Tallula Russell – Contributor

Every person who entered Turner Studio’s theatre from Mar. 25 to 29 was given a necklace with a small locket on it and was welcomed to the world of “The Numbered.” A poster on the door to the theatre stated, “This is your locket. You’ve worn it since you were born. You cherish it more than anything in the world. It is what guides you in life. WOULD YOU LET SOMEONE TAKE IT FROM YOU?” These audience members would, for the duration of the show, give up their regular name and take on a number as their moniker, the number of years they would have to live. This is the world of “The Numbered,” a play originally written by philosopher and author Elias Canetti and adapted and directed by Bishop’s own Mary Harvey, with Michael Geary as assistant director. 

Image courtesy of Journey Bardati

“The Numbered” takes place in a futuristic “fantasy” world run by the populace’s complacency and contentment at knowing the exact date of their death. How do people always die at the allotted time? Are there never any accidents? Can one outlive their Name? All these questions are raised, and some answered, by the character Fifty, played by Gabrielle Champoux. Fifty and their unwitting friend, played by Thomas Peck, investigate the holes and gaps in their society in this two-act play. 

“The Numbered” is the production of the Acting 4 class, and in a new move for pieces done in Turner, takes place in the round. The audience sits 360 degrees around the stage. The stage is lower than the seating, using the versatile nature of the black box space to the show’s advantage. The blocking is excellently done, where the action is clear and actors’ faces are visible from everywhere in the audience. The set, as well as lighting, sound, prop and costume design, are absolutely standout. The futuristic, steam-punk-esq feeling of the world comes through clearly from the costumes and props, with fun-coloured wigs à la “The Hunger Games” and cogs and gears abound. The lighting and sound create an incredibly lived-in feeling to the world, where every different scene and location feels distinct and specific, which is essential to the more exploratory first half of the show. 

The feeling of the world is capitalized on by the cast to great effect. Most actors play multiple smaller roles in vignettes of the world, with standout performances by Ely-Jeanne Gauthier, Leia Ranger-Drouin and Sage Offer. The two main actors, Gabrielle Champoux and Thomas Peck, cannot be lauded enough. Their dialogue in the second half of the show is especially complicated and lengthy, and they do a fantastic job making it all comprehensible to the audience and convincing in their emotions. Daniel Khazendar also has an excellent performance as The Keeper, especially in the last scene of act one where he is elevated above the audience with the backstage lift while putting Fifty on trial. 

This show was an excellent showing of skill, talent and passion by all those involved, but especially from the often-unsung people doing stage management. Barbara Camelo Gobbo was the Stage Manager for this production, with Brook Garneau and Flynn Wiebe as assistant stage managers. Their work in planning, scheduling, managing the backstage and calling the show should not be understated.