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The Donnellys: A Trilogy at the Blyth Festival Part 1 – Review

By Kelly Monaghan, June 29, 2023

The Blyth Festival’s ambitious plan to stage all three installments of James Reaney’s Donnelly Trilogy is off to an impressive start with “Sticks and Stones.” It is artfully abridged, adapted, and directed by artistic director Gil Garratt, and presented at the magical outdoor Harvest Stage.

James Reaney (1926-2008) was a major Canadian playwright. He was already well established when he wrote the Donnelly Trilogy – he had seen his work produced at the august Stratford Festival after all.

The Donnellys: A Trilogy at the Blyth Festival

The plays of the Donnelly Trilogy (“Sticks and Stones,” “The St. Nicholas Hotel,” and “Handcuffs”) premiered over several years in the 1970s. They were immediately recognized as a landmark event in Canadian theatrical history, largely I suspect because Reaney’s stagecraft and dramaturgy were so novel.

Reaney’s work “earned him a reputation as an erudite poet at once deriving structures from metaphor, mythology and a cosmopolitan literary tradition while deeply rooted in a regional sense of place,” according to the Canadian Encyclopedia.

That seems to be true of the Donnelly plays as well. Anyone picking up the published text of the plays may well find themselves wondering how on earth they might have been staged originally. My guess is that the printed text represents an attempt to give an impression of how the material came across on stage rather than being a copy of the script handed out at the first rehearsal.

Music and Foot Stomping.

Reaney sought in his plays to “rouse the faculties,” so the plays are replete with music, foot stomping, sound effects generated by the cast, overlapping call and response, and choral moments in which text is recited by several voices at once.

His devotion to a sense of place is illustrated by the fact that when the plays toured nationally the company brought along stones collected from the locations depicted in the plays.

Hallie Seline, Masae Dae, Paul Dunn, Mark Uhre, Geoffrey Armour, Cam Laurie, Randy Hughson, Steven McCarthy, James Dallas Smith. Photo Terry Manzo
The Donnelly family needs no introduction, certainly not to those from southwestern Ontario, where they are famous, even infamous. Indeed, they are memorialized in a quite good brand of craft beers.

James Donnelly and his wife Johanna, from Tipperary in Ireland, settled in the area of present day Lucan in the 1840s. Today, Lucan is about a half hour’s drive from Stratford; then it was quite remote. The area was still in the early stages of being transformed from thick forests to the lush farmland seen today. Government surveyors were busy at work imposing a rigid system of “lines” or roads that formed rectangles on the land regardless of natural features like streams.

It was common practice in those days for dirt poor immigrants like the Donnellys to “squat” on land that nominally belonged to the government hoping that by improving the land they could earn so-called “squatters’ rights.”

The Donnellys settled on what became known as the Roman Line because of the large number of Irish Catholics who settled there. (Interestingly, the Roman Line remains largely unpaved to this day.) There they raised a brood of seven sons and a daughter. They prospered, after a fashion. They also suffered.

More Sinned Against Than Sinning

“Sticks and Stones” sketches in the broad outlines of the Donnelly story. In Reaney’s telling, the Donnelly family emerges as more sinned against than sinning.

Sure, the patriarch James Donnelly and some of his sons were not exactly choir boys, but these were rough and tumble times. It was a milieu replete with corrupt politicians and heartless sharpsters who robbed hardworking and often illiterate immigrants not with a gun but a pen.

This was all at the expense of the indigenous population, of course, but that’s a tale for another day.

Over time and for a variety of reasons that involved land disputes, corrupt officialdom, a barroom brawl ending in manslaughter, political animosities with roots in the “auld country,” and religious bigotry the Donnellys acquired an impressively long list of enemies.

Eventually the simmering hatreds culminated in a vigilante mob storming the Donnelly house, beating the inhabitants to death, and then burning the house to the ground. No one was ever convicted of the crime.

No spoiler alert is needed here since many will be quite familiar with the story before they arrive at the theatre. Sorry if I spoiled it for you Yanks.

