Small and unusual, or cozy and quirky? Ugly sweater, or nice jacket? Tissue box on the fridge, or on the table?

These are just some of the trials and tribulations faced in The Anger in Ernest and Ernestine. It features two freshly married hopeless romantics, Ernest (Drew Moore) and Ernestine (Maryse Fernandes), as they move into a small (cozy!) and unusual (quirky!) basement apartment. They face ups and downs together – broken furnaces, conflicting morning routines, doors that won’t stay shut – and through this, they discover more about themselves, each other, and their relationship.

One element that stands out amongst all the chaos and tomfoolery of this play is the sound design, by Nick Di Gaetano. Due to the nature of clown plays like this one, abrupt, brusque, and over-the-top sound effects must be implemented throughout the play and must be timed perfectly. This provides the necessary accompanying sound effects to the actions occurring on stage. From the perfectly timed terrifying noises of the misbehaving furnace to the cartoonish sounds of alarm clocks, cats, and springs when Ernestine digs through her closet, every single sound underscores the action occurring on the stage flawlessly. It provides another level of comedy to this farce.

The set, designed by Sarah Waghorn, is another element of this play that succeeds tremendously. The bright colours and tacky décor adorning the space serve as a larger-than-life portrayal of Ernest and Ernestine’s flamboyant relationship, and their emotions throughout said relationship. Using almost exclusively primary colours, the set transports us into the whacky universe of Ernest and Ernestine. From the vintage bubbly fridge to the slightly too small, never closing doors to the campy “home sweet home” sign hanging crookedly on the wall, nothing is forgotten in Waghorn’s set.

In her programme note, the artistic director of the GCTC, Sarah Kitz, says that she personally selected, “the two perfect actors to play the parts”, because she knew they would work perfectly together, as well as perfectly with the director and the play itself. Although she is right in that the two actors have the acting style perfect for this play, unfortunately, the chemistry between the actors is lacking. From the first time Moore and Fernandes step onto the stage, it is immediately clear this is not the lovey-dovey, ooey-gooey story it makes itself out to be. They seem to be annoyed at each other’s presence from the beginning of the show, when they are supposed to be happy newlyweds.

The driving force behind this play is, broadly, the downfall of Ernest and Ernestine’s relationship. Unfortunately, when the play begins with anger, there is nowhere to go from there, and nowhere to grow from there. From the first dropped moving box, it is clear that Ernest and Ernestine were not meant to be. Not once do they seem to be truly happy or in love – they seem to be barely holding back their contempt for one another the entire time. Although the stylistic elements of this production were executed amazingly, the chemistry among the actors left much to be desired.