
The Unplugging at the Revue Stage. Photo by David Cooper
By Louise Phillips
Ever wondered what might happen when the world ends? When you can no longer tweet or text or phone? When the canned food runs out, and the night is lit only by fire? The Unplugging, a provocative new play by Yvette Nolan at the Revue Stage (to Nov. 3), is a post-apocalyptic scenario that tells the story of two middle-aged women ejected by the community — into a northern winter. In a promising dramatic start, Elena and Bernadette trudge into view with their toboggan, and quickly organize a survival strategy. Elena snares a hare and Bern scavenges in cabin cupboards, and over time they become strong and resilient. Then along comes young Seamus, whose intentions might be suspect, and the resulting conflict tests the women’s delicate friendship.
With its reliance on characterization, The Unplugging is well suited to the intimate Arts Club Revue Stage. For a dark and epic subject, it offers a surprising amount of humour, and committed and nuanced work by Jenn Griffin and Margo Kane as the hungry and desperate pair. The production, directed by Lois Anderson, benefits from a simple but atmospheric set, with a subtly backlit boreal forest on the horizon, and a soundscape that combines a keening female voice with the howl of wind.
The story itself occasionally bogs down in the icy wastes of earnestness. The women overcome their obstacles too easily—starvation seems unlikely, given Elena’s skills, and their concerns about Seamus ring hollow despite Anton Lipovetsky’s best efforts to keep us guessing.
It’s worth seeing just for the interplay between the women, and its chilling premise: if we were all suddenly unplugged, testing our “civilized” notions of wealth and friendship, would we prove morally bankrupt?