Ding dong! An unexpected visitor is at the door! But is he a man, or is he an idea that’s come to disrupt this middle-class family? And what’s most important, can they recognize his influence before it’s too late? Director Alan Dilworth takes on Roland Schimmelpfennig’s iconic play Winter Solstice, translated by David Tushingham. Featuring an all star cast, Winter Solstice is certainly a show which will leave you with plenty to mull over.

It’s Christmas Eve, and Bettina (Kira Guloien) is bracing herself for the arrival of her mother. Her husband Albert (Cyrus Lane) is likewise anxious about her impending arrival. However, it isn’t until there’s a second, unexpected ring at the doorbell that their evening truly takes a strange turn. A gentleman, named Rudolph (Diego Matamoros), has arrived at their home at the behest of Corinna (Nancy Palk), Bettina’s mother. Rudolph’s charm, musical talent, and passionate speeches initially intimidate Albert and Bettina, but eventually the stranger manages to win over the majority of the family. Albert, a historian, can’t help but feel that Rudolph is bad news, but due to a medicinal mix-up it becomes unclear if what he’s thinking is fact or hallucination.

It’s easy to see how someone growing up in post-war Germany would have lived their daily lives with such anxiety; it’s the charm and wit which won over the country and lead to rise of fascism. And Matamoros certainly endows Rudolph with every bit of charisma he has: he’s an engaging character and says just the right things to get everyone on his side. Konrad (Frank Cox-O’Connel), a friend of the family and an artist, seems to be the first on board after Corinna, an interesting choice considering it’s generally artists who resist right-wing concepts the hardest – it’s a testament to the power Rudolph has. Yet the text ends with no resolution whatsoever; we don’t know if he’s going to stay with this family, or if he has managed to win over Albert (whose suspicions may be entirely correct). We have no clue, and it leaves a lingering dissatisfaction.

Adding to that dissatisfaction is the feeling of “who is this for?” Likely if you’re at a theatre, you’re already more left-inclined and therefore on high alert regarding the issues in our current society. Just the events of the past few days regarding social media platforms is a glaringly obvious example of leaders attempting to make themselves into heroes – to win over the people. In a globalized society, do we need art to warn us to look for the fascists and bigots among us? Or are we already aware of these very real threats and fighting them every day by making the art?

An interesting element to the script is that it’s narrated as if you’re being read a screenplay: the setting is described in detail, there’s multiple time jumps which are noted, and the ending even makes reference to the credits. Yet with this feeling of an unresolved narrative, is the author not poking fun at his own character? And to what end? We’re told that Bettina makes artsy films which often don’t garner much acclaim, and it appears we’ve just witnessed another about a strange Christmas Eve with her family. So why not give it some closure afterwards? It feels like there are pages missing, or even a whole second act, where we find out what’s happened to the characters or at least if Bettina’s new movie did any better than the rest.

Diego Matamoros has a way of making you smile, even when you’re uneasy about the words he’s actually saying. It’s difficult to imagine another actor portraying this character; it’s such a clear fit. Nancy Palk has incredible chemistry with Matamoros, while also clearly portraying the tension she has with Bettina and Albert. Kira Guloien and Frank Cox-O’Connel’s intense and new-found passion is clearly evident. While Cyrus Lane’s performance perfectly makes us question everything we’re witnessing.

Lorenzo Savoini’s set and lighting design are simple, sleek, and modern. The set consists of a rectangular playing space which is lit on the inside. With a few smartly hidden storage sections for a few props, the majority is left to the imagination. The appearance of the Christmas Tree at the end, with real candles and all, firmly sets the timing of the play, and brings in a bit of humour along with it.

Winter Solstice is about being on alert for the wolves in sheep’s clothing, however as of late it seems that the wolves are far less wary of being discovered. Instead they are running countries and large corporations and are more than willing to share their perspectives and beliefs. Through impressive performances, this production of Winter Solstice brings light to the darkness, just like the candles on the tree.

Winter Solstice runs at the Berkeley Street Theatre until February 2. For more information and tickets, visit: https://www.canadianstage.com/shows-events/season/winter-solstice

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Cover Photo: Kira Guloien & Nancy Palk. Photo by Dahlia Katz

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