a desolate street north of Hastings, is a small gallery space which has been turned into a theatre space for Craning Neck Theatre’s premiere of TRUNK written and directed by Jeremy Waller.
The guests stand in a small make shift lobby of the Box Studios, adjacent to the performance space. As the twenty of us huddle in the lobby, waiting for one wheelchair guest to be placed comfortably, we hear knocking about, a hammer and lots of shuffling around. We look at each other unsure. It then that I understand why I so enjoy site specific theatre. Everything is an experience. The unknown is the experience. Even for the performers, pulling together this no-budget art piece, they are dealing with the unknown – will people come, will everything run smoothly, will the space hold together? It’s all part of the experience.
The experience continues as we make our way into the narrow corridor, and into the small high ceiling space. Random chairs and benches are set up for seating the twenty-odd capacity. Props are strewn around the stage: a rocking chair, a trunk, a wheel rim, and a large 20 foot high scaffolding piece on wheels, draped in white gauze which divides the room.
The lights lower and I feel as if the mood has already been created. Floating through their past, present and futures, TRUNK takes us into the deep recesses of one’s mind and heart. Waller presents a hauntingly non-linear-ride through the memories of a young man, Horlick (Simon Driver), who searches for love in his unhappy, troubled father. His father, actor Jordan Bodiguel, a war veteran who carries anger and resentment upon returning to his home, uses his son as the brunt of all his unhappiness. His wife Clara (Kathleen Pollard), is seemingly oblivious and accepting of everything, following faithfully. At the same time she is haunted by her son who returns from the future, to be with her, scold her and try to understand her.
Everything is symbolic and at first it is confusing, but I realize that analyzing anything at this point will only bring frustration; one has to be patient and allow the story to unfold. The interpretive nature of the scenes and the unveiling of the characters and story strips away layer by layer, going deeper and deeper into the trunk. It is haunting and disturbing as we watch these characters, tormented by anger and guilt at their very core, reveal their truths.
The talent in this ensemble of actors is prominent. Placing oneself in uncomfortable territory of emotionally disturbing scenarios requires some deep digging. These actors pull you right in.
Besides a small technical glitch in the beginning that was rectified immediately (which could have also seemed like part of the show), the piece went very smoothly, considering the work placed on the characters to move and utilize the props. Along with the story, the eerie and well placed music enhanced the mood of the scenes. The music composer, David Mesiha, shows great understanding of the story and the kind of sound needed to evoke what the characters feeling.
The story acutely reminded me of an acquaintance whose father came from a similar past and experienced a similar childhood. Like Horlick, he carries anger and resentment along with a strong desire to know why it all happened. The resolution is unclear for Horlick, as it still is for my friend. They want so badly to be loved at the same time carrying the emotions of anger, resentment and revenge. Waller asks the following in his notes “…is there such thing as third generation war trauma?” I can see from in this play and in the experience of my friend, there are lingering effects. The further question is then “when does it end?”
Waller has fully opened this family’s TRUNK of secrets, giving us the intensity that hinges between sanity and insanity. It’s not a comedy or even a drama, it’s an experience.
Trunk continues at the Box Studios until April 17th. For more information go here.