“Suspend your disbelief. Be foolish wise.

For anything is possible, you’ll find,

within the zone of the unconscious mind.” (I.i.)

Hopefully, you read that in Rod Serling’s voice; I certainly do whenever I get the chance to revisit Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet). Following a passionate academic as she searches for the truth behind two of Shakespeare’s most well-known tragedies, Goodnight Desdemona (Good Morning Juliet) gives the Bard a “Twilight Zone” twist as our mousy protagonist delves into the worlds of her favourite heroines. Back on Toronto’s stages, directed by Alisa Palmer and with MacDonald in the lead role, Goodnight Desdemona (Good Morning Juliet) is a theatrical experience you won’t want to miss!

Constance Ledbelly, an assistant professor at Queen’s University, has the nickname “the mouse” amongst the students in her department. She’s convinced that an old manuscript, written in alchemical symbols and cyphers, hols the key to her greatest discovery: that Romeo and Juliet and Othello are comedies missing their fool. When Constance mysteriously finds herself surrounded by the worlds of these plays, she creates the helpful chaos she believes has been missing the whole time. But will that forever change the course of these plays? Or is that such a bad thing after all?

Judith Bowden’s masterful set design actually made me gasp aloud…twice technically: once upon entering the theatre and seeing Constance’s office, and again as the world of the plays is revealed. Constance’s office seemingly has no roof, with stacks of shelves full of yellowing foolscap paper covering the entire wall. This monochromatic set perfectly encapsulates Constance’s view of her own life: humdrum and boring, always the same from day to day. Yet once she enters into the world of the Bard, there’s bright colours everywhere, in both the costuming and set design alike. Mediterranean flair to represent Othello’s battlements in Cyprus are combined with Juliet’s iconic Italian balcony to create the perfect pastiche of the two works.

I want to put my scholar hat on (pom-pom included), just for a moment, as MacDonald’s text has such a beautiful yet accessible scholarly component to it. The play opens with Constance reading out the beginning of her magnum opus, laying the groundwork for her theory about Romeo and Juliet and Othello being failed comedies rather than inevitable tragedies. This actually had some folks in the audience giggling, and yet I sat there nodding along with Constance. When I studied Romeo and Juliet in University, that’s exactly how it was taught to me by my Shakespeare professor. Although he pinpointed the Friar’s failed message as the catalyst for the tragedy, as then Romeo would have known to just wait and that Juliet wasn’t actually dead. And while I hadn’t considered Othello’s comedic potential, it could at least be more of a problem play like Cymbeline or All’s Well that Ends Well should the handkerchief plot be revealed at the right time (or if Othello just listened to Emilia, just saying). Constance is absolutely correct in her assessment of these tragedies, but where MacDonald adds in her magic is with “The Gustav Manuscript” which supposedly is the source material for both and includes the fool she insists is missing from Shakespeare’s texts. The fact that MacDonald couches what was likely a controversial scholarly opinion for the time amongst this funny and uplifting script makes me appreciate it all the more.

I also very much enjoyed the updated references which have been added for this production. They give the text a fresh and modern feel, while losing nothing of the charm and humour of the original. On the contrary, I think they actually made certain elements of the play more funny as the pointed and witty allusions are ones which are front and centre in our minds. That being said, one of my favourite tangents Constance goes on is about the Stratford Festival always having some sort of scene happening in a bath. I had wondered if this was a new addition, as my mind easily travelled back to multiple examples, both in Shakespeare’s works and others, in my time of seeing shows there. And yet there it was, in the 1990 script which proudly sits on my bookshelf, and I couldn’t help but laugh again at MacDonald’s astute, and still relevant, observation.

It’s difficult to envision a more well-suited cast to bring this play to life. Ann-Marie MacDonald brings a youthfulness to Constance which shines throughout the performance. Constance’s earnestness is beautifully portrayed, making her an instantly lovable character. Jessica B. Hill is a formidable force as Desdemona; which is a perfect contrast to the high-pitched page boy she portrays in Verona. I’ve seen Hill perform many Shakespearean roles at the Stratford Festival, and she brings all of that expertise to this role. Caroline Toal, who just played Voila for Canadian Stage’s Dream in High Park this summer, returns as a feisty and over-wrought Juliet. A tour-de-force for Toal, this trinity of performers brings new life and vivacity to this production. Praneet Akilla gets to reprise his role as Romeo (again from Dream in High Park), amongst others in this show. His natural charisma and comedic timing are perfect for these parts; he had me howling with a simple huff during one of his exits. Carolyn Taylor’s comedy prowess is on full display with her myriad roles in this show. From the moment she swaggers in the door as Professor Knight, we know we’re in for a good time whenever she’s on stage.

“‘Where two plus one adds up to one, not three.’” (III.ix)

I first saw Goodnight Desdemona (Good Morning Juliet) at the end of my first year at the University of Windsor. The University Players were putting it on as their final main stage show of their 50^th season, and when my friends and I read the description, it felt like someone had written a play with me in mind. It still felt that way seeing it again 17 years later; only this time my scholarly understanding of the Bard is far greater, as well as my understanding of the Constance we see by the end of the play. Learning to embrace your inner fire and passion is such an essential part of womanhood, be it happening at 18 or 35 or 49. Goodnight Desdemona (Good Morning Juliet) is a piece which has stayed with me all these years, and I know that this brilliant production will stay with me for many many more.

Goodnight Desdemona (Good Morning Juliet) runs at the Bluma Appel Theatre until November 22. For more information and tickets, visit: https://www.canadianstage.com/shows-events/season/goodnight-desdemona-good-morning-juliet

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Cover Photo: Caroline Toal, Ann-Marie MacDonald, and Jessica B. Hill. Photos by Dahlia Katz. Set & Costume Design by Judith Bowden. Lighting Design by Jason Hand.

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