Domino Theatre’s ‘Very Heaven’ is a Cozy Robin’s Nest
Face cast in an almost permanent frown, Harriet Leary stumbles into her recently deceased mother’s lake house with the urgency of a to-do list that has nothing scratched off. She moves about the house with a general air of uptight worry. Not long after her follows the topsy turvy Juliet ‘Jules’ Leary, bustling through the house with an uproarious energy and apparent emotional indifference, quickly searching for a drink. Lastly enters Lee Leary, the people-pleasing, cow-wrangling youngest sister. Meeting in the middle of their vastly different lives, the self-titled “little robins three” each inhabit the space in their own special way, bringing the newly empty house to life once more. Along with them, hanging off their backs like a shadow, lingers a shared past between the three that runs deep. Secrets unravel as their time spent at home—and one mysterious handyman—bring each shadow to the light.
Set in 1990s rural Quebec, Domino Theatre’s production of Ann Lambert’s Very Heaven is the last of seven plays produced by the company this year. Its exploration of motherhood, tragic romance, and complex family history make Director Katie Flower-Smith’s rendition of the critically acclaimed Canadian play a tasteful choice to end the company’s 73rd season.
Upon entering the theatre, audiences are presented with an open concept layout of the Leary’s lakeside home, showcasing both the cozy interior of the first floor and the direct exterior of the lakefront. Combining the warm-toned textures of wood paneling with the intricacies of the late mother’s watercolour paintings, Domino’s Very Heaven set communicates the spirit of the Leary family cottage. I commend set designer Chris McKinnon and his team for the achievement of enacting a set so functional and well-aligned to the play’s narrative. The values of Lambert’s Very Heaven are wrapped up in the concept of homecoming, and as the daughters return and journey through their memories of childhood, McKinnon’s set exudes a sense of shared history.
Presiding above the girls as they navigate the twists and turns of their tumultuous lives, Rose Leary commands the narrative from beyond the grave. Shrouded by a black veil and concealed by darkness, the late Rose observes in silence until the past is called upon by her daughters. If there is a note to be read—or a diary or letter—the lighting work of David L. Smith flushes her in stark white as she recites the words aloud, creating the phantom image of the woman she had been when she wrote them. Having her perched above the hearth and directly in the middle of the action, McKinnon’s set design rightfully places the matriarch at the epicentre of both stage and story.
Contributing to the set’s overall success is the prop and set dressing work done by Peggy Hallet and Shea Lonneburg. I greatly appreciated the attention to detail—my favourite prop is only present for a small gag at the beginning of the play where Harriet considers vacuuming her late mothers ashes after spilling them. I was so very pleased with what a lovely vacuum she was considering to perform such a terrible act with. It is so fitting in the well-tended lakehouse, indicative of its age and expense, and such thoughtful design was not limited to the vacuum. Every prop is a little hint exposing who this house was tended by. The vigilance of the set and prop work rendered all scripted claims of Rose’s dedicated homemaking believable.
On the topic of believability, Anne-Marie Kooiman’s costume work could be very subtle and well placed. I particularly enjoyed her choice for Harriet’s graduation dress—so believably awful with a mix in of charming naivete.
Mary-Jo Maur’s take on Rose Leary is a commanding figure in the centre of the piece: she hasn’t the aid of a scene partner, nor any blocking as she stays seated the entire production. Maur embodies the recently deceased matriarch with her presence alone.
Harriet Leary, played by Susan Amos, appears as a high-strung rule follower. However, Amos’ performance suggests an alternate side to the character, presenting her as a woman just as lost and unsure as her sisters. Lorna Jodoin’s portrayal of Jules, the Leary’s resident trouble maker, has a real grip on the humour of Very Heaven, as Jules always should have: she is its rapid fire, mercurial heart. Her portrayal of the character’s alcoholism is done quite well, as any actor who’s ever stepped up to the challenge of ‘playing drunk’ knows the line between believable and tacky is a thin one. Jodoin manages the spectrum of Juliet’s drunken frivolity, stupor, and angst suitably. Despite a few line flubs, she never misses the cue of a good joke. Taylor Stevens brings a soft awkwardness to Lee Leary that immediately gives her away as the estranged youngest daughter. The most easily swayed of the sisters, Lee is people pleasing and wayward in her elder sisters’ ever-raging war. As an ensemble, the sisters’ drama could have improved in intensity—they are the driving forces of the story and I wanted to feel some horse-power.
Lurking at the peripherals of their familial story, François “Stretch” Lachance, played by Craig Norton, brings an air of mystery to the production, stirring the already simmering pot of the Leary sisters’ dynamic. Norton’s performance is well-balanced, meeting the script at its emotional potency.
The production’s most noticeable fault is its pacing. Ann Lambert’s quick dialogue has some bite when handled in its witty successive style, and the actors’ portrayal of their family dynamics could have greatly benefitted from a more tenacious performance.
Overall, Domino Theatre’s presentation of Very Heaven is a success. Harnessed by its excellent production value and strong aesthetics, the company’s culminating performance delivered a solid rendition of the Canadian classic. The production’s intriguing characters and skilled tech handling make up for the inconsistencies in tempo. Very Heaven, as directed by Katie Flower-Smith, is a heartfelt dedication to motherhood, sisterhood, and the cycle of familial love as the little robins say goodbye to their mother for the very last time. In a story of the past halting the future, Domino Theatre’s take on Very Heaven tells the timeless tale of farewell.
“It’s an old myth”, as Lee Leary says, “like everything else.”
Domino Theatre’s production of ‘Very Heaven’ runs until June 20, 2026. Find tickets and more information here.
