The Lodger is on Calgary’s doorstep
Katrina Ebuenga, Staff Writer
Be careful of who you welcome into your home, because not everyone is truthful about who they truly are.
Opening Vertigo Theatre’s 50th anniversary season, The Lodger will have audiences wary of those sitting in close company.
Set to open on stage from Sept. 26 to Oct. 25 at Vertigo Theatre, with tickets available for purchase, this bone-chilling production will have audiences in anticipation for what’s to come next.
After struggling to make ends meet, Ellen and Bill Bunting are eager to start fresh with a too good to be true opportunity, which arrives in the form of a mysterious lodger. Just when things seem to be aligning for the couple, a string of murders are dropped on their doorstep, with all traces leading back to Bill.
With a serial killer now on the prowl, Ellen tasks herself with uncovering the truth before another young woman falls victim.
Based on the classic novel by Marie Belloc Lowndes and inspired by Alfred Hitchcock’s renowned 1927 silent film, this modern performance promises suspenseful tension and deceptively smart characters.
Joining forces to craft an unforgettable night, Canadian novelist Susie Moloney and Canadian playwright Vern Thiessen blend together their creative talents to bring a whole new take on the novel and film.
“We’re most excited about people seeing a brand new play, and we’re excited about how they’re going to react to that,” says Thiessen.
In their gripping reanimation of the classic, Moloney and Thiessen amplify the suspenseful atmosphere by situating the play during a time of on-set social upheaval.
“It’s set in the 70s, which in my opinion, is an undermined decade of drama simply because there was so much social change going on,” Moloney says. “There’s this coexistence of a backlash against feminism and acceptance of feminism.”
Theissen adds that not only was social change on the horizon during this period, but it was also the golden age of the serial killer, when police departments were distant and communication was scarce.
However, despite the production rolling back the clock, the characters have been curated to appeal as relevant to modern audiences. Moloney has designed a leading female character that, hopefully, younger generations find relatable.
“We talk a lot about men’s bad behaviour, but we don’t talk a ton about how women make choices that are self-serving,” Moloney explains. “So a lot of the era of the 70s, in spite of the women’s movement and the gains that we made, there were still a great deal of things that we couldn’t do.”
The creative pair have thus developed an engrossing story that is both entertaining and vocal in its depiction of modern-day issues that persist.
“Women had to navigate these two worlds: one where we were becoming more autonomous, and the other where we were still very dependent on men,” says Moloney.
Despite the play’s core being a layered web of mystery and suspense, the serial-killer narrative encompasses themes that extend beyond the stage. Moloney and Thiessen draw on elements from across the horror and thriller genres to create a story that tackles topical issues.
“I’m talking about how women’s rights are being attacked, and how women’s rights are being removed all over the world,” emphasises Moloney. “We’re not victims, but we are prey.”
The production’s commentary still goes hand in hand with the characters’ transplantation into this era of great change and uprising, allowing audiences to see themselves in a character like Ellen and feel a direct connection with her.
“There’s a lot of moments I think where the characters, even though they’re acting according to their characters, are still surprising,” says Moloney.
Alongside classic themes being shown through a modern lens, the set has been designed to elevate the play into an immersive experience. The Lodger, created in collaboration with an extensive creative design team, is filled with shocking twists.
The set features a unique double view of characters that plays into the mysterious and captivating lure of the stage design, which is configured for the audience to observe and experience.
“There are a number of murders that take place in the play, and how those are done, and how they are staged, are something that I think will surprise the audience,” says Thiessen. “I think the audience will be on the edge of their seats.”
With the aim of prompting viewers to question what they would do in this situation and what choices they would make, Moloney and Thiessen are excited to see how the audience reacts to the production.
“We’re really just hoping that people walk out and are really excited by what they’ve seen,” says Thiessen.
