Review: Tom Stoppard's ROUGH CROSSING at Kanata Theatre

Kanata Theatre's presentation of Tom Stoppard's Rough Crossing has pulled into harbour at the Ron Maslin Playhouse until September 19th. Rough Crossing is a lighthearted, farcical comedy set aboard the SS Italian Castle, a transatlantic cruise ship headed to New York, though the play relies a bit too strongly on slapstick for its laughs. On board, playwrights Sandor Turai (Dave McIntyre) and Alex Gal (Favour Shittu) are trying to finish their new musical, The Cruise of the Dodos, before its scheduled opening night. Their composer, Adam Adam (Kane O’Donnell) overhears a fragment of conversation and becomes convinced that his fiancée, Natasha Navratilova (Sarah Hegger) has been unfaithful to him with her co-star, Ivor Fish (Chisholm Pothier). Adam falls apart and the rehearsals derail as the writers and crewman, Dvornichek (Shawn Anctil) scramble to repair the damage, steady the production, and keep the show from sinking before they reach port.

The double-sided set, designed by Dean Flockton, is impressive. It boasts an elegant staircase and doors that open into the suggestion of cabins that successfully extend the stage’s visual space. There are many small details that add to the authenticity of the scene, particularly an abundance of food-related props, as Gal seems to have little purpose in life beyond eating. A piano, a large canvas painting, and a chandelier (props designed by Miranda Shelly) further enrich the space. Scene transitions are something that Kanata Theatre often struggles with, but they are efficiently done here. I also appreciated that there are no projection screens, which helps firmly establish a nostalgic 1930s vibe, reminiscent of Anything Goes.

Cast performances are uneven in this production. The standout performance of the show is given by McIntyre, who projects clearly and appears to be the most at ease on stage. Anctil also gives a committed performance as the cabin steward, though the role’s reliance on repetitive slapstick quickly wears thin.

Since the show that the characters are writing is a musical, there are some short musical numbers scattered into the play. The cast did not seem comfortable performing the songs, evidenced by diminished projection, blurred articulation, and the absence of choreography. t one point, the characters quip that they needed more rehearsal time, and art perhaps mirrors life somewhat in this regard. Beyond performance challenges, the script itself presents structural hurdles. With its repetitive structure and minimal character development, the second act loses momentum and starts to drag.

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