A hard-hitting drama pulls no punches at Dundas Little Theatre

It’s good to see a community theatre with the guts to tackle a play like “Things I Know To Be True.”

David Faulkner-Rundle started his theatre career with some major professional Canadian companies.

Theatre director David Faulkner-Rundle believes community theatres in our area bring high quality work to local stages.

Currently directing Australian playwright Andrew Bovell’s family drama “Things I Know To Be True” for Dundas Little Theatre, Faulkner-Rundle is drawn to this complex play about family issues and serious tensions brewing under what seems a solid surface.

Truth is, nothing much is grounded here in this bold and compelling story about love, secrets and undiluted transphobia.

First performed in 2016 in Adelaide, Australia, “Things I Know to be True” was later performed in 2023 in Toronto at the Mirvish CAA Theatre.

The thing is, the play could just as easily be happening in Canada as Australia, since the problems threatening to cause a rupture in family stability in Adelaide, could just as easily be bubbling over in Hamilton.

This is a dark comedy, fraught with issues about marriage, love, anger, disappointment, drug use and transgendered phobia.

At its heart, however, is love. The play looks at how a family survives and remains together, even when there are threats to familial bonding that could rip them apart.

“I saw a professional production of the play in Toronto and was engaged by its family story,” Faulkner-Rundle says. “I believe there’s a kind of simplicity here, even as the family involved navigates some complex issues. And it’s important to remember, too, this is a family dealing with issues in the best way they know how.”

There are two parents, two sons and two daughters. It’s about the love each has for the other. We follow them through a year of trials and tribulations. How they deal with things, and with each other, is the central thread of Bovell’s play.

Faulkner-Rundle started his theatre career with some major professional Canadian companies.

“I began as a stage manager working locally at Theatre Aquarius, at the Stratford Festival, at the Grand Theatre London, Ont., and at the Banff Centre for the Arts.”

About 15 years ago, Faulkner-Rundle became involved with the community company at Dundas Little Theatre. He then moved into acting and directing.

“When I direct, I prefer to collaborate, rather than dictate as much as possible. I have what I think is a very collaborative approach. I value input from the actors. They need to understand and be comfortable with what I am asking. I don’t think of myself as the expert in the room when it comes to how things should be on stage.

“I think recognizing that actors often have better insights into their characters than a director is very important. I’m looking at the big picture from the outside; the actors are the ones actually inhabiting the characters.”

For Faulkner-Rundle, casting is one of the most important elements of direction.

“Cohesion and rapport are especially important for this play because of how close this family is and how much they obviously care for one another. We’ve spent time in rehearsals intentionally building that rapport between the actors,” he says.

“I hope audiences will go away from the play seeing how you can disagree with someone, including family, and still love them. Arguments and disagreements are sometimes an indication of the love and care we have for others. It doesn’t make it any easier knowing that though, and sometimes terrible things are said that can’t be taken back.”

Faulkner-Rundle believes community theatres in our area bring high quality productions to their stages. Then too, theatres here are often more accessible geographically and financially than theatres in Toronto. Storytelling is an important part of life and having access to different stories and mediums makes our lives richer.”

Faulkner-Rundle believes local community theatres must manage a balancing act.

“We need to challenge the status quo. And we need to challenge our audiences to come to see the productions we put on and support local artists. We need to find enough audience to come to see our productions without always having to play it safe. Of course, not every company will have the resources, or knowledge, to support local emerging playwrights.”

It’s good to see a community theatre with the guts to tackle a play like “Things I Know To Be True.” It’s just too easy to serve up fluffy, half-baked comedies and sentimental little dramas that don’t prick social consciousness. Way to go Dundas.

By Gary Smith, Special to the Spectator