Review by: John Bandler
Why do we read novels? Why do we go to the theatre? Why do we enjoy gossip? One reason, perhaps, is to see, unhindered, into the lives, loves and conflicts of people, to get at certain truths about our father, our mother, our friends, our neighbors, our lover, and our enemies that we don’t seem to get from our own interactions, or over a cup of coffee with our most trusted friend, or by reading a newspaper, or from facebook.
You want the truth? Write fiction. But write honestly, write fearlessly, and write deeply.
Throw a bunch of characters onto a stage that represents a crossroads and let the story begin. Right? But the characters need to be fleshed out as unique individuals with unique problems and unique conflicts, and unique voices. Friendly chit-chat is not drama.
The Gore Mis-Fits starts off very well. Against a backdrop of Gore Park, Hamilton, the usual suspects emerge on stage and begin their interaction, and I find myself drawn in. But soon I discover that our four guys and one gal are all “here” for one another, “for a shoulder to cry on.”
Here are some quotes from the play. “I’m on my way to get my nails done.” “Man, life really sucks sometimes.” “Kids are the greatest, aren’t they?” “It’s his friendship I’ll miss.” “This is definitely not Central Park.” “I wish I could fall in love again.” “Eatons, Woolworths, Kresges are gone.”
There’s nothing wrong with these lines but, perhaps with the exception of the nails quote, given that there is only one female on stage, they can be put into the mouths of any of the characters.
Wikipedia’s opening description of drama reads, “Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning ‘action’.” And action is one of the key elements missing from the otherwise well-intended The Gore Mis-Fits.
Nevertheless, the premise of The Gore Mis-Fits is laudable and the actors are sincere. A work in progress?