“In The Vic, a young woman has disappeared at the edge of the city. Four women are drawn into the race to find her. As we watch them grid-search the fields for traces of her passing, we move through the shattering events of their recent lives that have left them as lost as she is. Mentor and protégé, lovers and sisters, they explore one burning question: who’s got the power, and what is s/he going to do with it? (From Talonbooks)
Cara: any ethnicity; suburban; 17 / Henley: any ethnicity; the person you want to take care of you; early 30s / Tanis: sister of above; ther person you want to take care of; late 20s to early 30s / Linda: mother of above; early to late 50s / Spud: any ethnicity; a post-punk, a juggler; mid-30s / Elise: French-Canadian early 30s / Darsana: Caucasian; larger than life in every way; 50s / Cheryl: African-Canadian; early 30s
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This is the play for anyone, like me, who has looked around them and lamented how often their funny, talented, complex female peers were stuck playing people far less interesting than themselves. There is not a token girlfriend, benign grandma, or blandly sassy waitress in this play. Rather, Brodie has shown this ensemble of characters the respect of making each of them interesting, interested, and flawed. It is a true ensemble piece for a strong group of actors that will give them the opportunity of engaging in a realist character study of figures arguably much closer to their own experience than one would find in Chekhov. The inclusion of LGBTQ and racialized characters makes for a complex and intersectional study of power dynamics and, indeed, the play’s exploration of power means that there is space for a director and cast to really make the play their own by exploring how different kinds of casting deepen and challenge the play’s existing dynamics. - Lisa