James Reaney’s dramatic work is a compelling exploration of the complexities of human nature and societal structures, effectively blending elements of poetry, music, and stagecraft. His ambitious vision, reminiscent of William Blake’s multifaceted approach to art, seeks to create a theatrical experience that operates on numerous psychological and emotional levels. This analysis delves into Reaney’s multifaceted dramas, focusing on "The Killdeer," "Listen to the Wind," "Colours in the Dark," and the Donnelly trilogy, to illustrate his evolving theatrical techniques and thematic concerns.

The Killdeer

Originally a three-act play produced in 1960, James Reaney’s "The Killdeer" established him as a national figure in Canadian drama, showcasing his distinctive universe filled with recurring themes, symbols, and characters. The play, which Reaney later distilled into a two-act version, serves as a microcosm of his dramatic oeuvre, reflecting the underlying psychological and emotional currents that define his work. While initially presenting itself as a romantic mystery with touches of melodrama, "The Killdeer" unfolds into a rich tapestry exploring the darker recesses of human nature, weaving together the destinies of two families bound by generational upheaval and violence.

The plot centers on Rebecca and Eli, innocent young adults whose impending marriage represents a hopeful attempt to untangle the "evil knot" of their shared familial past. Beneath their surface innocence lies a deeper entrapment in a web of past sins. Rebecca’s love for Harry Gardner, a young bank clerk, complicates this, as he is similarly trapped by maternal domination. While the play's narrative suggests a resolution of mystery and the triumph of virtue, its deeper purpose is a profound exploration of the subconscious.

Central to the narrative are the matriarchal figures of Mrs. Gardner and Madam Fay, whose overpowering personas embody the duality of motherhood—a recurring theme in Reaney's work. Mrs. Gardner’s façade of propriety masks an ambitious and malevolent nature, while Madam Fay’s unapologetic embrace of her sordid past offers a stark contrast. These matriarchs, along with the play’s other vividly drawn characters, populate a world where emotional and psychological entanglements inhibit personal growth and happiness.

The 1968 revision of "The Killdeer" marked a significant evolution in Reaney’s stagecraft, showcasing his growing confidence and willingness to experiment with dramatic form. This version employed flashbacks, choruses, and a more complex symbolic language, reflecting a dynamic interplay between dialogue and stage action. This shift towards a more expressive and less formulaic structure foreshadowed Reaney’s later works, where he further explored the transformative potential of theater.

Listen to the Wind

"Listen to the Wind," premiering in 1966, stood out as one of Reaney’s most popular works, thanks in part to his collaboration with director Keith Turnbull. The play’s play-within-a-play structure allowed Reaney to juxtapose distinct realities, creating an intricate narrative that examined familial dynamics and personal innocence against the backdrop of 1930s rural Ontario. The youthful protagonist, Owen, and his cousins attempt to heal familial rifts through their theatrical production, "The Saga of Caresfoot Court," which mirrors their own reality.

Through this device, Reaney was able to juxtapose Owen's reality with the fantasy world, fostering a dialogue between the two that reveals deeper truths about the characters’ emotional states. This layering of narratives showcased Reaney’s skill in using minimalistic stagecraft to enhance the audience’s engagement, relying on their active participation in the creative process. It was a stepping stone towards the more ambitious theatrical endeavors that followed.

Colours in the Dark

"Colours in the Dark," a landmark play produced at the Stratford Festival in 1967, represents a pivotal moment in Reaney’s career. With its complex collage of images, sounds, and theatrical devices, the play challenged conventional narrative structures,...