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It is a topsy-turvy world out there. One that has seen more change in the last fifty years, arguably, then in the previous one hundred. Jason Sherman has bitten off a large chunk of this new world in order to explore the social dynamics that these changes have wrought. His cast delves right into it, tackling so many diverse issues that are front and centre in our politically and socially correct, consciously charged world.

Ominous Sounds at the River Crossing is a play within a play; a play where the play within a play seeks to explore the angst and uncertainties that society in the twenty-first century has been thrown into. Through the dialogue of the script, we see the characters search for a theme for their play that will move them away from the irrelevance of “another f*cking dinner party play.”

In this setting Sherman explores the mores of society today. A society where a feeling of walking on egg shells typifies the interaction and behaviour between ourselves. Sherman’s play explores the river crossing. He explores the boundaries that each generation faces as it traverses its time in the world and he explores the spaces that each up and coming generation feel they can make a better world in.

Crossing the river symbolizes death and deliverance. The death of the old world view, the reluctance to let go and pass the torch to the new generation which believes it has the answers to deliver a better world. Sherman’s script encompasses so many important issues. The cast is up to the challenge, delivering the script, flipping between the play and the play within the play, changing character roles and imparting the emotional heft that is required.

Kerry Sandomirsky, Alex Poch-Goldin, Monice Peter, Allan Morgan, Nicola Lipman and Angela Chu delivered strong performances while on stage for close to two hours without an intermission. Ominous Sounds at the River Crossing tells a story. A story about crossroads and the dialogue around how we deal with them.

© 2022 Nancie Ottem