Fantasia Fest 2013: Untying Knots (‘HISTORY OF THE DEVIL’, 2013)

On a humid Thursday evening, I had the opportunity to reflect on Fantasia`s evolution while in line for the premiere of History of the Devil, a live theatre version of Clive Barker’s stage play of the same name. What was once a one-trick pony, has turned into a real cultural blender, sucking in everything in its path and spitting out a mixed mulch of pulpy genre goodness, whether it be musical acts, live theatre, short films, art expos, parties, etc. The dark horse that could sure came a long way and if what I saw in front of me is a taste of what we should expect for the future (re: this wasn`t Fantasia’s first theatre production, but it was certainly their most accomplished), then we should all stand up and welcome a completely new and long overdue audience to the festivities: the ever finicky theatre crowd.

Cliver Barker’s History of the Devil has been adapted and interpreted on more than one occasion and a version of Title 66 Production`s “production” had recently been shown to Montreal audiences back in 2012. I haven`t had the opportunity to witness their last performance, so all I have to judge with is what I saw on Thursday, Aug 1^st 2013 at the festival premiere.

However, anyone familiar with the work knows of its reputation: a whopping 3+hour bulldozer recounting the final trial of Satan. The setup isn’t complicated: Lucifer has grown tired of being an outcast and wants to be granted access to the pearly gates. Being a courtroom drama (yes, he is tried before an ad hoc court of law, somewhere in the Africas), the story of the Devil’s exploits on earth are told through the cross examination of those slighted by him.

Anyone who has ever tried to promote theatre in the twenty first century knows what kind of financing is available to them: not…much. I`m always fascinated by the many ways in which this major shortcoming can be compensated for by great acting and a bit of creativity. The actors on hand interchanged between several roles throughout the night, with no interruption or hesitation. I realize that this was a repeat, truncated performance but we are still talking about opening night here people: no perceptible flaws other than a small issue with the dialogue volume, which I will get into below.

Stage design was minimal but effective, consisting mostly of a backdrop of ropes tied in knots (symbolism!!) and various boxes that were used as podiums, seats, etc. Anyone who has seen a play knows of the different roles an empty box can play. Despite the spacious real estate the characters had to play with on stage, the atmosphere was still heavy and brooding due in part to the effective lighting and creative sound and costume design. I always considered this piece to be on the comedic side but we were quickly brought back to the seriousness of the situation by quick changes in tone and ambient lighting much like an old time carny ride, and I mean that with all the respect it deserves.

The Devil is portrayed as a misunderstood everyday man who played an accessory part in the demise of others who may or may not have been under his influence. While it’s hard to have sympathy for the devil, it’s easy to understand his point of view: what is more harmful, actions, or ideas? As characters are interchanged to either defend or argue the case, you get a general sense of the futility that such a decision represents. Ultimately, those who know how this story ends will find it amusing how much an effect the conclusion still has on an unsuspecting audience, much like the one that shared the space with me that night. While it may have lacked a bit of steam towards the end, the implications of the final scene still resonate.

Going in, I was concerned that the 2 hour and a half runtime was going to bog down my interest and I did noticed a few empty seats after the show resumed, post-intermission. However, I’d like to think that the people who left did so for more personal reasons, like, for example, making another Fantasia screening that was scheduled at a competing time. I say this because for me, the run time went by like a flash in the pan. I was engrossed. Which, I would imagine, is the highest form of flattery you can give. Recognition must also be given to these guys for having the guts to put on such an undertaking and other local troupes should definitely take note: the bar has been raised.

The only perceptible flaw I think is work mentioning is with respect to the acoustics of the room. Stage performers should always have an idea as to how sound carries in a venue so as to adjust their speaking styles. A lot of dialogue was muffled, or even lost to the auditorium. Some characters resorted to screaming certain lines in an effort to convey emotion and I wonder if that was intentional from a flow perspective or if they simply were trying to adjust for volume live.

I don’t know if these guys will be taking their show on the road or not. If so, please do yourself a favor and check them out. Clive Barker may not be normally associated with the stage in the minds of horror hounds, but History of the Devil, as well as the many ways it can be adapted, is a perfect example of how versatile this artist really is. Director Jeremy Michael Segal understood this and paid the necessary respects.

So once again, that’s it for now! Keep your eyes peeled for further updates, my furry fornicators. Fantasia fest is wrapping up after another successful year, but that does not mean that I`m done with you guys. Far from it actually.

So long sunshine,

I’m out!

Jo Satana Shabadoo