By Julia Gerke The Suburban
Tryst
is about an unfortunate meeting between two unfortunate people. The period drama written by Karoline Leach and directed by Diana Leblanc is set in 1910 and revolves around the fateful tryst between an aging cad and a lonely spinster. C. David Johnston, of Street Legal fame, plays a charming conman operating under the name George Love, who pays for his extravagant lifestyle with money stolen from love-starved women. When he spots the plainlooking milliner Adelaide Pinchin (Michelle Giroux) in the window of a hat store, he?s quick to notice the expensive brooch on her neck, a sure sign of deeper pockets and a seemingly perfect future victim. In the ensuing hour, or two short days in the play, Love unleashes the full force of his charm and wit on Adelaide ? and at first, she falls for him like the others. But before George can steal away with his new bride?s money, his well thought-out plan is thrown for a loop by Adelaide, who shuns his sexual advances in favour of a cup of hot tea and a game of cards. As dark comedy quickly turns into psychological thriller, the author tries to throw off the audience with a number of small twists. The unexpected developments do not turn this play into an extraordinary tale, but they help pass the two hours quickly. The two seasoned actors Johnston and Giroux show off their skills in the alternating monologues. Giroux especially stays true to her character throughout, with her wide-eyed innocence, bad posture and insecure mannerisms. Unfortunately, as a pair, the n
ARTS ... ETCETERA
n
Tryst
and turns
Michelle Giroux and C. David Johnston in
Tryst
. actors lack the right chemistry to make their rushed romance ring true. Yes, Adelaide is desperate to escape her sad existence, but shouldn?t the obvious lying and interest in her bank book be enough to raise her suspicions sooner? Another puzzling decision concerns the set design by Astrid Janson and Sherri Cat. The Segal Centre, known as it is for its lavish sets, could have easily brought the period to life. Instead, only the old-fashioned costumes and selected props conjure up images of Edwardian England. They are oddly juxtaposed by a modern and spare set, curtains made of large fringes and see-through plastic chairs. The fringe curtain also serves as a background for superfluous digital projections. Despite the drawbacks, various good lines and acting sequences still make this play worthwhile. Whenever Tryst isn?t trying too hard it?s actually very enjoyable.
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