A ‘sumptuous’ Victorian thriller, ‘Farley Mowat’s and No Birds Sang’ take centre stage at Port Hope Capitol Theatre
- 9 hours ago
- 5 min read
By editor/reporter Sarah Hyatt
A “sumptuous” and “mysterious Victorian-brooding thriller” makes its debut at Port Hope’s historic Capitol Theatre this weekend.
Written by Johnna Wright and Patty Jamieson and directed by Marie Farsi, “Gaslight” is described as a classic thriller with even more twists in this Canadian adaptation running through to Sept. 6, the Capitol’s artistic director Reb Kempson told the Independent.
“‘Gaslight’ is an adaptation of a 1938 play by Patrick Hamilton, and it is actually the source of the term gaslighting,” explained Kempson. “This play invented that term and … I refer to it as a psychological thriller – and I’m not one for scary things at all – but there is something about this sort of mysterious, Victorian, dark, brooding kind of thriller that feels (like) the exact kind of frothy summer fun that you want, but it’s a different kind of summer fun.”
The show starts with a special pay-what-you-can preview today (Friday, Aug. 21) and opening night is tomorrow (Saturday, Aug. 22.) Several additional special events will follow from a relaxed performance on Aug. 30 to Indigenous community night on Aug. 28, and “Talkback” on Thursdays after the productions.
Port Hopers and visitors will be table to take in the show until Sept. 6.
The story focuses on Bella Manningham – she thinks she’s losing her mind. Whether she’s hearing strange sounds in the evening or when the gas lights dim for no reason – unless there’s something else at play. According to the theatre description, this is a reimagining of the classic thriller from a modern perspective.
“What I love about this play is that it takes that original story where this woman is alone in a new house in turn of the century in Victorian England and she is trying to figure out some of the strange things that are happening in the house,” said Kempson. “And in the original story, an inspector sort of comes in and tells you what happened.
“But in this story, she actually figures it out herself. And so the sort of will she or won’t she – will she figure out what’s going on? How does she figure out what’s going on? All of that stuff is really at the forefront of this play.”
Kempson recalled seeing the world-premiere of this Canadian adaptation at the Shaw Festival a couple years ago initially.
“I was so taken with how at intermission everyone sort of poured out into the lobby and couldn’t stop talking,” he said. “It really just incited conversation, and I think for a play to do that is always the most exciting thing and particularly when … the will she or won’t she (and) you don’t know what’s gonna happen and I’m not gonna spoil it for you.”
The production marks a first for this thriller-style at the Capitol.
“It’s the first time we’ve done something in a Victorian period at the Capitol, so lots of beautiful costumes and sets and we have a huge sewing team right now working on many different dresses – you know, that kind of aesthetic is not something that we often get to have at the Capitol.”
As for director Farsi, Kempson also noted audiences are in for a treat.
“She is sort of one of the brightest lights in Canadian theatre right now,” he said. “She had two shows at the National Arts Centre this season alone, which really speaks to who she is as an artist and to have her create this work for our community is just a really exciting opportunity for us to be working with the very best of the best.”
What’s more, prepare for a “beautiful, all-star Canadian cast.”
And while it’s a new style, Kempson also anticipates it’ll speak to those who do enjoy a “fun, frothy summer comedy” because this thriller has the ability to make people feel that same kind of excitement when experiencing a comedy.
At press deadline, tickets were still available in the 380-seat theatre.
“I mean the only other thing I would say about ‘Gaslight’ is that it is it’s very stylish, right. Because it’s Victorian … we’re really pushing the style of it and so I think it's going to be visually quite sumptuous.”
And this is hardly the only special happening at the theatre.
“Farley Mowat’s and No Birds Sang” made its debut last week and also runs until Sept. 6.
“It is an adaptation of Farley Mowat’s beloved war memoir, and it was developed in our 2024 creator’s unit at the Capitol where we develop new work,” shared Kempson, who is also directing this show. “And so, this is the second time we’ve premiered something from that unit.”
Kempson described it as an exciting time to be able to support writers and make sure local and regional stories are getting on stage at the Capitol.
“This is also the first time we’ve done a fully made in Port Hope production upstairs in the Sculthorpe Theatre, and we’re really, really excited. It’s in a totally new configuration for people.
“They won’t have seen it staged in this way or set up in this way.”
Kempson also noted this production has an interesting origin story.
“Dave Carly, the playwright, did this adaptation first as a 10-minute play, and it sort of came into the creator’s unit (in 2024) after that and was developed.”
At the forefront of the show is a beloved war memoir coming to life in the town where it was written and his autobiographical account of military service during the Second World War and as a member of the Hastings and Prince Edward Regiment. Its world premiere was fittingly here in Port Hope.
Mowat grew up in Belleville and lived in Port Hope for 40 years, so you get this beautiful local element to it where it’s talking about the regiment and their work in the Italian campaign, while touching on the devastating losses during the war, explained Kempson.
“And the story at the centre of it is so inherently of this place … (and) what I love about this adaptation is that it actually really focuses more on the human element. It focuses on who the people are, who are at the centre of this war story – it focuses on their emotional reality.
“It focuses on they’re coming of age and Dave has managed to take Farley Mowat’s beautiful poetic writing and bring the best parts of that on to the stage in a way that really connects you with the characters.”
Kempson noted that’s what also compelled him to this script. Then, they made it more interesting with the decision to create all sounds live on stage – so all the sound effects are being done in front of the audience by the actors playing all the roles, he said.
He called the actors’ performance a real “tour de force.”
“The performances are astounding and the way that the story is told is unique and creative and I think will really take people by surprise.”
But to no one’s surprise, tickets have selling fast for this production. Kempson encourages folks to call the box office to be added to the wait-list if they do see a sold-out online notice as many times, the team can still get people in to see the show last-minute.
“I think both really reflect who we are organizationally,” said Kempson, reflecting on the Capitol’s latest productions.
Interested attendees can learn more at capitoltheatre.com.
It's fascinating how the Capitol Theatre is balancing two such distinct productions! The detail about all sound effects for "Farley Mowat’s and No Birds Sang" being done live on stage by the actors sounds incredibly immersive and unique. That level of theatrical commitment makes me wonder how the cast members are able to keep all the sound cues and their own acting seamlessly chained together without missing a beat.