Displaying items by tag: Ziare PaulEmile

Let me start by saying: this play is not for anyone unfamiliar with feminine rage. While I’m all for experiential desensitization, diving straight into a show all about female “hysteria,” periods, witches, and penis-biting might be a bit much for your first swim.

You don’t need to be a woman to enjoy it, but there’s a particular subset of audience members who might find themselves squirming in their seats. And that’s fine. Not all art needs to be for everyone. That said, for anyone personally acquainted with (or at least comfortable around) Millennial and Gen-Z “femme fury”, Director Kayla Menz’s production of The Sporting Life is a riot that will have you laughing from beginning to end.

The six-person cast is stellar:

Ziare Paul-Emile – as Dot, the main character and high school girl – shines as she causes the entire play to unfold. Starting off as the sweet, behind-her-peers type, Paul-Emile continues to add on new layers to Dot, masterfully and constantly shifting her conviction. Each shift feels performative in the best way: showing the audience both her growing façade and the fragile, adolescent truth beneath it.

Tyara Whitted – as Dot’s best friend, Mikayla – is one of the funniest actors I’ve seen on stage. Whiteed’s delivery of every line was impeccable, hilarious, and perfectly conveyed her character’s too-eager-to-grow-up nature. Mikayla later finds herself in an abusive relationship, which Whitted handles the material with rare nuance, conveying both the pain and the impossible contradictions of still loving someone who hurts you.

Elizabeth Macdougald – as Sherry, the witch – is an absolute force of nature. Spunky, raunchy, and wickedly funny, Macdougald is the (by technicality) antagonist that you can’t help but love. Although arguably being the source of the play’s chaos, she also grounds it with a mix of blunt and maternal tenderness throughout.

Bryan Breau – as Dot’s dad – is the quintessential bewildered girl dad. Fumbling through his best attempts to understand his daughter, his earnestness carries the father-daughter relationship at the heart of the play.

Last but certainly not least, Ian Mason and Bill Daniel round out the cast, playing every. other. character. Collectively playing at least 8 distinct characters, the duo’s range was incredible. Both Mason’s and Daniel’s physical comedy abilities are like none other, from larger-than-life reactions to painfully believable combat and stunt choreography.

From a production standpoint, I have to give enormous credit to the team’s handling of blood. In case you’ve never worked with it, stage blood is notoriously difficult: just when you think you’ve solved one logistical challenge, five more appear. I have nothing but admiration for the technical crew’s ambition and precision. Most plays save blood for the final moments, so cleanup only happens once, but The Sporting Life opens with a full-on blood spray within the first five minutes. And it just keeps coming.

That commitment is both hilarious and impressive. Not only does it demand careful coordination from the crew, but it also requires the cast to maintain a constant, almost subconscious awareness of every inch of the stage. The blood remains throughout the show, forcing the actors to adapt in real time: lying down carefully to avoid accidental gore in quieter scenes, or using existing puddles to amplify the chaos in violent ones. It’s a masterclass in controlled mess – a game of theatrical chess played with absolute effortlessness.

As the world premiere of Playwright Marjorie Muller’s newest script, there’s definitely room for iteration. The play was advertised as running 1 hour and 40 minutes, but it clocked closer to two hours with no intermission – and I felt it. The ending, in particular, seemed to have an ending tacked onto an ending, creating the sense of a partial conclusion before launching into another. This extended the runtime and diluted some of the sharp focus and wit that made the first two-thirds so strong. Structurally, the piece could benefit from rethinking that final stretch, whether by adding an intermission to give the audience a breather or by condensing and reworking the conclusion into a single, more cohesive ending. Either route would help preserve momentum and leave the show on the high note it earns during the majority of the play.

That said, for a modern, edgy comedy, the writing overall is excellent. One of my biggest pet peeves is when playwrights overdo emotional or “hysterical” female characters, veering into mockery instead of authenticity. Speaking as a former 15-year-old girl: yes, it’s funny to look back and realize how seriously we took small things – but at the time, those things really did feel like the end of the world. The Sporting Life captures that perspective without condescension. It’s a fine line between humor and misogyny, and this play walks it with grace, empathy, and a sharp sense of humor.

The Sporting Life is running at Factory Theater through November 22nd. Tickets are available at: 

https://thefactorytheater.com/portfolio/the-sporting-life/

https://thefactorytheater1.thundertix.com/events/245024.