REVIEW
What: The Collected Worksof BIlly the Kid
Where: Theatre Inconnu
When: To Dec. 14
Rating: 4 1/2 stars (out of five)
It’s notoriously difficult to make great theatre from poetry. Happily, Theatre Inconnu succeeds completely with a terrific new stage adaptation of The Collected Works of Billy the Kid. The show, a must-see, is chock-full of humanity, fun and music — not to mention bona fide artistry.
The Collected Works of Billy the Kid: Left-Handed Poems is a an early work by Michael Ondaatje, best known for his novel The English Patient. His collection of free-verse poems — a series of non-linear vignettes — provides snapshots of the legendary American outlaw’s short life. In this 70-minute show, having its Canadian première, Dan Jemmett takes Ondaatje’s words and gives us random glimpses of Billy’s life, including his escapades with Wild West pals and floozies, his affair with a Mexican princess and his (ultimately deadly) encounters with Sheriff Pat Garrett.
Ondaatje’s intention was not to give readers a factual historical account of Billy (real name William Bonney). This would be impossible anyway, given the scant facts about his life and enormous mythology now surrounding it. Instead, the writer created a full-blooded fantasy that, in some ways, provides of truer account of this singular antihero who flashed like a Roman candle and then disappeared.
The writing is remarkable. Near the end of this show, James Roney (one of many actors portraying Billy), gives a stark recitation of the outlaw’s kills. It reads, in part:
“These are the killed.
(By me) —
Morton, Baker, early friends of mine.
Joel Bernstein. 3 Indians.
A blacksmith when I was twelve, with a knife.”
Elsewhere, as a miniature skeleton (Billy) is cradled like a baby, there’s a grimly beautiful description of what his long-buried body might look like: “From the head there’d be a trail of vertebrae like a row of pearl buttons from a rich coat down to the pelvis.”
We get Ondaatje’s strange, raw poetry and more — this show is brimming with life and song. It benefits greatly from the contributions of Brin Porter, a dreadlocked young actor who not only navigates a fistful of roles (as do all the performers) but has created original music that works awfully well.
There are moments of incandescent loveliness — for instance, the singing of newcomer Michelle Mitschrich, which on opening night was particularly memorable. There are no weak links in this cast. That said, the standouts include Roney — displaying a welcome comedic knack — and Melissa Blank who, as ever, displays a sparkle and vivacity that commands attention.
Clayton Jevne directs with verve and vision, ensuring his six-person cast is constantly in motion — and somehow managing to make it look uncrowded on Theatre Inconnu’s small, intimate stage. Exactly the right tone is captured, a slippery balance of humour and pathos. Robert Randall’s set — a jail, saloon, moon, sun — is stylized and bold in a way that parallels the stage action. Period costumes add much, as does the economical lighting.
This is a show with broad appeal. It is true to its artistic vision, yet is also entertaining as all get out. For the man or woman who has everything, tickets to The Collected Works of Billy the Kid might well be the perfect gift.