Casey and Diana: A Hilarious and Moving Tribute to Love Amidst the AIDS Crisis
In Casey and Diana, playwright Nick Green crafts a profoundly moving tribute to the enduring power of love, where characters with seemingly little reason to hope discover comfort in acts both monumental and minute. This production, a joint effort between Edmonton's Citadel Theatre and Calgary's Alberta Theatre Projects, will grace the stage at The Citadel until April 26, offering audiences a poignant glimpse into a pivotal historical moment.
A Historical Backdrop of Compassion
The play is set in October 1991 within Toronto's real-life Casey House, an HIV/AIDS hospice founded by journalist June Callwood and named in memory of her late son. The residents receive electrifying news: Princess Diana is scheduled to visit and meet with them in just seven days. This visit occurred at the height of the AIDS crisis, a time when fear and prejudice had tragically ostracized those afflicted by the then-fatal disease. Diana's decision to touch patients and listen to their stories sparked headlines worldwide, symbolizing a powerful act of compassion and human connection.
Characters Forged in Adversity
Inspired by this true story, Green introduces two central characters who embody the hospice's spirit. Thomas, portrayed by Nathan Cuckow, is a sassy older veteran of Toronto's gay scene and a former waiter at the iconic Frankie's Diner. His face bears the large purple lesions of Kaposi sarcoma, a cancer once common in late-stage AIDS infections. Yet, the mere prospect of meeting Princess Diana transforms his expression into one of uncontainable, bubbly joy.
Andre, played by Josh Travnik, represents a contrasting figure: young, withdrawn, and facing death before truly experiencing life. Both are patients at the hospice, largely abandoned by their families, finding an unexpected community within its walls.
The Transformative Power of Anticipation
The anticipation of Diana's visit becomes a lifeline for the residents. Thomas is so exhilarated he babbles like a child at Christmas upon her appearance, vividly recounting the televised spectacle of her 1981 wedding to Prince Charles—the royal carriage, the trumpets, her dress resembling "a giant ball of Kleenex." He even whimsically declares, "When I go, I want my ghost to have a train."
This hopeful energy permeates the hospice. Remarkably, as was reportedly the case during the actual visit, no one dies in the week leading up to the event. Thomas insists that hope has a sound—"a faint, warm ringing in your ears"—a sentiment beautifully underscored by designer Allison Lynch's haunting soundscapes.
Diana's Silent, Powerful Presence
Princess Diana, portrayed by Emily Howard, serves as a powerful foil throughout the production. Her lines are deliberately limited, maximizing her role as a symbolic figure of empathy. Howard masterfully captures Diana's signature expression: chin dipped down, lashes tipped up, mouth in a tender half-smile, embodying the People's Princess's compassionate aura without need for extensive dialogue.
A Richly Layered Narrative
Directed by Lana Michelle Hughes, the play revolves around the royal visit but is satisfyingly enriched by three additional revelatory characters, rounding out the narrative. Green, a graduate of the University of Alberta's BFA program now based in Toronto, skillfully balances humor and heartache, ensuring the story resonates on multiple levels.
Andre's subdued enthusiasm provides a counterpoint to Thomas's exuberance. Struggling with a sweater now far too large for his frail frame and estranged from his mother, Andre's journey underscores the personal tragedies intertwined with the broader crisis.
Casey and Diana ultimately delivers a hilarious yet deeply human story, reminding us that even in the face of death, joy and connection can be found through love, community, and the simple, profound hope of a royal handshake.
