A unique aspect of Daisy is the plot’s relevance to the divisive political landscape that permeates society today. In Daisy we encounter what the writers presume to be the inception of the modern day ‘attack ad.’ Its irreversibly deleterious effects upon American politics and the integrity of political campaigns are as discussed and feared then as they are now.
Theatre: this is an “until death do us part” situation, and I’m not going anywhere. I’m here for you through the rough patch.
The Great Canadian Theatre Company is starting their season with a topical political drama that tackles both police violence against Black youth and artistic appropriation, raising simultaneous questions of who gets to tell the story and why the story exists at all.
There is enough personal and professional intrigue to earn the play’s description as being about “the abuse of power, political expediency, and the masks we wear to carry on as if everything is as it should be.” I think, acutely aware of my privilege as a white cisgender male, the key word here is abuse.
Starting in their 2018 season, the GCTC will be turning one of their plays into a podcast and putting it out for free.
What happens when a politician orders a murder to slip by in a vote? Comedy! And if Healey was aiming for a comedy he certainly succeeded, with a cast of hilarious characters, rants against Canadian Tire, a quest to find Triscuits, a splendidly performed awkward post-sex scene, rants against twenty-somethings and excellent use of the word “fuckwit.”
