Original Production at Gateway Theatre in Richmond, BC.
Directed by: Kayvon Khoshkam
Featuring: Sereana Malani, Mike Gill, Ian Butcher, Scott Bellis
Lighting: Jillian White
Set Design: Markian Tarasiuk
Costume Design/Stage Manager: Victoria Snashall
ABOUT THE SHOW:
Now in his early fifties, Deke has been incarcerated in Millhaven Prison for the past twenty years. In all that time, he has been without a cellmate, until Corey, a twenty-something rich kid, joins him in his cell. A complicated bond slowly forms between the two, and tensions rise as they debate the nature of their crimes. When Corey begs his cellmate for protection, Deke is forced to confront his past.
"The in-the-round setup adds to the ominous sensation in the room as you take furtive glances at the other audience members, all sitting in quiet anticipation. What follows is 100 minutes of hauntingly beautiful theatre, carefully crafted by director Kayvon Khoshkam to provide a poignant exploration of sexual assault that is sure to keep your eyes glued to the stage until the very last second."
"Meghan Gardiner’s sharply intelligent new drama, Gross Misconduct, at first seems like a return to the old-style prison play. Brutally violent and full of vicious ironies, it turns out to be something more. Though hard to watch, it tells an important story, and Kayvon Khoshkam’s powerful SpeakEasy Theatre production offers some of the best acting you’ll see anywhere."
"All four performances shine. Bellis epitomizes the jovial banality of evil. Gill’s prolix swagger caves so fast and so utterly before prison brutalities that he almost earns a scintilla of sympathy from the audience – and his cellmate – and even a shred of respect when he trumps his corrupt jailer. Butcher smoulders in the anaerobic flue of his solitude until Malani’s soliloquies (delivered as entries from a diary that’s been smuggled into the jail) finally ventilate his smothered soul."
"This is not a pretty play and it’s not easy watching. But with the #MeToo movement slowly moving to the back burner, it rekindles all the arguments. Gardiner provides an explosive ending that resonates long after the lights come up. Prepare for whiplash."
"Only four characters, this is perhaps the tightest casting and individual stage performance I have witnessed so far this year. Agnes Opel's valedictory song "Familiar" strikes up as lights snap off : "This love is gonna be the death of me... / We took a walk to the summit at night, you and I / To burn a hole in the old grip of the familiar true to life." Burn a hole indeed -- this script, this performance, these actors together do it all with searing, blistering, incandescent insight. I would go again with nary a blink of hesitation."
"I predict awards for the writing, direction and acting in this production. It is rare to experience something this powerful in the theatre, let alone local theatre."