A poetic ode to the universal
search for belonging
Infinithéâtre presents the world premiere of Dominoes at the Crossroads
By Irwin Rapoport
Updated March 14, 2024
The world premiere production of Dominoes at the Crossroads, a play based on the novel by Kaie Kellough that captures the essence of Montreal’s diverse landscape, began its theatrical run on March 7, with performances taking place until March 16.
Adopted and directed by Infinithéâtre’s Artistic Director Zach Fraser in collaboration with its creative team, the play tackles multiple themes that will intrigue audiences.
“Kellough’s poignant storytelling navigates themes of displacement and the search for home, delving into the intricacies of identity in a world where cultures intersect and intertwine,” states the press release for the play. “Exploring race, history, and coming-of-age by way of confessions and dreams, Dominoes at the Crossroads offers a poetic ode to an epic and universal search for home and belonging, gently anchored into port here in our eclectic city that is Montréal.”
Kellough is a Montreal-based novelist, poet, and sound performer. His most recent novel, Dominoes at the Crossroads, was the 2020 Winner of the Quebec Writers’ Federation’s Paragraphe Hugh MacLennan Prize for Fiction and a long list for the Scotiabank Giller Prize. His other works include Magnetic Equator (poetry, McClelland and Stewart 2019), and Accordéon (novel, ARP 2016).
Zach Fraser is very pleased to bring this novel to the stage. “One of the most rewarding aspects of our activities at Infinithéâtre is getting to work with writers and storytellers living in Montreal here and now,” he said. “The development process for this production has been truly inspiring, collaborating with a multitude of distinguished artists to bring this unique collection of short stories to life on the stage. Kaie’s universe transports, informs, and leads us to inward contemplation. This offering is a little unconventional, and that’s a place we love to play at Infinithéâtre.”
The dynamic cast features Kym Dominique, Alexandra Laferrière and Jeremy Lewis. They will be joined on stage with live sound design and composition by Riel Reddick-Stevens.
Kellough’s poignant storytelling navigates themes of displacement and the search for home, delving into the intricacies of identity in a world where cultures intersect and intertwine.
– Infinitréâtre Press release
Director Zach Fraser sat down with Westmount Magazine for a Q&A about the production and the many steps that led to the transformation of the novel into a play.
WM: What attracted you to the novel?
Fraser: I first came across Dominoes at the Crossroads a couple of years ago at the Drawn & Quarterly bookshop just around the corner from our Infinithéâtre office. I admit that I was looking to discover new local authors. But what particularly caught my interest with Kaie’s writing was the playful and fluid storytelling that blends historical events with dream-like reveries and possible futures. Kaie’s writing can transport the reader while also suspending us in reflection. I’m continually looking for dynamic and thought-provoking works and good, compelling stories that may have potential within a theatrical universe. Dominoes at the Crossroads is not a straightforward fit for theatre but it was still a transformation that I was curious to attempt.
WM: How would you describe the process of converting the book into a play? Who was on the creative team, and were there any challenges?
We were fortunate to be able to delve into a creative development phase of exploration with a group of theatre artists – actors, musicians, and designers – and to find the essence of the book that would become the skeletal structure for our stage production. We’ve benefitted from a wonderfully talented and generous group of artists who have worked on the play throughout its development. Of note, I would highlight two artists, Alexandra Laferrière (actor) and Tim Rodrigues (lighting designer), who have been a part of the process throughout. Both Tim and Alex have many ways in which the cultural roots of this show resonate with them as artists, and their voices and perspectives have been invaluable through the process. All the artists involved have been tremendous collaborators, and I hope they feel their work coming to life in this piece.
‘… what particularly caught my interest with Kaie’s writing was the playful and fluid storytelling that blends historical events with dream-like reveries and possible futures.’
– Zach Fraser, Artistic Director, Infinithéâtre
WM: Did the author lend a hand?
Kaie Kellough, the author, has been extremely gracious and generous, supportive at a distance, allowing our theatre team to plunge into his universe. We’ve had a few conversations throughout, and early on in rehearsals, Kaie came in to speak about his writing inspirations. I always feel appreciative of authors willing to trust their words, stories and characters into the hands of others.
WM: When did you start assembling the cast, and what qualities were you seeking in the actors?
