House of Kosa [Theatre review]

Last week, I had a chance to check outThe House of Kosa on opening night. The House of Kosa is a TigerMilk production that takes place at the PAL Theatre in Coal Harbour. It was a bit of a surprise as I sat near one of the actors who performed in The 21st Floor (very nice guy, by the way) and near the director of Nelly Boy (a production I’m hoping to go and see). Actors, producers and directors are very keen and analytical about their peers’ productions, I can tell you that!

The preview offered a bit of insight into what to expect in this deconstruction of the haute couture industry.

A chorus of models, moonlighting as seamstresses in a basement sweatshop, unweave the twisted workings of the family that inhabit the House above them. The Mother (played by celebrated dancer/choreographer, Barbara Bourget) is in the attic creating the intricate designs, while devising the future of her family. The Father (Michael Springate) is at the breakfast table encouraging his Daughter (Kirsten Slenning) to recount her latest tale of front page debauchery.

I have to say that there were many, many good things about House of Kosa, and one thing that I would recommend they change. House of Kosa is experimental and, in my view, de-constructionist. As we follow the evolution of The Daughter’s twisted behaviour and the dominance of The Father’s anachronistic views of women and their role in society (sometimes The Daughter and The Mother seem to be slaves to the latest whim of The Father), we are reminded of how perceptions shift as we change vantage points. As a witness to The Daughter’s erratic behaviour, I felt as though I understood where she was coming from. Wanting to break free from The Father’s subjugation, The Daughter embarks in night after night after night of debauchery, while the chorus of models remain an omnipresent fixture in the House of Kosa.

I am a big fan of experimental theatre, but if there were something I’d want to suggest to the director and producer is to either cut the play short or divide it with an intermission. Two straight hours of heavyweight, intense and strong acting that demands the attention of the audience to every single detail (otherwise you lose the thread of the argument that House of Kosa is posing) took a bit of a toll on me. Granted, I’ve been working 12-16 hour days, so maybe that was also the case.

At any rate, House of Kosa is a very good production, and I encourage my readers to check it out. The acting is fantastic, and I personally enjoyed the play.

Disclosure: The tickets to attend the play and a previous pair of tickets for a lucky reader were sponsored very generously by the production team of House of Kosa. In any review I write or publish on my site, I retain editorial control at all times. Should you have any questions/concern feel free to contact me via e-mail through my contact form.

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