At the end of the world there’s a cabaret being performed, and you have been invited. Safely tucked away from the plague ravaging the nation, the Prospero Compound is happy to have you and this performance is sure to raise everyone’s spirits! Written and directed by Stella Kulagowski, this uniquely modern and impactful adaptation of Poe’s short story “The Masque of the Red Death” is a clear reminder that art is political, and we can use it to make our stand against those who choose to repress and diminish others.

Upon entrance into the Prospero Compound (The Assembly Theatre) you’re given a choice: should you wish to participate in the production and be asked to make a decision later in the evening, then you may take a red flower and wear it throughout the performance. Once you enter into the main playing space, the black and red drapery along the far side of the stage is immediately evocative of Poe’s story. Two panels of them are used to reveal a screen onto which headlines of death and destruction are being projected – it’s our only glimpse into the world which we’ve escaped from.

First, we meet the artists: an eclectic group of performers mystified by the secrecy under which they’ve been whisked away to this heavily fortified mansion. Shortly, we find out that Darius Prospero’s (Parham Rownaghi) assistant, Ariadne (Rachel Manson), has hand selected this group of her former friends, along with a former lover, Esme, to come and perform for Propsero’s wealthy friends and benefactors. Upon meeting Prospero, he’s got all of the charisma and turns of phrase we’ve come to expect from the one percent. The early days of their tenure are going well, with occasional performances and plenty of resources, so Prospero decides to hold a masquerade ball complete with a full cabaret of performances, unaware that his artists are less than pleased to be amongst the wealthy and safe few while the rest of the world suffers.

Each performer has a unique and thrilling act: there’s songstresses (Bryna Bella and Joy Thompson), dancing (Rennaldo Quinicot), a musician (Rosalind Saunders), a drag king (Eli Holiday), burlesque (Stella Kulagowski) and feats of contortion and acrobatics (Nailah Renuka). For these artists to get to showcase not just their acting abilities, but these other beautiful and mind-boggling art forms which they practice is such a rare and fantastic opportunity. It delivers the feeling of grandeur and opulence, while also creating an unforgettable experience for the audience.

Yet with each act comes an act of defiance. Everyone is showing their disdain for their wealthy audiences in their own way. And as the evening progresses and their host does not seem to be understanding what he’s watching, subtlety gets thrown to the wind. Everything from the song choices to messages on their bodies, to using their bodies as the message itself, these are clear acts of protest as art. This is where Kulagowski’s text elevates and separates itself from its source; no such thing would have been allowed or tolerated in a story from 1842. However, in this modern context it is a prime example of how we can use our talents and skills, no matter how varied, to stand up for what we believe in.

“SAFETY HERE. ALL WELCOME” a handmade sign in simple black lettering. The ending of this telling of “The Masque of the Red Death” ends in community, not total destruction. Togetherness is the only way forward, and The Masque of the Red Death reminds us of this throughout. It only takes a small group to make change, as Maya deftly points out, and that rings true time and time again in our history. The Masque of the Red Death left me feeling awed, inspired, and ready to make a change.

The Masque of the Read Death runs at The Assembly Theatre until April 12. For more information and tickets, visit: https://www.eventbrite.ca/e/masque-of-the-red-death-tickets-1207815070389?aff=oddtdtcreator

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Cover Photo: L to R back row: Bryna Bella, Rosalind Saunders, Parham Rownaghi, Rachel Manson, Joy Thompson, Rennaldo Quinicot

Middle seated: Eli Holliday

Front row L to R: Nailah Renuka, Stella Kulagowski

Photo by Hayley Hruska

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