Chit-chats over quests for equal socio-economic rights, laced with observational quips, explorations of economic theories and academic meanderings between sexual escapades may not seem ideal for comedic fare, but Every Little Nookie is an exception to that unwritten rule.
Add to that curious ideological mix, in the form of a permanently affixed slide descending into a cozy boomers’ bedroom or alternately multi-participants’ cash-producing orgiastic sex romps, and you have innovative playwright Sunny Drake’s laughfest touched by pathos.
Enjoying its world premiere at the Studio Theatre, the plot follows empty-nesters Margaret and Kenneth as they muddle uneventfully through their supposedly comfortable mid-life existences at their home and their luxuriant cottage. They bide their time with board games while going through the perfunctory motions of chit-chat devoid of genuine emotion and substance.
He once dabbled in communal living with the pathetically sad result of losing his then girlfriend but now has to contend with his quarrelsome business partners over the mundane matter of office décor.
Meanwhile she hypnotically attends to daily wifely chores without complaint or question, initially unaware that life-altering transformations for her may well be just around the proverbial corner.
Deviation within the couples’ lifestyle – highlighted by never-ending rounds of exchanging pleasantries while trying to find that perfect spot on their unnecessarily large king size bed – is about to arrive courtesy of their queer daughter Annabel, also on the verge of confronting major twitches to her personal circumstances.
Saddled with a paltry regular income the cash-starved artist lives in a rental unit, generously described as meagre, she has been surreptitiously adding coinage to her account by staging weekend swingers’ parties for sexually eager middle-aged residents of the suburbs at her parents’ home.
Her cohorts include her current partner Grace, a social justice freak making ends meet as a part-time time Santa Claus; a hyperactive non-binary buddy and Grace’s lover Smash and Crystal, a brilliant feminist academic who adds spice to her resume as a sex worker.
For Annabel there is now even more on her plate as she embarks on a relationship with separated single dad Matt, rather overly eager to become an active participant in the quartet’s milieu. Now she must address two unenviable tasks on the horizon of outing herself to mom and dad as polyamorous while asking for financial assistance to help keep the landlord fiscally happy.
What was clearly apparent with the opening night performances – frequently greeted with raucous and lengthy cheers of approval from the audience – is the importance of proper casting for such a bold enterprise as Every Little Nookie so hats off to Beth Russell.
Sighting the legality of those two famous critics ‘trademark reliance on thumbs, let’s say my verdict is a unanimous toes’ up for pitch perfect selections all around. Marion Adler and John Koensgen as Margaret and Kenneth demonstrate the perfect blend of initially uncomfortable parental fear, followed by their own unique acceptance of impending newness in their lives.
It’s essential Annabel is the composite of a wide range of differing emotional and mental personal elements and Rose Tuong never falters in broaching their challenges with youthful vigour, quintessential humour demanded by the role and sometimes an appreciation for reflection.
Stephen Jackman-Torkoff’s wildly energetic Smash is an over-the-top visual delight as they meet and cope with their individual tests, addressing mounting pressures with their unique blend of boundless physical energy, well-timed verbal humour and ultimately with humanity.
Crystal, the academic with expertise in sex work, is brought to life by Verónica Hortigüela, most notably in the touching scenes of thoughtful exploration with a confused but willing to bend the rules to a degree Kenneth.
Portraying Grace with exuberance, Antonette Rudder (in place of Khadijah Roberts-Abdullah) captures the trials and frustrations of tackling never-ending social injustices while momentarily dispatching her monetary needs in the more traditional role of a part-time Santa Claus.
Richard Lam as Matt succeeds in showcasing the on-again, off-again needs of single dad, adding a subtly humorous touch of eagerly embracing his new-found role in this quirky band of new-age buddies.
Rising from the ashes in fine form is the gifted Robert King as Phoenix. He provides a key element in changing Margaret’s morass existence by, calling on his past communal experiences to subsequently re-activate her intimate aspirations with some much-appreciated physicality.
For such a fast-paced production of about two hours (with a 20-minute intermission), a quick-thinking and acting director is requisite so ted witzel is on the spot with a sure hand, rapidly responding to any and all sequences both scripted or otherwise should they arise.
The award-winning playwright Drake has masterfully created a socially significant work filled with ever-present and audience-appreciated wit and new age charm, slices of poignancy and, lest we forget those perquisite hints of nookie, snippets of what the Brits call “naughty” bits of dialogue and for good measure an extended sequence highlighted by full frontal nudity.
Truly fun for the whole family, irrespective of what kind of unit it may, the wonderfully delightful Every Little Nookie continues at the Studio Theatre until October 1.
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