It begins in darkness. Suddenly there are tortured screams filling the air, seemingly emanating from every corner of the room. We’re in hell, but we won’t be for long, not if Satan has anything to say about it. Erin Shields’ Paradise Lost, which has only become more apropos with time, is given a new and glorious life with this current production at Randolph College. Deftly directed by Dahlia Katz, this production will have you forgetting that these actors are students as they envelop you in the world of angels, demons, and us mere mortals.

Paradise Lost uses Milton’s epic poem as a vehicle to look at everything from politics and power to love and justice. Satan and her compatriots awaken in hell, wings torn and halos long gone. Immediately they discuss possibilities for revenge on God and the good angels who sent them there. Recently God has made some new little beings, humans they’re supposedly called, and they are the most beloved of his creations. Satan decides to hurt God in the worst possible way: to corrupt his beloved humans. And we all know how well that goes, particularly for humanity. The penultimate scene is a meeting between God and Satan, where God’s omniscience is called into question by Satan: why would He let all of this happen if He knew it would lead to such pain and suffering? She rattles off a list, a litany of the horrors we witness every day, whether it’s in person or on the news, and God doesn’t flinch. He knows.

While the production does begin in the dark, when the lights appear so does a lightning bolt staircase to heaven; a physical manifestation of the power of the character who sits atop it. Rhys Bernier’s design deftly uses the height of the space to their advantage. God rarely leaves his little nest at the top of the stage; he presides over the production, playing distorted riffs of rock anthems, the “devil’s music.” Brandon Gonçalves’ lighting design takes us from the dark pits of hell to the beauty of the tree of knowledge. Helen Androlia’s costume design feature stunning elements: the torn wings of the fallen angels and the halos of their heavenly counterparts are vivid indications of the states of the beings we behold.

This production embraces the comedy held within the text. While we’re so used to this story being a serious one of warning and ultimately punishment, there are several moments in Paradise Lost where you can’t help but laugh. From Satan’s direct address moments which often include snappy references or perfectly biting remarks, to Sin and Death’s hilarious portrayals, to the acting (and over-acting) of the angels in their play for the humans, there are moments of uproarious laughter.

This talented group of performers get to put everything they’ve learned to practice with Paradise Lost: movement (and tableau), puppetry, and stage combat on top of their acting skills. Bryce Gowdy, Cole Hill, Cynthia Galant, Emily Sirizzotti, Genesis Jade, Hunter Whitehead, Iyahnah Daniel, Jenna Hudson, Jewel Newton, Jill Leavitt, Paige Harrison, Rae Tomkins, Ryder Desaulnier, Santiago Rodriguez, and Simon Chung work together beautifully to create the world of the play. The athleticism and energy they put into every moment is palpable, as is their passion for their craft. It’s fantastic seeing that “it” factor in these young artists; I hope to be seeing their names on plenty more playbills in the future.

What is good without evil? Light without dark? Hope without despair? Can we fully understand the breadth of God’s love if we didn’t first sin? Or is that love crushing, all-consuming, and its own form of repression as posited by Satan? Shields lets us make up our own minds, and the thoughts will swirl around your head for days. Paradise Lost leaves an impression, of that there’s certainty. Everything else is a matter of free will.

Paradise Lost runs at the Annex Theatre at Randolph College until April 5. For more information and tickets, visit: https://www.randolphcollege.ca/shows

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Cover Photo: The Cast of Paradise Lost. Photo by Dahlia Katz.

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I was invited to this production personally by its director, the inimitable Dahlia Katz. However, I was so compelled by what I witnessed, that I wanted to write about it and ensure the word got out about the production.

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