Funeral Al Fresco, presented on December 13 at Trinity St. Paul’s church in downtown Toronto, is a spirited exploration of memory, grief, attachment, and the dynamics of sisterhood – wrapped in a delightful blend of physical comedy and sharp dialogue.
Written and produced by multidisciplinary artists Mackenzie Hay and Skylar Blythe, the play is an honest examination of female relationships which unearths playfully, even buoyantly their complexities. The narrative focuses on sisters Kitty, Chimp and Fawn as they revisit their childhood, navigate their youth, confront their future, and explore themes of nostalgia, grief, and love. Directed by Kyra Keith, the production displays a fine balance of humour and poignancy, steering clear of overt banality.
By relying on ambient lighting, minimal props and a sparse set centered around a childhood bed, the show places the focus on the sisters, their memories and their relationship. Emilia Michalowska’s classical training shines through her nuanced portrayal of eldest sister Kitty. A magnetic Mackenzie Hay channels the ebullient and indomitable Chimp, the trio’s imaginative ringleader. And Skylar Blythe as youngest sister Fawn oscillates compellingly between childhood fear and immaturity and adult resentments. Together, the group’s synchronized comedic timing and lively energy are testaments to a cohesive collaboration.
Under Keith’s confident direction, the trio leans into conjuring and realizing through physical comedy the magic power of unadulterated childhood imagination. As a result, the show teeters at several moments on the knife-edge of over-indulgent silliness . . . but, amazingly, never quite tips over. A core purity of redemptive imagination and honest expression powers Funeral Al Fresco – and the fearlessness of the three performers and their commitment to the premise carry the day. We’re mainlining something real and gratifyingly vital here (think the mind-expanding imaginative energy of Bad Hats Theatre, but within a serious, even sobering adult frame) – and the cast deserve kudos for drawing sustained moments of laughter without undermining the play’s emotional depth or lapsing into maudlin sentimentality.
Emilia Michalowska in Funeral Al Fresco
My one reservation about the show was the cavernous venue’s challenging acoustics. These made dialogue difficult to catch at times – especially when actors moved around or faced away from the audience. The metronomic clanging of a radiator also provided unintentional percussion, challenging the show’s immersive intentions. These issues, while distracting, do not overshadow the overall quality of the production. Rather, should there be future “funerals”, they highlight the benefits of staging the show in smaller, more acoustically-friendly spaces.
This charming debut deftly navigates the interplay of humour and heart to explore familial bonds and prompt smiles, pangs of recognition, and wistful nostalgia. But for now, it seems, Funeral Al Fresco was limited to this single performance – though its energy and universal themes make it an ideal candidate for a broader audience. Funeral Al Fresco could thrive at Fringe festivals, where its intimate style, engrossing character explorations and winning performances would resonate deeply. In the right venue, this play has all the ingredients for a healthy and rewarding future life.
© Arpita Ghosal, Sesaya Arts Magazine, 2024
