Waiting for the TTC, particularly in the middle of the night, certainly can make you feel like you’re stuck in one of Samuel Beckett’s plays. Peter N. Bailey’s Tyson’s Song takes this feeling to the next level with his thought-provoking story about two friends on the brink of a new phase of their lives. As funny as it is moving, Tyson’s Song, directed by Ash Knight, leaves a lasting impression.

Two friends, Bryan and Tyson, are waiting for the night bus. They’ve been out all night at a house party because Bryan and his family are moving to Vancouver the next day. While they wait, they recount the events of the night, their childhoods together, and much more. Their deeper conversations tackle notions of toxic masculinity, their hopes for, and fears of, the future, and some of the darker moments of their pasts. The final moments of this play are harrowing to be certain, yet the blue headlights of hope make me feel like these friends are going to be just fine going forward.

Pleiades Theatre has a mandate to produce works by first or second generation Canadians, and many elements in the writing of Tyson’s Song exemplified their vision. Both Bryan and Tyson speak Patois; there is a very fluid feel to their use of English and Patois together. Bryan also places a heavy importance on attending church, which is such a strong way to maintain a sense of community, especially when you’ve immigrated to a new place. They talk about house parties full of friends (and at times, enemies) and BBQ’s, paired with their clear connection to one another, give the audience a solid picture not only of who these men are but also how they’ve grown up and survived together.

Anahita Dehbonehie’s set design is simple yet immediately recognizable; the TTC sign looks so real I actually looked up the route mentioned after the show to see if it exists! Des’ree Gray’s costume design is spot on. I really enjoy how both men are wearing shirts which feature Toronto. It not only cements the setting, but also their pride in being Torontonians and calling this place home. The familiar feel of the design elements allow the performances and text to really shine.

Jamar Adams-Thompson and Kyle Brown bring Bryan and Tyson to life, delivering passionate and compelling performances. Their chemistry together is unmatched; you really feel like these two men had known each other for forever. Adams-Thompson is a charismatic and caring Bryan, I love how his whole demeanour changes when he’s talking to his family versus Tyson. Brown’s performance brings tears to your eyes; his speech towards the end of the play about how lost he feels really hit home with me and is expertly delivered.

I want to make a special note of the accessibility measures which Pleiades Theatre has implemented for Tyson’s Song. They’ve partnered with Panthea, the European leader of surtitling and accessibility solutions for the performing arts, to provide five pairs of Augmented Reality glasses each performance which have ASL interpretation for the play. This is a new way to allow people in the d/Deaf community to be able to enjoy a night of theatre without having to miss any of the action. This revolutionary step in technology and accessibility is one which I hope other theatre companies are making note of; this is most certainly a glimpse into the future of live performance.

Tyson’s Song is a powerful play which will leave you thinking about it long after you’ve left the theatre. Poignant topics and great performances make this a not-to-be-missed theatrical event. It runs at Factory Theatre’s Studio Theatre until May 19th. For more information and tickets, visit: https://www.pleiadestheatre.org/tyson-s-song

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Cover Photo: Jamar Adams-Thompson & Kyle Brown. Photo by Cylla von Tiedemann

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