At first, the set of On the Edge appears somewhat spartan. It’s certainly attractive, but it’s a bit boring. Until it starts moving. The same can be said for the rest of the play, which was surprisingly dynamic and funny at times.
On the Edge tells the stories of three middle-aged women performed entirely by Susinn McFarlen. Each character delivers a monologue that paints the character and then slowly peels back the covers of the woman’s life to reveal a hidden discontent. The monologues are framed by a monotone, prerecorded voiceover.
The disembodied narrator begins by welcoming the audience with instructions to breathe, relax, and let go. It’s difficult, at first, to tell if these instructions are ironic or sincere.
The first character we meet is a compulsive shopper who drops fashion references that elicited peals of laughter from much of the audience. I was less entertained, but then again, I would be hardpressed to tell the difference between Versace and American Apparel.
The other two characters completely won me over. McFarlen completely transforms into a haggard, wise-cracking police officer, so affable you want to go on a ride-along with her.
The final third sees her portray a novice yoga student with such bang-on physical comedy you can’t help but relate to her struggles, even if you’ve never set foot on a yoga mat.
On the Edge, like its set design, is almost minimalistic, but in a way that’s versatile, functional, and clever. This show is definitely worth seeing before it leaves Victoria.
Plug:
On the Edge
Until Feb 26
Belfry Theatre
$23-$38