Ensemble, while at times aimless, is a hilarious rallying cry for our cop #3s, angry citizen #2s, guard #4s and other nameless numbered thespians who just want some f****ng respect.
As someone who in university and high school consistently got the ensemble numbered roles, this one felt personal! (And yes the exclamation point is necessary). The narrative by Aliyah Bourgeault and Emmet Logue can be at times aimless with moments that become more empty filling the space. However, it utilizes it’s wide…ensemble (see what I did there ) and clever deconstruction of theatrical tropes to tell a funny story about purpose, theatre, meaning, dignity and agency. Directed by Christel Bartels, the cast of Cooper Bilton, Diana Eremeeva, Mila Trichilo, Maya Granic, Julia Middleton, Kaleb Piper, Dale Rideout, Iza Rincón, Aliyah Bourgeault, Morgan Roy, Chrisevina Tsoura, Emmet Logue, Aaron Ford and Jack Mosney are a delightful bunch to watch as they navigate uncharted theatrical territory outside of the arbitrary roles assigned to them by a cruel god… playwright.
Some of the best moments come from the mayhem of confusion and stress. As the ensemble, our heroes are regulated to expositions, set dressings and taking their orders and stage cues from the Stage Managers and leads. But when a rebellion sidelines all the major players, what are the remaining players to do? Self-reflection? Yikes that’s scary. Try to keep the show going? I mean, they do try with hilarious result and one of the funniest montages I have seen on stage. Escape from the cruel, pre-determined set of circumstances hell bent on keeping them in their station? Pffft, that’s just capitalism. The self awareness that comes from them no longer knowing what to do lends itself to a cast of characters that are absolute disasters. However, they are disasters that also share a tremendous amount of camaraderie and chemistry… when they are not hilariously bickering with each other. It is a cathartic journey to watch these characters and actors endure and struggle for their voice and celebrate their small successes.
The writing is at its strongest when it takes the time to deconstruct theatrical tropes of both narration and production, such as the one-voice multi-person group, the obligatory monologue (especially ones that, let’s be honest, really go nowhere- looking at your Shakespeare), the fact that ensemble costumes come from the Temu pile while the leads get actual measurements. This calling out of tropes makes this play a rallying cry. A cry that says, there are no small parts, and every performer deserves respect regardless of their character. A meta theatrical turn about fate and playwriting does provide some eerie stakes from our ensemble but it runs the risk at times of pulling the narrative in too many different directions.
The Ensemble is a funny and cathartic story that owes its success to the endurance and chemistry of its cast. This is a story for those consistently cast as character number 3, and it is a story that makes you root for them!