i steel: It's a shameless allusion to the mummy scene in Psycho, so I steel myself for a screaming panic, according to Vancouver Observer. But then the overhead spots fade and, in the blackness, the figure bounds silently away. Barely two metres from my front row seat in the Cultch's curtainless, open-plan Historic Theatre, a deathly still figure slumps in an armchair, her back to us so that all we can see is her steel grey chignon. Still, when the lights come back up, the film noir aesthetic continues. In this world premiere production, director John Cooper infuses Loretta Seto's script, The Ones We Leave Behind, with all the tropes of a police procedural. It's baked right into the peeling plaster and thrift store chic of Pam Johnson's one room stage set, the slatted moir s of Gerald King's side lighting and the moody sax-and-siren ruminations of Dorothy Dittrich's background soundtrack. (www.immigrantscanada.com). As reported in the news.
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