I was too young to take in the first incarnation of Milton Acorn and Cedric Smith's Road to Charlottetown in the late seventies. But from what I know of its legend, this season's reanimation of the play at the Victoria Playhouse, directed by Cedric Smith, captures the spirit of those times and conjures the lyrical and ornery spirit of Milton Acorn.
The road to Charlottetown, the play tells us, is "twisty" and "designed for an ambush," and so is the play itself. A musical/historical/poetical fantasy on Prince Edward Island's long (and ongoing) struggle for local control of the land, the play is as winding and as populated with characters as any Island road—and is as chaotic a ride. Full of bluster, exaggeration, confabulation, blasphemy, intelligence, humour, and anarchy, this play is the chaos of living history—not some artifact crafted for easy consumption. This is the Island in all its orneriness, and by God if there isn't beauty in it, too—poetry, even. And song.
The first few minutes of the play are worrisome—the song a bit tuneless, the words hard to decipher, the interpretive driftwood dance just, well, unaccountable—but by the time the cast merges to sing "We Came from the Sea" and then John Acorn (Erskine Smith) emerges from hell where he's been "standing in for the devil on his day off," we know where we are on the road.
The set, by W. Scott MacConnell, deserves special mention. Made up of twisting ramps, stairs, garbage cans, fences, fishing nets, driftwood, and musical instruments under an angular geometric sky, it creates a spaces for everything from the pit of hell to the pulpit -- and both land and sea in between.
All the performers are strong in a play that makes them sing, dance, recite poetry, play instruments, and act multiple characters. Erskine Smith leads in roles as agitator, satirist, raconteur, trickster, and fool. Josh Weale shows natural physical humour (as in a drunken dance with a perfect list to starboard) and his speech is uncannily enchanting. Patrick Roach's singing is subtle, and his recitations of Acorn's arresting poetry are memorable. Roy Johnstone fiddles as impressively as you'd expect, but shows a whole new dimension as an actor—and preacher. Most impressive of all is singer Christina Forgeron, in her first formal acting role. Her powerful, musical voice drives the singing, and her lithe and expressive frame brings life to female characters, young boys, and monarchs.
The cast and crew are obviously excited and proud to be remounting this play, and they should be. It would be wise before seeing it to review your Island history and prime yourself with Acorn's poetry, the better to appreciate the value of this Road to Charlottetown being walked again. May Acorn and Smith's words and music prod us to remain ornery about what matters most.
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