There is a feeling of improv and spontaneity in this work that is fun for the first half hour. It is a great idea: a send up of the self-importance and posturing of the writer-publisher relationships that can and do exist in Montreal’s flourishing literary community.
The idea of a new poet being discovered at the Parc Portuguese after fixing a bike and feeding a pigeon is delightful. Alain Mercieca is fine as the over the top publisher, and Kirsten Rasmussen is really engaging as a young emerging poet, until we get to her rambling story about her Chassidic background which includes the mispronunciation of the Hebrew names.
Massimo Cannastraro is a funny Mafioso and quite delightful as the jealous author watching the next generation capturing the spotlight. Although, the third time he uses the same gestures and intonation you realize this is a very cute but boring imitation of a soprano character.
Catherine Moreau did fine job as the receptionist of the publishing house and Ainslie Roantree was convincing as the videographer of the motley crew. Sandi Armstrong created a kind of forties songstress replete with whiskey voice and moxie.
The only issue with this work is that it is not a play but a series of vignettes which are overwritten, under dramaturged and sloppy in their performance. Even cartoon-like characters deserve to make sense and at the length of this work so does the plot.
