March 11-14, 17-21 at 7:30 pm | March 16 at 2 pm
Capture Me focuses on Geraldine (Jerry), a junior kindergarten teacher, who falls in love with an Arabic refugee and tries to connect with her estranged biological mother, all while being hunted down by her monstrously abusive ex-husband. While Jerry and Aziz are united and yet alienated by their respective tragic pasts, Jerry finds strength in her relationships, especially in her friendship with her fellow teacher Minkle. The true beauty of the script lies in its raw and honest portrayal of its characters and their relationships and interactions. Thompson has brought together five compelling and effortlessly real individuals, savouring and preserving the distinctive music in their words and their choices, to tell genuinely complex stories about the human condition. Humorous yet tragic, relevantly meaningful yet ambiguous, Capture Me not only fights to free its characters from their confines, but also to free the audience from their own limits of perspective.
Judith Thompson is a Toronto-based playwright recognized for her challenging and eye-opening pieces that expose life as it truly is and examine the potential for evil in all of us. She has been awarded many times for her works and was also the first Canadian to win the Susan Smith Blackburn Prize (a global competition for best play written by a woman in the English language) with Palace of the End, which also won the Amnesty International Freedom of Expression Award. While primarily a playwright, she is also an actor, director, screenwriter, and producer. She is known for her passionate and powerful writing that compares and combines real and imagined realities, laced with themes of hate, violence, and fear, but also love, empathy, and hope. Her plays explore many difficult topics such as sexual and domestic abuse, and death including murder and suicide. Judith Thompson writes to overrule what she calls the "muscle of denial", which allows us to turn a blind eye to the struggles of others. Her goal is to awaken audiences from that denial and ultimately transform them, so they can truly see and question what has previously been perceived as normal. She champions that theatre should be about "engagement rather than entertainment", and that its success is based on whether an audience has been "penetrated" or affected by the production, rather than if they liked it.
Robyn Hasselstrom is a senior student. Past directing credits include Beckett Shorts, acting credits include Love's Labour's Lost, Under Milk Wood, & The Rover.
Tickets can be purchased at the door or in advance in 360 University College.
March 14 performance will be interpreted for the hearing impaired
Talk back follows March 19 performance