Fraser: Our first development workshops began a few years ago, but the actual production team was formed over the last six months. The four performers onstage were invited into the process for their personal skills and qualities as artists and also for their comfort and spirit as collaborative artists. I always hope that a work resonates with the artists involved, so of course, that was a significant factor, too. It all begins with a conversation.
WM: What are the methods you employ to maximize the actors’ performances? When do you know that you have achieved a certain level of perfection?
Fraser: I’m very fortunate to wear many hats within the theatre community, as many of us do! I teach in the theatre department at John Abbott College and sometimes at the National Theatre School of Canada. While it wasn’t a deliberate factor in the casting, three of the four performers on stage are former students. We know each other’s ways of working and that often allows a certain shorthand in the work. We often feel a little more at ease in knowing when we can push a little further in the work and when humour can help the creative process. A certain comfort in knowing how best to push each other creatively is very useful. And I like to think it goes both ways. I feel a certain comfort to push them, but they also feel a certain comfort to push me. And I do like stylized performance at times. And my pleasure at working in the realm of physical theatre, with masks and puppetry, often seeps into my work with actors, as well.
‘I believe some of the themes in this play will resonate deeply with some audiences. But I also imagine the play will leave many audiences with questions and a greater curiosity about our shared history and place in this world.’
– Zach Fraser, Artistic Director, Infinithéâtre
WM: What do you hope audiences will take home from the performances?
Fraser: I think I always strive to create theatre that encourages reflection and dialogue that is playful and energizes, but that also awakens our emotions, compassion, and a need to engage in the world around us. I believe some of the themes in this play will resonate deeply with some audiences. But I also imagine the play will leave many audiences with questions and a greater curiosity about our shared history and place in this world.
WM: What’s next for Infinithéâtre in terms of upcoming productions and initiatives?
Fraser: Well Irwin, funny you should ask. It’s a very busy season at Infinithéâtre. After our fall production of Extra/Beautiful/U presented at the Centaur Theatre and this current production of Dominoes at the Crossroads, coming up in April, we have the world premiere of Drew Hayden Taylor’s Open House, directed by Black Theatre Workshop‘s artistic director Dian Marie Bridge, and featuring a stellar team of artists. Drew was our artist-in-residence a couple of years ago with the support of The Cole Foundation and we’re thrilled to finally bring the play to life at Factory Studios just around the corner from the CBC building. The show runs April 18 to 28, and it’s a playful and pointed piece of theatre that only Drew could create!
Infinithéâtre has been working really hard this season to produce compelling, innovative, and thought-provoking theatre. The best way folks can support local arts and culture is to come to our events. We have very accessible ticket pricing and we can’t wait to see Westmount Magazine’s readers at our shows!
For more info about Infinithéâtre’s programming. visit infinitheatre.com
Review
Dominoes at the Crossroads, a brilliant performance piece of theatre
By Byron Toben
March 14, 2024
Infinithéâtre has chosen Black History Month to stage its challenging adaptation of Kaie Kellough’s prize-winning book, Dominoes at the Crossroads, and it is superbly done. Adapted and directed by Zach Fraser, in an energetic mode, it is a mélange of events dealing with the black diaspora in Canada and elsewhere. This whirl through time and space is enunciated by three unique performers playing myriad roles as revolutionaries, slaves, students, etc., in a mishmash of historical events and crises with lots of stage movement, arm freezing and bouncing in a jeep.
‘Infinithéâtre has chosen Black History Month to stage its challenging adaptation of Kaie Kellough’s prize-winning book, Dominoes at the Crossroads, and it is superbly done.’
The migration of Caribbean people to Canada, highlighted with saxophone music, the crash of the Challenger space rocket in 1986, the conquest of Quebec and the painting thereof of the death of General Wolfe, the sale of the Ritz hotel, and statuettes of Nubian slaves, kept the cast of Kym Dominique, Alexandra Laferrière and Jeremy Lewis gainfully employed. I hope to see them in some other shows in future.
Dominoes at the Crossroads opened at the MAI on March 10 and runs until March 16. Highly recommended.
Images: Maxime Côté
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Irwin Rapoport is a freelance journalist with Bachelor’s degrees in History and Political Science from Concordia University.
Byron Toben, a past president of The Montreal Press Club, has been WestmountMag.ca’s theatre reviewer since July 2015. Previously, he wrote for since terminated websites Rover Arts and Charlebois Post, print weekly The Downtowner, and print monthly The Senior Times. He also is an expert consultant on U.S. work permits for Canadians.
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