Rey lives for the stage – she’s built her life and her identity around her passion for theatre and performance. But what happens when her ability to do what she loves is compromised? Sanguine, created and performed by Mina Zaghari and Parastoo Amanzadeh, delves into the hearts and minds of Rey and her best friend and collaborator Sana as they navigate the treacherous road of terminal illness together. Directed by Tanisha Taitt, Sanguine is about friendship, art, and where we find our sense of self.

Rey and Sana do pretty much everything together: they work together (they’re both performers), audition together, and now they live together. Sana’s parents own their place, but Rey and Sana pay for everything else. When Rey makes a misstep during one of their performances, Sana is ready to chalk it up to exhaustion or being away from the stage for too long. But Rey knows that unfortunately, there’s something far more sinister awaiting her. When she finally breaks down and tells Sana about her brain tumour, it comes as a complete shock, and Sana immediately begins searching for answers and solutions. Rey, on the other hand, has had more time to think about the issue, and has rather resolutely made up her mind on what she wants to do, even if that means taking herself away from both Sana and her beloved stage.

A moment in Sanguine which speaks to the heart of the story takes place in the first scene: Sana and Rey are having dinner and begin to discuss their shared apartment and expenses. They start a list of “I still owe my share of” things, which begin with physical objects like the dining room table, the groceries from last week, or dinner from two months ago. But then suddenly it changes to more emotional and less tangible things: my share of that bad day you had or my share of the heartbreak you experienced. This shift in mindset shows just how intertwined these two beings are, and while they’re keeping score, it’s only ever for themselves, not for the other. It shows a genuine level of care and concern for the other person, and the foundation of a solid relationship.

Sim Suzer’s design for this production, which includes the set, costumes, and props, is a cohesive monochromatic vision. Everything surrounding Rey and Sana is some shade of grey; from the table to the bedspread, even the wall is varying shades of grey. The performers in their black outfits stand out amongst their surroundings, as do the lightly pastel hoodies they wear when they’re at home. It makes Christopher-Elizabeth’s lighting design all the more imperative; it helps us denote when the performers are on stage within the context of Sanguine itself, and when they’re at home. There’s also an astounding scene late in the play where black light is used to make a true visual spectacle on stage!

Zaghari and Amanzadeh have poured their all into this production. By marrying dance and movement elements with an emotionally charged text, they both get to show the full range of their talents. Zaghari wrote Sanguine’s script, and the nuance she puts in to both the words themselves and her performance of them shows the passion she has for this work. Amanzadeh provides the choreography for the production, and it was likewise easy to tell that dance is where her passion lies. Together, the two are a formidable force, using each other for balance, both in movement and in spirit.

Sanguine ends not in sorrow, but with joy: Rey’s last performance with Sana is one of laughter between the friends as they whirl hand in hand around the stage. Though the knowledge of what comes next sits heavy in their hearts and minds, in the moment there is pure happiness. Sanguine is a reminder to stay present, follow your passion, and also that life can change on a dime. Hug your friends, remind them that you love them, and maybe even dance a little.

Sanguine runs in the BMO Incubator at The Theatre Centre until May 10. For more information and tickets, visit: https://www.cahoots.ca/production/sanguine

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Cover Photo: Parastoo Amanzadeh and Mina Zaghari. Photo by Zahra Saleki

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