Review: (Victoria) Proud

Rick Roberts (photo by David Cooper)

Introduction to Government 101
In Which the Writer Receives Her First Political Education

by Morgan McPherson

My name is Morgan, and I am a political neophyte. I’m rather sorry to admit that I’m one of those youths (although rapidly not becoming a youth anymore) that has only voted once, and seems to know very little about the candidates. Once I even got suckered into the “your vote doesn’t matter in this riding which is 95% X Party anyway” stream of thinking. For shame, right?  I’ll tell you a secret about why I’m uninterested in politics:  POLITICS ARE BORING.

Review: (Toronto) Proud

Maev Beatty and Michael Healey (photo credit: Sean Howard)

Genius-Proud
by Gregory W. Bunker

What happened at the Berkeley Street Theatre last night was genius. Proud is an important contribution to the discussion of identity and democracy in this country, accomplished by examining the not-so-evident agenda of the current government. It just so happens that this examination can be, conveniently, narrowed down to the vision of a single person. Michael Healey cleverly creates a well-researched piece of historical fiction to convey his analysis, and he mashes it up with some sexy to keep it funny and awkwardly human.

The 90-minute play begins by assuming that the Conservatives—instead of the NDP—sweep Quebec in the 2011 federal election. The new majority government has a clear mandate for change (through discipline!) reiterated in a comically sober opening monologue by the new, unnamed, Prime Minister, brilliantly played by Healey. The audience is then briefly introduced to the clinical and somewhat psychotic sidekick Chief of Staff (Tom Barnett). Although the opening scene portrays the Prime Minister in his familiar public persona, the fantastic script does not allow him to be so easily demonized—what would be new or insightful about that? The real novelty of the play is what follows.

The Sunday Read: Miles Potter on Proud by Michael Healey

Michael Healey

The Play (not the controversy) Is The Thing
Michael's Shavian examination of right wing Canadian politics could be a delightful surprise.
by Miles Potter

Last year I was listening to my radio one morning in my kitchen when I heard Michael Healey's name mentioned. Now this was CBC, and while it's not totally unusual for artists to show up on the CBC, it's not usually on the national news. I tried to pay closer attention while cooking or cleaning or whatever I was doing in the kitchen; I live in the country when not away working, and I don't get newspapers so I'm often woefully out of the loop when it comes to the theatre news. But hearing Michael's name on the news made me think I'd better listen up; the report was almost over, so I only got a partial version of the story. 

So I went and booted up my steam driven (it seems) dial-up internet to see if I could find out what Michael was up to. I got an article from somewhere laying out the bones of the story; I gleaned the facts that he had written an apparently controversial play and his “home” theatre, the Tarragon, didn't want to do it. And so he had quit. Interesting. I was actually in a kind of conversation with another theatre at the time, and I suggested that this would be a great time for some theatre to step in and grab it, which was probably foolhardy as I knew virtually nothing about the play, but in any case that particular conversation went nowhere anyway.