(L-R) Billy Merasty, Tom McBeath, Ben Cardinal, and Jason Burnstick. Photo by David Cooper.
Where the Blood Mixes
Part of the CrossCurrents Festival
Written by Ken Loring
Directed by Glynis Leyshon
Featuring Ben Cardinal, Kim Harvey, Margo Kane, Billy Merasty, Tom McBeath and Jason Burnstick
Runs until April 18 @ Factory Theatre
By Kerry Freek
It’s tough to be critical of a play that’s part of a healing process.
Where the Blood Mixes, a touring show that’s currently playing at Factory, is centred on the social aftershocks in a First Nations community caused by a residential school. It’s a difficult topic — even after Harper’s official apology back in 2008, there is still much work to be done to right the wrongs that have affected many generations of an entire people.
But healing can start with expression, and Kevin Loring’s 50-minute piece is a step in the right direction. Floyd (Billy Merasty) is a man with many regrets. His daughter, Christine (Kim Harvey), put up for adoption as a child, is now looking for him — she’s the catalyst that brings forth what has lain just below the surface for many years. Floyd, his friend Mooch (Ben Cardinal) and Mooch’s girlfriend (June) are plagued by the common feeling that something is very wrong within their community, and with this news, years of symptoms begin to come to a head.
As he prepares for Christine’s impending visit, Floyd is plagued with guilt, suffering nightmares and growing irritable. Mooch is forced to confront his childhood demons; June confronts Mooch with her own issues as he unravels. The plays follows these three friends as they recall the genesis of this “sickness” — the residential schools.
While he’s got some serious subject matter on his hands, Loring’s dialogue is infused with humour, giving his story and audience a lifeline to stay above water. Yet too often, despite the talent pool, his characters are flailing. Most disappointing was Christine. Having grown up outside of the community, this “city girl” has the potential to be one of the most interesting characters, but her persona is two-dimensional. The remaining actors suffer with writing that is melodramatic and overwrought. Loring’s best character is Mooch, who stands out in the role of the village idiot. He’s at once funny and provoking, and, insofar as melodrama is concerned, the least whiny of the bunch.
Additional problems included cheesy lighting choices (awkward “thoughtful” spotlights on each character as they begin healing) and a useful but unattractive set. In the top-right corner, Jason Burnstick sits comfortably accompanying the action with live music. His compositions are effective choices, but sometimes more interesting to watch than the story unfolding front and centre.
Despite the play’s missteps, it gets the message across. The Canadian government can apologize and offer settlements as much as it wants, but the real healing doesn’t start until people begin to talk about what decades of pain has done to themselves and their communities. Where the Blood Mixes is worth seeing because it begins the conversation.
