What begins as a rather banal, absurdist cocktail party conversation very quickly becomes precisely what Ionesco may have had in mind when he wrote The Bald Soprano close to seventy-five years ago. 

The Theatre Francais de Toronto production of this absurdist classic is a superb rendition of a truly mesmerizing  dramedy. Ionesco rejected the label absurdism, preferring The Theatre of Derision, which is perhaps a more apt way to describe the comings and goings of the four primary guests in a finely decorated living room behaving like Albee's George, Martha, Honey, and Nick - but with a fast and furious edge that makes precious little sense yet delineates class consciousness and behaviour in a wild and manic manner. Ionesco's influences included Beckett, Kafka, & Jarry, while Albee was one of many famous later playwrights (Stoppard, Durang) influenced by Ionesco's menacing way with words, and Theatre Francais de Toronto has crafted an exquisite production of this form of complex verbal warfare.

The sense to be made of this comedy of ill-manners gone awry is crafted beautifully by director Chanda Gibson through  impeccable blocking and attention to robotic at times frenzied physical movement. The ensemble pulls it all off with incredibly intricate and individual performances employing amazing skill and breakneck timing. Each performer has created a distinct character within this magnificent melange of idiosyncratic attention to the details of everyday life - ranging from items available at the neighbourhood market to the goings on of an eloping horoscope'ing pope.  

A run-on speech by the fireman (Sebastien Bertrand as the captain of the fire brigade), nearing the end of this 75 minute tour de force is mind boggling and vastly entertaining - raising already high-pitched acting stakes and preceding a climactic finale of symphonic proportions that each and every actor fulfills with great finesse and and immense physical prowess. 

Pseudo-polite and unflinchingly bewildered partiers become uncaged animals only brought down by the comically, operatic, and chilling presence of a maid's gate keeping presence whose gong show prop provides a pronounced counterpart to a mantlepiece sporting a piano metronome that clicks continually throughout. 

 Alexandra Lord's set design and Yvan Castonguay's costumes compliment and contrast perfectly, creating a mildly minimalist playing space shot through with delicately chosen colours that both blend and shout out as the action develops. All of the characters take on a subtly cartoonish aspect as sharply cut blazers, frocks, uniforms, and the billowing sleeves of an especially elegant orange gown take the stage and allow the ensemble to clarify and contain each and every superbly executed word and movement.

NOT TO BE MISSED, THEATRE FRANCAIS DE TORONTO PRODUCTION OF THE BALD SOPRANO RUNS AT THE UPSTAIRS SPACE, 26 BERKELY STREET, UNTIL NOVEMBER 3RD

IN FRENCH WITH ENGLISH SURTITLES