Posted: Thursday April 7, 2011
The Trespassers Finds Realism in the Absurd

In Morris Panych‘s The Trespassers, Lowell is a fifteen-year-old boy with no conventional role models. He’s caught between Cash, his born-again mother, and Hardy, his rambunctious granddad whose penchant for gambling and radical socialism has made him persona non grata in town. A mysterious murder in an abandoned peach orchard has brought Lowell to the attention of the police and now he must choose his truth. Or as Hardy has taught him, “There’s something in between lying and not lying. It’s called a story.”

As self-professed Panych fan Jo Ledingham points out in a Vancouver Courier review, the Canadian Theatre Encyclopedia nails something that is attractive in the Panych canon: “His plays are characterized by existential themes and ‘theatre of the absurd’ style and sensibility… they pose broad philosophical questions on human interaction and isolation, on the nature of good and evil, and on the relationship between fantasy and reality.”

Ledingham also credits the beautiful Jennifer Clement for portraying a refined, regal character swishing about in silk and satin, making a terrific floozy with a rat’s nest hairdo. Apparently, compassion flows off her like warm honey in her role of Hardy’s so-called paramour, Roxy, as she teaches Lowell a few things about the female anatomy but a lot more about life.

The Trespassers runs at the Vancouver Playhouse until April 16, 2011.

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