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written and directed by Michael Kennard

Michael Kennard & Christian Laurin, Berkeley Street Theatre Downstairs, Toronto

March 11-April 9, 2005

“I want my entertainment,” squawks Queen Andmoth of the Lebarians.  So did I after the 2 1/2 hours of The Hollow: A Clown Play.  The play by Michael Kennard, better known as Mump of the clown duo Mump and Smoot, purportedly explains “the absurdity of war,”  but it can’t tell its story clearly and says nothing about war that hasn’t been better said before.

The play is set in the cave-like throne room of the Lebarians, “the Clown children of god” according to the program, who are at war with the Rabiccanno, “the Bouffon children of the devil,” some of whom they have enslaved.  Only a specialized theatre student would know that “clown” and “bouffon” are two types of physical theatre, the first exploring hierarchy and ego, the second using physicality to parody.  Having both styles on stage simultaneously is the show’s primary but rather esoteric innovation.  To the uninitiated the Lebarians are pompous people in conventional clown garb with a penchant for hitting each other with sticks, while the grubby, deformed Rabicanno sing songs and are prone to indiscriminant sex.  The pity is that Kennard gives no one anything interesting to say, and worse, since this is physical theatre, nothing interesting to do.  Fifteen minutes of The Daily Show on an off night are more insightful and funnier than anything in this entire show.  

Campbell Manning has created a wonderful fairy-tale-like set and Heather MacCrimmon has designed delightfully contrasting costumes for the two tribes.  While some of the cast are annoying, many are clearly talented.  Standouts include Natalie Breton as both Queen Andmoth and Queen Rabicanno, Erin Bouvy and Mark Andrada as Andmoth’s two servants, Christopher Sawchyn as the Lebarian general and Suzette Araujo as Ub, a Rabicanno slave.  It’s too bad the long form of the play dilutes rather than concentrates their abilities.    

©Christopher Hoile

Note: A version of this review appeared in Eye Weekly 2005-03-24.

Photo: Christian Laurin and Natalie Breton. ©Gary Mulcahey.