; Fun! Fun! Vancouver!: Innocence Lost

Thursday, 27 March 2014

Innocence Lost


Studio 58 at Langara is currently tackling the infamous story of Steven Truscott, one of Canada's biggest injustices in courtroom history. If you're not familiar, Truscott was only 14 years old when he was wrongly convicted of the murder of fellow classmate Lynn Harper, back in 1959. It wasn't until 2007 that Truscott finally was acquitted.


Innocence Lost, written by Beverly Cooper, aims to show all sides of the event and how it affected the community as a whole, as well as the individuals that were involved. Much like The Laramie Project, the play is told in monologue format, with a dizzying number of characters pontificating on the case and what their thoughts and feelings were. However, unlike The Laramie Project, these monologues are not based on actual interviews, and they come across as a barrage of facts that the audience has to try and keep up with.

The "sceneography" by David Roberts is effectively done, ushering the characters off and on the stage in almost a trance-like dance formation. I wasn't quite sure what to make of the set, though, with its pastel colours which reminded me of a 60s variety show. With a story this bleak, I thought that the set would reflect more of that, but it did have a utilitarian aesthetic to it, being able to transform quickly from a classroom setting to a search party in the woods.

The actual story itself is more interesting than the play, but if you're not familiar with this dark spot of Canadian history, then this is a perfect introduction for you to be educated in an artistic and entertaining fashion.
(photos by Emily Cooper)

Innocence Lost is on now at Studio 58 at Langara College until April 6. 

1 comment:

  1. Scenography:
    (a) To establish and populate a designated space for the deployment of a performance:
    (b) That performance implies a dramatic narrative requiring interpretation and enhancement by cohesively extending its values in a tangible manner.
    (c) All is lost if the scenographer cannot think choreographically, because the responsibility is to design a course for every anticipated movement within the designated space (Payne, 1981; Kaelin and Homayouni, 2012).
    (d) The working process is highly collective, with a tradition of presentation and communication skills that assure the smooth operation of its interdisciplinary projects.
    Valérie C. Kaelin - info@valeriekaelin.net | www.valeriekaelin.net - © 2013

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