Garratt had the Reaney family’s blessing in abridging and adapting the plays. He has done an excellent job of rendering the text crystal clear, even as the action ricochets forward and backward in time. At the same time, he retains the poetic aspects of Reaney’s sonic environment and the Brechtian touches which frequently break the fourth wall.

Randy Hughson and Rachel Jones

Thanks to a strong cast the story is receiving a stirring retelling. At its heart are James (Randy Hughson) and Johanna Donnelly (Rachel Jones). Hughson, who was such a terrific Scrooge in Garratt’s homespun retelling of Dickens’ Christmas Carol in 2019, turns in yet another powerful performance.

The star of this installment, however, is Rachel Jones who contributes a solid portrait of the archetypal, steel-spined frontier wife. She can cow villains into submission with the sheer force of her personality. She is a paragon of spousal devotion when she crusades to have her husband’s death sentence commuted. And she is a wise and loving mother to her often fractious sons.

The Donnelly sons and all the various friends and foes they confront are portrayed by an exceptional ensemble – Geoffrey Armour, Paul Dunn, Cameron Laurie, Steven McCarthy, James Dallas Smith, and Mark Uhre. They can all switch from menacing bad guys to comic characters with aplomb.

Many of them will be familiar to Blyth regulars. Paul Dunn scored in multiple roles in his husband Mark Crawford’s “Bed and Breakfast” in 2019. James Dallas Smith starred in “Cottagers and Indians” in 2022. Cameron Laurie was quite delightful as the hapless actor sent to learn about farming in “The Drawer Boy,” also in 2022.

Stephen McCarthy is not only quite affecting as the “cripple” Will Donnelly but he also plays a mean fiddle. And I remember Mark Uhre fondly as the rubber-limbed Benny Southstreet in the Stratford Festival’s 2017 production of “Guys and Dolls”. Here he makes a truly slimy villain of John Cassleigh, among other more pleasant roles.

On the distaff side, Hallie Seline makes a splendid Jenny Donnelly and Masae Day makes her Blyth debut in multiple roles.

“Sticks and Stones” is being presented on the Harvest Stage at the rear of the Blyth campground. The theatre has been expanded and improved upon recently, with the addition of quite comfortable permanent seating.

Beth Kates has created a splendid, collage-like, mostly wooden set on the Harvest Stage’s expansive multi-level playing area. It reminded me of the early environmental stage sets of multi-Tony-winning designer Eugene Lee. I’m assuming the set will also serve the other plays in the trilogy.

Kates has also provided clever lighting, no simple task in an outdoor production presented at sunset. Jennifer Triemstra-Johnston’s period costumes struck me as just right.

For his part, Garratt makes excellent use of the stage’s many playing areas and levels. In a nice touch, he has the senior Donnellys arrive in a stage coach as the play begins. (Look to your left.)

The three plays of the Donnelly Trilogy are being opened gradually. “The St. Nicholas Hotel” begins performances on July 13, 2023, and “Handcuffs” on August 1, 2023. Starting August 4, the plays will be presented in order on consecutive nights through September 3, 2023.

In the event of inclement weather, performances will move into the Festival’s indoor space at Memorial Hall on Queen Street.

Footnote: I’d like to give a shout out to whomever is responsible for seeing that the seat numbers are so clearly and prominently displayed. It’s a refreshing change from the practice at many theatres of placing almost invisible numbers on the underside of seats, forcing you to bend over in dim light, often sticking your butt in the face of some hapless fellow theatergoer, as you attempt to find your seat.

The Donnellys: A Trilogy
• Sticks and Stones (on now through Sept. 1)
• The St Nicholas Hotel (July 13 – Sept. 2)
• Handcuffs (Aug. 1 – Sept. 3)
The Blyth Festival
423 Queen St, Blyth, ON N0M 1H0
Book Online:
Call the box office: 877-862-5984

Kelly Monaghan divides his time between Stratford and the Connecticut shore. He chronicles his love affair with Canadian theatre at and creates theatre-themed t-shirts at

Gil Garratt

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The Donnellys: A Trilogy at the Blyth Festival Part 1 – Review

Keith Tomasek
29 June 2023
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