“Edgar Allan Poe’s Tales of the Grotesque” Brings Shivers to the Campbell House Museum by White Mills Theatre Company – front mezz junkies, Theater News

The Toronto Theatre Review: Edgar Allen Poe’s The Tales of the Grotesque

By Ross

Once upon a midnight dreary, while I pondered, weak and weary, over many a quaint and curious volume of forgotten lore—while I nodded, nearly napping, suddenly there came a tapping, as of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door—only this and nothing more …” – Edgar Allen Poe

Unhappy as the circumstances might be for the House of Usher, a red rose is given with a request to don the favored color, insisting that it be worn upon our breast visible in honor of the “dead of she who was but alas is no longer“. It’s the sharpest of openings, as one by one we are led into the Campbell House Museum for the dark and delicious rendition of White Mills Theatre Company‘s immersive production of Edgar Allen Poe’s The Tales of the Grotesque. The scene is already being laid out before us, as a couple (Jonas Trottier, Ella Mazur), squabbles by the staircase, reminding me of so many scenes from the film, “Gosford Park“, where money and agitation are thrown about in frantic whisperings between disparate partners in the dark corners, hoping no one will hear. It’s a clever flashing of what is approaching with hints of apprehensions between those who have come to mourn in the main chapel for the funeral of the young Lady Madeleine. A stubborn doctor (Zoe Cleland), a resentful “Morella” medium (Mazur), a manipulative evil-eyed gentleman (Spencer Schunk), and a desperate “Tell-Tale Heart” murderer (Trottier) will focus our eyes on the circumstances surrounding her untimely death in the darkness of the hallways.

As we witness the “Raven, never flitting, still is sitting, still is sitting on the pallid bust of Pallas just above my chamber door,” Sir Roderick (Adrian Marchesano), the reclusive brother of the late Madeleine, unwell both physically and mentally in constant fear and trepidation, has insisted on being left alone, sick and delusional in his room, and the servants, led by the forceful Mrs. Rupert (Tara Baxendale), have obeyed to the best of their ability. Yet, we gather to “let the burial rite be read” and “the funeral song be sung” (“Lenore“), even though it’s been many years since any persons have passed through these doors. The stern and formidable Mrs. Rupert, played forcibly by the very focused Baxendale, scolds my companion for having too big of a smile for such a sad mournful occasion. Still, it’s hard not to grin with devilish delight as we are separated and led through a maze of rooms to bear witness to the night’s unfolding, and watch the unraveling without bringing upon us dreams of the beautiful “Annabel Lee“.

And what a delight it is, as Edgar Allan Poe’s writing is the true illuminating star and emotional core here within the sacred walls of the Campbell House Museum, delivered within the well-crafted and adapted scenes by a large crew of fantastic actors and crew, that deliver the macabre formula with assurance and focus. The White Mills Theatre Company play, as crafted by Brandon White, and directed with a wink and a watchful eye by White (Producer, Co-Director, Playwright & Production Designer) and Shannon Mills (Producer, Co-Director & Musical Director), with a musical helping hand by music arranger Rob Carruthers, carries enough charm and humor to balance the frights and surprises that occur, as this cast of many, including Felicia Valenti as Lenore, Spencer Schunk as Wilhelm, Michelle DaneseI as Jactina, Shelby Handley as The Raven, Marisa Dashney as Madeleine, Ella Mazur as Morella, Nolan Rush as Pedro, Manon Ens-LaPointe as Rosalie, Austin Larusson as Hugo, Amanda Yee as Eliza, and Scott Moore as Sir Usher, fight and are frightened by the haunting in the House of Usher.

First published in 1840, Poe crafted a strongly poetic and macabre collection of short stories, “Tales of the Grotesque and Arabesque” which were seen as something before its time; a “playful effusion of a remarkable and powerful intellect” that wasn’t as well received as it, and this production, is today. Holding those formulations in our minds, we climb and follow our fearless hosts down hallways and staircases into room after room until we are led to safety with a delivery that is clear and focused. Banging and screaming into the night, “The Raven” and its secrets are unveiled with no stock taken on rumors and scary tales of the dead returning. And just a quick side note, if a character tells you to move, move, quickly, and with purpose. Your hesitation is slowing us all down.

“Tell me, Frederick,” she demands, but from these lips and pen, I’ll tell you nothing more, except you should definitely try to wrangle an invite to the most grin-inducing funeral you might ever experience. This immersive horror opera unpacks the ghostly supernatural forces within a fantastically fun and entertaining framing, as we explore Victorian Toronto through the words of Edgar Allan Poe and opera, sung magnificently by members of this talented cast. I only wish I had done a little due diligence and read a bit more of literature’s most twisted author and poet before arriving at Edgar Allen Poe’s The Tales of the Grotesque. But I’m sure I’ll be given the opportunity again, as this delicious candlelit journey into the macabre will most likely return again next year to uncover, once again, the connection between “The Fall of the House of Usher“, its disturbing past, and the sinister presence stalking their, and our, every move.