Matthew MacKenzie and Mariya Khomutova in ‘First Métis Man of Odesa’, Photo by Dahlia Katz
An aspect of A Charlie Brown Christmas I find so perfectly endearing is an awareness that the voice actors are children who haven’t rehearsed all the rough edges out of their delivery; they are reading dutifully from scripts. It’s stilted and awkward yet it works because it feels undeniably real—that focused diligence as they wrap their gawky voices around the text.
Of course, Matthew MacKenzie and Mariya Khomutova, in telling their true love story, do not come across as under-rehearsed children, but there is a distinct stand-and-deliver quality that feels purposeful, delicate and persuasive. Never getting caught up in the more intense emotions, but describing them with poetic and meticulous attention to detail, they are the impassioned, human core of Punctuate! Theatre’s First Métis Man of Odesa, presented by Soulpepper, a poignant and thrilling epic that feels both sprawling and intimate.
Two accomplished theatre artists from separate continents, MacKenzie and Khomutova paint a vivid portrait of their courtship and union, forged through pandemic travel bans and the Russian invasion of Ukraine. Their evocative re-enactment is framed, quite appropriately, by the trappings of theatrical convention. Production designer Daniela Masellis surrounds them with classical stonework proscenium, fringed in red velvet, and a gauzy curtain they pull across the stage as needed.
Director Lianna Makuch provides an environment teeming with restrained yet expressive spectacle. As MacKenzie and Khomutova affectionately celebrate the qualities that sparked infatuation and drew them together, Amelia Scott’s projections catch on textured surfaces and conjure an expansive canvas. From romantic starlight and iridescent waves to the billowing smoke of war—their colourful journey is rendered with immersive, lyrical imagery.
Negotiating a life between Canada (MacKenzie’s homeland) and Ukraine (Khomutova’s), their cultural collaboration feels charged and magical, full of precarious, exhilarating episodes. Their wedding begins with a suspenseful series of stopovers as MacKenzie hops across Europe, not knowing until the last second if the travel ban will be lifted in time for his arrival in Ukraine. Merely days before going into labour, Khomutova’s health care status is in bureaucratic limbo. Their son Ivan, their greatest collaboration, is also a hopeful symbol of future possibilities—a bright star in the darkness of a conflicted world.
When Putin’s invasion of Ukraine shatters the lives of Khomutova’s friends and family, splitting them into “before and after,” MacKenzie’s impulse—to turn their pain into art—drives a wedge between them. As the devastating situation unfolds, it provides an opportunity for her mother, Olga, to bond with her son-in-law. After taking her in, her intrusions upon his childrearing cause MacKenzie significant (and comedic!) consternation, but ultimately leads to a greater understanding and appreciation.
Khomutova, too, has a stirring moment of enlightenment as she takes a vacation from her new family, desperate to recapture the freedom of youth, in an impromptu trip to Niagara Falls. In one of the most meditative passages of the play, she notices the fear in a young Ukrainian girl’s eyes as fireworks trigger her war trauma. This encounter strengthens her resolve and propels her towards the creation and catharsis of the very play we’re witnessing.
Never veering into sentimentality yet fully emotional, MacKenzie and Khomutova convey a deep mutual respect and devotion. Both the awful toll of a war’s displacement and the joyful surge of loving discovery are keenly felt throughout. This is a whimsical work, containing multitudes, rendered with a masterfully light touch.
First Métis Man of Odesa
running May 8 to 19, 2024
Young Centre for the Performing Arts (50 Tank House Lane, The Distillery)
running time: 90 minutes (no intermission)
Matthew MacKenzie and Mariya Khomutova in ‘First Métis Man of Odesa’, Photo by Dahlia Katz