I am happy to be proven wrong when it comes to theatre. It is always a pleasant surprise when I have expectations, and they manage to be subverted or, in some instances, proven totally wrong.
Such was the case when I was viewing Improbable Fiction at the Pavilion Theatre.
Sitting in the theatre, I must admit that I made an assumption about the show based on the first few minutes of the first act. I assumed that this would be a character comedy that, because of time or context, I would not fully vibe with. I thought I would enjoy the craft of the show more than the show itself. I had assumed that I knew what I was watching. I am so glad to have been proven wrong. Improbable Fiction is a delight, and while I am impressed with the craft of the show, which is in keeping with the high standard set by the Castle Hill Players, I walked out really pleased—and just the right amount of bewildered.
As mentioned before, you must always expect a production at the Pavilion Theatre to look impeccable. The stage, designed by Abby Bishop, is wonderful and makes excellent use of space and dimension. The costumes by Leone Sharp have so much character and attention to detail, and the lighting and sound, designed by Mark Dawson and George Cartledge, frame the show perfectly. With this talented team and the outstanding ensemble, it is no wonder that Dave Went was set up for success in directing this show. The direction was crystal clear, as Went was able to pull off a production made up of two very different acts and have both feel distinct and well-developed.
The show's strength comes from the dynamic performances of the impressive ensemble cast. Jem Rowe, as instruction manual writer Arnold, grounds the show perfectly. His exasperation, followed by his earnest enjoyment of the absurd happenings of the second act, helps us navigate the shifting scenes and plotlines. The rest of the cast get to have what I can only assume is the most fun ever, as they first bring to life wonderful caricatures of the different writers before taking the stage in various elaborate stories, playing vastly different roles. Lauren Asten-Smith, Anthea Brown, Vanessa Henderson, Will Sharp, Willis Burke, and Brendan Iddles all commit so fully to the chaos of the second act that they are utterly delightful. Be it the quick costume changes, hiding in plain sight, or spewing malapropisms under the guise of technobabble, this ensemble is tight and plays off each other so well. They work together so seamlessly that I honestly cannot decide on a highlight, as each performer gets to do so much on stage and is so consistently funny.
This production is everything you can expect from a Castle Hill Players show—except for a script that is totally unexpected. Every person involved in this should be so proud of what they have produced.
Photos provided by Chris Lundie
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