Written by Michael Spence. Directed by Jacquie P. A. Thomas. Featuring Joel Benson, Madeline Donohue, Bethany Jillard, Kat Sandler and Michael Spence. Presented by Theatre Gargantua. To Oct 18. Tue-Sat 8pm. Tue & Thu $18-$20; Fri & Sat $22-$25. The Theatre Centre, 1087 Queen W. 416-260-4660.
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Doing yoga half-way up one of the two large, floor-to-ceiling cargo nets which comprise the set of Fibber, one actress asks another if she’s even listening to what she’s saying. Here, in this moment, is what works and what doesn’t in Fibber, the product of Theatre Gargantua’s latest development cycle.
Theatrically, Fibber has got lots to offer: there is the physical storytelling we expect from Gargantua, complete with rolls, lifts and impressionistic gestures; Chemical Brothers-esque music alongside live chanting; animations of small doors opening and closing, projected atop muscular midriffs; brisk, broken dialogue beside long, longing monologues; and the nets, of course, which change position almost as much as the actors do. There is never a dull moment watching and waiting for what will take shape next.
Thematically, however, Fibber is a bit cluttered. Full of one-off scenes which explore, generally, the miscommunication in modern Western life and, specifically, concepts of truth, belief and desire, the piece never comes together to make anything clear or solid. This may be the point, however: the ensemble constantly refers to themselves as players and openly discusses the play in which they are performing. It seems they want to foster confusion, exposing the lack of communication present within the realm of theatre.
Fibber is too disconnected in the end, with its ever-busy physically and audio-visual elements, as well as its intentional and unintentional mixed messages, This is one you have to see, and attempt to figure out, for yourself.