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For the ‘Pleasure’ of suspense at Gateway

Gateway Theatre play charts how a boy is shaped by his mother and her stories
Gateway season opener
Margo Kane and Kevin Loring star in Gateway Theatre’s season opener, For the Pleasure of Seeing Her Again, a funny and highly recognizable take on the mother-son dynamic. Photo submitted

No audience deserves having its ending ruined by a review — that’s what Google is for. This one, on For the Pleasure of Seeing Her Again, will only advise.

Michel Tremblay’s play isn’t some hockey game where exits tease fans of a losing home team. The renowned Quebec playwright has crafted an ending worth sticking around for, and one that sparkles at Gateway Theatre. Not that this brilliant cast of two would have anyone eyeing the exits anyway.

This 100-minute drama is about the relationship between a mother and son told from Tremblay’s own experiences. This production is raucous, raw and at times satisfyingly real.

For the Pleasurepaints portraits of the relationship between Nana (Margo Kane) and son (Kevin Loring), the narrator, in a 10-year period. They converse over a childhood prank, favourite books, rare roast beef, annoying relatives and TV actors.

From the outset we’re warned Nana “talks a blue streak,” and enjoys exaggeration and melodrama. She adds images to words—as in anger wouldn’t cause her to simply explode, but explode like a pressure cooker requiring her to be scraped off the ceiling.

Armed with endless energy, actor Margo Kane brings something special to the role. She shines brilliantly, adding ample life to a character as the playwright no doubt intended. Memorable is a re-enacting of her dreaded niece’s ballet recital, in which Kane gives us a hilariously cringe-worthy Cinderella.

As son and narrator, Kevin Loring is also a treat, giving us a clear character who grows from a mischievous 10-year-old boy to a compassionate young adult caring for his ailing mother.

For the Pleasureis a personal story. It’s the playwright’s tribute to his mother who never lived to see his first successful play. Yet the nearly 20-year-old script’s success is its universality, achieved by illustrating how a boy is shaped by his mother and her stories.

Performed on a refreshingly bright set, Gateway’s production is honest and sweet, managing to stir emotions without leaving us dewy-eyed.

Plays pack promise when the house lights dim.

This one doesn’t disappoint.