Small community theatre group solidifies their place in Guelph theatre scene with second production
Just in time for Halloween, The Downtown Theatre Project (DTP) presented Bug by Tracy Letts from Oct. 31 to Nov. 4. The small crew of nine and cast of five proved their potent capability by putting together an unnerving show that left audience members itching in their seats.
The horror-drama revolves around Agnes (Jen Barson) and Peter Evans (Bryndyn Boonstra) and their mad love story as they descend into fear and paranoia of their motel room being infested with bugs.
“There was a fruit fly or something that was drawn to the light during one of the shows, and it was funny because I heard during the intermission, an audience member saying ‘I thought I was going crazy and actually seeing bugs!’” director and co-producer Tim Clarke told The Ontarion in an interview before Saturday night’s show. “But there are no — or at least there shouldn’t be — live bugs in the show. It’s up to the audience to decide whether the bugs are real or not.”
From the colour palette of the dingy motel room set to the ’90s costumes and the characters’ Oklahoma accents, it’s clear that DTP have put a lot of research and effort into making the play as authentic as possible. The shallow stage and one entrance and exit meant the challenge of designing the show was to maximize use of the available stage space.
“If you’re sitting in the front row to watch the show, your neck might get a little sore because you’re constantly having to refocus your attention on characters on the opposite side of the stage,” said Clarke. “I kind of like that, because it makes you feel like you’re in the room, just watching someone’s conversation.”
No stranger to horror, having played the titular role in Curtain Call Productions’ Sweeney Todd: The Demon Barber of Fleet Street earlier this year, Boonstra took on his first non-musical role starring as Peter Evans in Bug.
“Being on a small stage, everything needs to look as real as possible,” said Boonstra. “Whereas with a big theatre, you can get away with a little bit more fiction because the audience is so far away that they can’t tell that the props are fake.”
Audible gasps were heard from the audience during some of the gorier moments of the play. Where other production companies would probably have chosen to forego the excessive use of fake blood to preserve the look of their costumes and props for the next showing, DTP pulled no punches when it came to their dedication to drama. The effect is shocking and truly horrific, ensuring audience members stay tethered to the play’s intensity.
Though DTP only launched in March of this year, their third production is already well underway with a one-act comedy called God of Carnage, planned for December. So far, DTP has made a home at The Making-Box, where the company aims to produce four small shows per year.
Story by Karen K. Tran
Photos by Tim Clarke