Before I saw Vertigo Theatre’s The Extractionist,I didn’t have any idea what a deprogrammer was. I learned something new. Deprogramming refers to persuading members of a cult to renounce their way of life.
In this world premiere by local Calgarian playwright Michaela Jefferey, Asha Ray (Monice Peter) is working a case. She is hired by Grant Langdon (Robert Klein) whose son Matt (Joe Perry) is being held by police in a case of a missing woman. Grant wants to hire Asha because his relationship with his son is tenuous, he wants him to talk to a lawyer, and escape the cult he thinks Matt belongs to. Luminia (the organization under scrutiny) has been promoted as a leadership training group and Richard Holland (Stafford Perry) is head of the ‘family’. It becomes clear that Asha is really working this case to get to Holland and relies on her long term friend Reuben Medina (Mike Tan) to help her out. The lead detective on the case is Alison Beechum (Tara Beagan). Officer Lena Remero also is on the case and is played by Vanessa Leticia Jetté. As Asha and Medina get deeper and pull more layers back from the mystery, we aren’t sure who we can trust to give us a full picture.
This story is complicated, convoluted and thrilling. It will keep you guessing and maybe scratching your head a little. But that’s okay because it’s full tilt, at a sprint, the entire time. It’s action, suspense and intrigue. Which makes it all the more frustrating when the curtain falls and the story is to be continued, which means that there has to be a sequel.
Which is good news for both audiences and the creative minds behind The Extractionist, because it is visually stunning and its original composition is of note. Projectors are set up on both sides of the moving stage, to make the production feel like a movie. Set and projection design by Andy Moro go hand in hand and add a beautiful thrill to the production. Malcolm Dow designs the original composition with additional composition from Torquil Campbell. It is delightful when someone walks by on stage with headphones on and we get to hear the dialogue in surround sound. Narda McCarroll’s lighting design adds to the aura of the play, while Thomas Geddes’ sound design stands out, especially in one particular murder scene (it rings out in the silence of the theatre and made me shiver). Deitra Kalyn’s costume design is immensely thoughtful, with cult members in white and flashier costuming to stand in contrast to the projection design.
Mostly, the star of the production is the dynamics between Tan and Peter. Their respective talent is a great mix and allows the story to be believable, only letting it slip once, when Medina gets pulled back into the rabbit hole when Asha simply says “I’m sorry”. It isn’t enough for the commitment that Medina is making, but any other flimsiness in the script is held up by these artists.
Stafford Perry makes a great slimeball and his Holland is bang on, as is Joe Perry as Matt Langdon, the aggravating zealot who spouts vitriol and learns everything he knows from his beloved leader. Their similarity is no mistake and that credit is due to director Craig Hall, who keeps the pace and intrigue of production at a breakneck speed, without losing all of the audience’s interest. It’s a fine line to walk.
Currently there is no information about a follow up to Jeffery’s commissioned world premiere, but Calgary will be waiting with bated breath.
Up next at Vertigo Theatre is a new adaptation of the classic Gaslight. More information is available online.
Photo Credit: Tim Nguyen