The Supine Cobbler opens at Maggie Tree

The Maggie Tree once again prepares to set tongues wagging with its run of The Supine Cobbler at the Backstage Theatre.

Written by Jill Connell and directed by Vanessa Sabourin, the play explores loneliness, isolation, emotional pain and the constraints we put on ourselves each day.

The Cobbler is a woman that has suffered great tragedies in her life. Now she is meeting The Doctor at high noon to undergo an abortion procedure.

A 2011 graduate of the National Theatre School, Connell began writing the play shortly after her own abortion. She wanted to write a piece for female heroines showcasing an act regularly performed at licensed clinics.

“It’s a play about a woman learning to be OK and move forward in her life. It’s a play about abortion, but not about the ramifications or how people feel about it. It’s more about making your own choices in your life and generally being OK with them in a world filled with confusion,” said Sabourin, co-founder of Maggie Tree along with Kristi Hansen.

Although many view abortion as taking a step backwards, Connell viewed the action as a forward motion. But society can still make women feel like outlaws in their own bodies and she set the enfolding action through a Western lens.

In this 80-minute play, Connell wrote five complex women’s roles: the Cobbler (Kristi Hansen), the Doctor (Michelle Milenkovic), an apprentice (Jayce Mckenzie), her estranged sister dead by hanging (Lora Brovold), and her best friend presumed dead (Melissa Thingelstad).

At first glance, having a couple of dead people pop up sounds creepy.

However, Sabourin notes, “They are not spirits. It’s not her (Cobbler) imagination. They actually have their own thoughts and feelings. They actually respond and the Cobbler can be present in the world.”

Sabourin is excited about the production in part because the lead character is a woman with all the strengths and frailties of human beings. Connell’s dramatic material is richly layered provoking numerous questions.

“The text has a certain level of the poetic. Not beautiful imagery, but the text is moving, emotional and free. Her text is not bound by the same logic we are used to in a play. It’s highly imaginative and she plays around with the form of theatre. It breaks expectations.”

Sabourin invited her sister, Michelle, to provide musical direction and sound design. The sisters first explored the musical theatre talents through St. Albert Children’s Theatre. While Sabourin stayed in theatre, Michelle veered into music.

She is proficient playing viola, violin and percussion and now works on multiple music projects as well as singing with The Hearts. Despite their lengthy solo careers, this is the sisters’ first professional collaboration.

Working with Keith Rempel (acoustic bass) and Brennan Cameron (keyboard-electric guitar), Michelle created a soundscape that makes the western element come alive.

Michelle notes, “What we do helps the audience feel in the moment. There’s an energy that people can pick up and it’s a beautiful experience for the audience.