Love in Water, Life as Waves
Young love; a concept so culturally synonymous with misfortune and tragedy, with fleeting beauty. From Greek mythology’s Orpheus and Eurydice to Shakespear’s Romeo and Juliet, not a soul can doubt this eternal story of mystical love and misery has lived and will live forever in the hearts of playwrights and enjoyers. Joining this famed roster from within our very own Edmonton, Alberta is the heart-wrenching musical Cliona’s Wave, written by Ethan Bintu-Watt and directed by Ocean Pettigrew. Debuting at this year’s Fringe, this classic yet innovative tale incorporates Celtic lore and Irish pub life with the stories of old, forging something truly unique.
Based on the Irish tale of Cliodhna, the goddess of love, and the tragic end of her relationship with her mortal lover Ciabhan at the hands of the sea god, Cliona’s Wave encapsulates all the beauty and devastation love may lead. Following the sarcastic yet timid baker Niall, played by Kohen Foley, and his bolder, more outgoing pub-band lead singer counterpart Saorsie, played by Katie Moran, as they navigate blooming love and consequence, this musical opens on an incredibly endearing note. From pushy friends to bar ballads, the entire first act of Cliona’s Wave will have you completely endeared to the entire cast, barring the aggressively antagonistic dock owner Padraig, played by Zakary Matsuba, who unfortunately happens to be Saorsie’s father. Tensions regarding Saorsie’s freedom culminate into an outburst of anger, fear, and guilt, barrelling the previously heartwarming story towards the ultimate, doomed end of all young romance in theater.
Firstly, I must applaud the incredible work of Ethan Bintu-Watt. From gorgeous harmonies within the band and ensemble to quippy lines that had the entire audience laughing in seconds, Bintu-Watt’s talent for all things musical theater deserves an incredible applause. I especially loved the incorporation of Gaelic into a few of the musical’s songs as well as the inclusion of Irish pub classics. Of course, this production could not be possible without the performers on stage either. A few standouts for me were the pub band trio of Katie Moran, Ashlin Turcotte, and Autumn Chugg, whose tight and well practiced harmonies throughout the musical did not go unnoticed. Their song Molly Malone had my jaw on the floor from their musical precision. Additionally, the duo of Niall and his lazy, yet well meaning best friend Charles, played by Malachi Short, had incredible stage chemistry on stage, especially shining through in Friend Song.
Besides the cast, the crew was incredible as well. The scenic design by Bintu-Watt was simplistic yet effective, using various wooden planks as docks, stages, and cliffs-- whatever the scene called for. Quinn Woodruff’s lighting design was no less innovative, using the lighting to both immerse the viewer and invoke feeling as the story called for either. One of my favourite moments in the show was the scene in which Niall and Saorsie shared a moment atop a cliff overlooking the Irish coast, a moment that was most definitely heightened by the use of a spotlight to mimic a lighthouse’s beam. Not only did this one choice add to the atmosphere, but also the deeper message of the musical.
The love, dedication, and talent that went into this production is obvious; nothing but the labour of love could produce such an artistic, timeless musical. If you have the chance to watch it, I highly encourage you do; whether you stay for the jokes or the heartbreak, I promise you will love it-- and when you leave, look at those you love knowing that life is fleeting as the ocean, but love is eternal.