Eli and the Death Curse
LSPU HALL
January 27, 28, 29, 2023
A timeless fairytale for a modern audience, Eli and the Death Curse weaves music, dance, and storytelling together for a heartfelt, and hilarious, one-act adventure.
Eli had not yet learned much, but he knew enough to realize that the spectre of death had been a dark shadow on him all his life, ready to pounce on any living creature in his presence. Best not to risk it.
But, as it turns out… some things are worth the risk.
Shortly after Eli is born, his parents die untimely and mysterious deaths. A pattern soon emerges; everyone Eli becomes close with (and near to) dies.
Not to fear! Eli meets his true love Lilah, and their dear friend Anne, and together they defeat Eli’s “Death Curse” once and for all.
Eli and the Death Curse celebrates life, friendship, and love. Written by Philip Goodridge, and beautifully told through shadow dance directed by Lynn Panting, with original live music by Kyle McDavid, this show is for everyone.
Eli and the Death Curse is presented in partnership with RCAT and is supported by ArtsNL and the City of St. John’s.
This production is made possible through the RCA 60/40 Box Office Split Agreement.
Rehearsal space provided by Lynn Panting Dance.
Eli in Rehearsal
Eli and the Death Curse
Written by Philip Goodridge
Directed by Lynn Panting
Original Music by Kyle McDavid
Stage Managed by Jordan Vincer
Dramaturgy by Nicole Rousseau
Set Design and Build by James Kelly
Sewing and Alterations by Regina Edwards
Storytellers
Philip Goodridge
Lynn Panting
Bridget Wareham
Shadow Dancers
Andrya Duff
Hilary Walsh
Kevin Woolridge
Musicians
Mahina Graham-Laidlaw (viola)
Kyle McDavid (piano)
Tamsyn Russel (accordion)
Swings
Rose Avoine Dalton
Owen Carter
From the Director
Work is my love language. That’s how I started the table read for Eli and the Death Curse. Work is my love language. Eli and the Death Curse is a love story. Love is the lens through which I approached the design, rehearsal, and production of this show. I hope that you, the audience, feel that.
Phil came to me with "Eli and the Death Curse" in 2009. I have been hooked ever since. I love this show. I love being Lilah. I love having the opportunity to tell this story in 2023.
Eli is, at its core, a fairytale. In the same way that we continue to tell the story of Cinderella or in Newfoundland, Jack Tales, Eli transcends time and place.
In this iteration of Eli, we employ ancient techniques (storytelling, shadow plays, and acoustic instruments) and remix them for a modern audience. The result is unique in the current production landscape. Our musical director, Kyle, struggled to describe the show to a friend- and that is just perfect. This version of Eli is "untellable" and is meant to be experienced.
The shadows in this production speak to darkness, anxiety, fear, and destruction we have collectively experienced and continue to experience. The screens allow the shadow dancers the freedom to fully embody their characters and present them in their truest form.
These shadows are contrasted with the colourful character performances expressed by our storytellers. Erratic, dramatic, and caterwauling these performances are dynamic and bright.
It is the music that weaves between the worlds of light and dark, connecting our forward-facing selves and our inner truth.
I am deeply grateful for the trust and generosity of the cast and crew. I would like to acknowledge the heroes of this production, our swings, Rose and Owen. Swings are at once a luxury and a necessity. Your hunger for mentorship, enthusiasm, humour, and professionalism is beyond reproach. As Andrya says in her bio, thank you for protecting this piece.
Thank you to Nicole for her work as dramaturg and for so graciously and lovingly passing on the director reigns to me. Your support and confidence have meant the world.
Kyle, you are a genius. Let’s work together forever.
Phil, you are really in it now. The gift of Lilah is the greatest love letter I have ever received. I hope this production matches it as my gift to you.
Much love to all. This show is for you.
From the Playwright
The world is a challenging place. I’m sure I’m not only speaking for myself when I say this has caused me distress off and on to varying degrees since I was a child. The first few pages I wrote of this play, almost 15 years ago, reflect that (and still do), and as I wrote them I didn’t know where this distress would lead.
Without really knowing it, I began to pour into the script the things that could soften this anxiety, the things that comfort and inspire me, the things that give me a moment of joy.
Even still knowing that fear and darkness still exist all around us. The world will always be a challenging place, truly, and those worries may never completely disappear. But it’s our actions, big or small, our support for one another, and how and with whom we choose to spend our time on this earth that makes it all worth it.
This is a story about love, hope, and kindness.
From the Composer
Creating the sound of Eli’s world has been such a joyous, freeing process. Not-quite-a-musical, not-quite-a-play, and not-quite-a-ballet, this production finds its own path in the woods.
Philip’s story feels like an uninhibited return to childhood wonder, somewhere at the intersection of The Little Prince and Hansel and Gretel, where darkness looms amidst the colourful characters and life lessons. With that aesthetic in mind (and some musical inspiration from Peter and the Wolf and The Friendly Giant), I arrived at the early workshop rehearsals armed with a collection of melody fragments, instrumentation ideas, and most importantly, the wiggle room to sculpt, tweak, cut, and mould the piece as the acting and movement evolved.
What emerged is a tapestry of quirky little morsels: a frantic, repetitive piano riff to match the unhinged energy of the Costume Mistress; a wistful, sentimental tune as Lilah’s heart dissolves; obnoxious pounding of a floor tom in 5/4 time while the viola mimics a car horn to enhance the cantankerousness of the Angry Man; grotesque, twitchy viola riffs acting as “the kind of sound that requires investigation.”
Thank you, Mahina and Tamsyn, for your musicianship and for jumping into this unconventional process without hesitation.
Thank you, Phil, Lynn, and Nicole, for giving all of us the space to find the right path.
Enjoy the show!
We respectfully acknowledge that the land on which we tell this story is the traditional territory of diverse Indigenous groups. We acknowledge with respect the diverse histories and cultures of the Beothuk, Mi’kmaq, Innu, and Inuit of this province. We commit to listening to, learning about, supporting, and celebrating our past, present, and future Indigenous communities.
Thanks:
Darren Ivany, Vanessa Cardoso Whelan, Claire Garland, Geraldine Hollett, Diedre Gillard Rowlings, Théa Morash, Nicole Rousseau, James Kelly, Regina Edwards, Lynn Panting Dance, Leslie Pierce, Vanessa Matthews, Terry Howlett, Prince of Wales Collegiate, Terra Bruce, Geoff Panting, Mark Coaker, Alan & Eileen Goodridge, Don & Elizabeth Coaker, and Stef Curran.
A special thanks to the team at the Hall for going above and beyond: Suzanne, Kevin, Nicole, August, Kat, Reg, Phil, Brandon, and Heather- you are the collective bomb-dot-com.
