Unidentified Human Remains & the True Nature of Love at SiLo

By FRANCIS TILL

Canadian author Brad Fraser would have been about 30 when he finished the four-year writing process that resulted in this 1989 romp (the movie came later, in 1993) about love, sex, loneliness and serial murder among his then-peer group.

Biographical in many of its details, the play, which scandalised numerous minor communities on the way to achieving the cult status it now rightly enjoys, is set in Edmonton, Fraser's home town, and stars a bi/gay waiter, David (Shane Bosher), whom Fraser patterned on himself.

Even though it is no longer scandalous, the seven-actor play is still great entertainment, for all that its Mr Goodbar aspects have acquired an undertone of provincial naivete.

What were probably blind curves in a twisty plot 14 years ago have been pretty well straightened out by time, even while changed expectations have robbed misogyny and homophobia of their surprises. What's left is the comedy, pinned like a decorative carpet to floorboards of longing, anomie, brutality and death: a potentially rich mix exploited here mostly for its froth.

The text is suffused with dry wit, much of which is delivered with considerable style by Bosher. What really lifts the production, however, is a generally exceptional cast batting above the script's weight, complemented by direction (Colin Mitchell) that provides clear lanes and tight pacing.

Of particular note are performances by Mia Taumopeau as Benita, an exquisitely costumed, clairvoyant prostitute, and Edwin Wright as David's psychotic childhood chum, Bernie. Where the rest of the cast does a terrific job of dealing with issues of sexual ambiguity and emotional confusion, these two provide darker, hypnotically riveting journeys that compellingly ground Fraser's otherwise airy universe.

One caution: avoid noticing, if possible, the saccharine, Friends-clone closing moment.