Dealing with depression, abuse, suicide and drunk driving, Alain Chauvin’s Life takes on many of the heavy and important issues youth deal with every day. While the play did have some good elements – its use of music, lyrics and audio-visuals were quite touching- it ultimately did not achieve the depth needed for an exploration of such disturbing and ever-present issues as it strove to explore. The story of Jacob, a high school student dealing with the death of his mothers as well as questions of his own sexuality and place in the world, seems to be a run-through of problems that could affect a 17-year-old. The play bites off too much and, as such, the ultimate message is lost. Does the story deal with grief? Does it deal with questions of sexuality? Or does it deal with the perils of drunk driving? All are mentioned to some extent, but none are really explored. The play would have been better served by a more focused topic which would have allowed for more depth of feeling. The acting also left something to be desired. However, the topics Life deals with are all worthwhile and the play does hold potential for growth. The set in particular, was very well used and there was an believability to the script, even if it did lack subtlety at times. There was also a passion that came out of the play- it was evident the project meant a lot to all those involved. However, ultimately, the project did lack focus and subtlety which would have connected the story with the emotions.

Who in this world is sane? This is the question Kainz Players’ dark comedy Preshrunk asks. Five psychiatric patients who arrive for their usual Tuesday meeting with their psychiatrist. When he does not show up, mild chaos ensues as each of the patient’s problems are revealed both through their discussions with each other and monologues. Soon, it is revealed by a detective posing as a grief counselor that the doctor was killed, and the most likely suspects are those in the room. Disbelief soon turns into more revelations, this time with the spotlight turned on the doctor. As more information is disclosed, one truly begin to question just who in this world actually has it together or, in fact, whether this hallowed state exists at all. Directed by the New Ottawa Repertory Theatre Artistic Director Paul Dervis, the play is masterfully put together. The transitions from scenes and monologues are seamless and infuse the production with flow. One of the best performances came from Jerome Bourgault, who portrayed a patient, the sarcastic but insecure Len, with a precision that made it possible to hate and pity him at the same time. His skill was closely followed by Charlie Ebbs’ with his portrayal of narcissistic and hilarious patient Antoine whose monologue had the room in stitches. As more of us succumb to depression, anxiety and the like, questioning our own state of reason has become an increasingly common activity. Preshrunk helps put this sentiment into words and reveals the complexity not only of our own psyches but the nature of our relationships with each other.

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Based loosely on his childhood experiences, Neil Simon’s play Lost in Yonkers is a story of family dysfunction and the ever-enduring need for love. Simon’s play is simply constructed and beautifully written. At times serious and at times funny, The Ottawa Little Theatre Production, directed by Chantale Plante, strikes a good balance between the two genres and is an overall enjoyable experience.

Set in the early 1940s, the play opens with the teenagers Jay and Arty nervously sitting in their grandmother’s stuffy Yonkers apartment while their father talks to her. To their horror, when he emerges, they are informed that they are to stay with their cold, stern and seemingly heartless grandmother for eight months. However, making their time slightly more bearable are their kooky aunt Bella, crook uncle Louie and strange aunt Gert.

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