Misterman

Prairie Coast Productions—CCFM Salle Pauline-Boutal

With its core theme of the use of rigid conservative morality to justify violence against those arbitrarily deemed unworthy or inferior, Prairie Coast delivers a timely performance of Edna Walsh’s ‘Misterman.’ Rather than finding comfort in religious faith, the character of Thomas wields it punitively with little nuance or remorse. His misery and withdrawal from society is self-imposed, though he fails to recognize it as such. The play is unflinching in its portrayal of moral absolutism and isolation being twisted into superiority and hostility.

The production leans into the play’s thematic darkness with precise use of sound, light, or lack thereof and is anchored by a fiercely committed solo performance. Actor Daniel Tompkins brings impressive physicality and energy to the role, fully embodying a range of characters, with seamless physical transitions that help clarify the fractured narrative. However, while the physical distinctions between characters are clear and effective, his vocal delivery is less varied. Tompkins begins at a high level of intensity and rarely pulls back, which over the course of the play can become overwhelming. A greater range in vocal dynamics would allow for more texture, and emotional build throughout the performance.

That said, Tompkins still elicits empathy for his violent and misguided protagonist. Through his performance, the audience grasps the profound loneliness in his failure to find belonging or connection in his community. This emotional throughline pays off in the play’s final moments, where the actor lands a heavy conclusion with skill and restraint.

This performance is a relevant and unsettling portrait of how easily righteous suffering can curdle into violent judgment, especially when warped by isolation and a desperation for respect from those feeling a lack of power, support, and agency in their lives.

Ashley Frantik