Theatre 2026: Funny Girl @ Shaw, Karate Kid @ POW, Goodnight Desdemona @ Canstage

Given that my husband and I often watch live theatre 3-4 times each month and occasionally even 2 or 3 times within one week, I have to work hard if I want to complete my blog about the latest show before I attend the next one. I usually feel more motivated to blog about shows that I enjoyed over ones that I didn’t. This is probably because I feel more invested in these shows, finding them more interesting and memorable, which provides me with more that I want to write about. Unfortunately, in the past few months, I have watched several shows that I did not particularly relish, and so I have put off discussing them. Now with a bit of gap in my theatre schedule, I decided to write a few paragraphs about my issues with each of them. I usually love musical theatre and especially book musicals with original score and songs. It is rare that I attend such a show that I don’t enjoy. Unfortunately, I recently watched two such musicals back-to-back.

I was tempted to watch Funny Girl at Shaw Festival because of the rave reviews it was getting. Since I had never seen this show live before, as a self-proclaimed musical aficionado, I felt obligated to add it to my repertoire. I was further encouraged when I learned that tickets all Shaw shows in September and October were 40% off. Little did I realize that since the show was so popular, mostly sold out, and near the end of its run, it was subject to “surge pricing” which meant that our almost last row tickets cost more than a much better seat earlier in the season, even with the steep discounting.

Based on the life and career of Ziegfeld Follies star Fanny Brice and her ill-fated marriage to charismatic gambler Nick Arnstein, I knew that this 1964 show starring then newcomer Barbra Streisand was old-fashioned and outdated. But I thought we would be watching a version of the 2022 Broadway revival which purportedly tightened up the script by fixing the pacing to focus more on Fanny’s narrative while giving Arnstein more emotional depth. That version also modernized the score, orchestrations and staging, as well as rearranged songs and added the ones from the 1968 movie also starring Streisand including the iconic song “My Man”. This was especially appealing to me given all the press regarding the replacement of Beanie Feldstein with Lea Michele of Glee fame in the starring role.

Unfortunately, Shaw’s version was based on the original musical and felt every bit of its age. I was annoyed by Fanny’s debasement of herself to try to prop up her useless husband and wanted to slap her mother when she blamed Fanny for causing Nick to leave her. I also was not thrilled with Sara Farb’s portrayal of Brice. I found her put-on Jewish accent to be grating. And although she is a good singer, she was not a true belter in the vein Barbra or even Lea. When I got home, I watched a Youtube Video of Lea Michele singing the signature song “Don’t Rain on My Parade” and her delivery was what I was expecting. It confirmed how I felt in the theatre, when I found Farb’s rendition to be lacking in energy and passion.

Whereas Funny Girl was a huge success and mostly sold out throughout its run, based on the performance that we attended of Karate Kid the Musical, this was definitely not the case. The Princess of Wales theatre was more than half empty and it felt like only the season subscribers who had already prepaid for their tickets showed up. Once the show started, we understood why.

Something felt off about the musical right from the start. Although the major plot points from the movie were all there, somehow the show did not click for me or anyone else in the group that I watched this performance with. The songs were forgettable, the choreography felt clunky and uninspired, and the acting, singing, and dancing performances by the actors felt mediocre.  The actor playing Daniel seemed too big and tall to play the bullied underdog, and the villainous Dojo master John Kreese felt over-the-top and cartoonish as he spewed anger and hatred both at Daniel and Mr. Miyagi, and at his own Cobra Kai students. The accent and broken English used by the actor playing Mr.Miyagi sounded fake and almost stereotypically racist to me. Perhaps that is how Pat Morita came across in the movie as well, but somehow, it was more annoying in the musical.  Rather than feeling nostalgic about familiar scenes and dialogue from a beloved movie, the story felt tired and once again, had not aged well over the years.

Five ensemble dancers acted as spirits that gave Miyagi, and later on Daniel, their power. It was not clear in the first scene when they appeared whether they were real or not. Then, throughout the show, their presence just felt hokey. At one point, when Miyagi was executing a martial arts move, the 5 spirits spread out and echoed him to accentuate the motion. In my head, I heard the “da-da-da-da” sound of the Six-Million-Dollar Man as he used his bionics. And in the climactic scene when Daniel performs the iconic crane kick, the actor had to be lifted by the spirits to execute the kick. So much for acrobatics and choreography. It felt like the ultimate cop-out.

Have I complained enough? I really wanted to love these two musicals, but sadly, I did not. I am getting tired of remakes of movies or books or other known sources to create new musicals. I crave watching something original that I can appreciate and enjoy on its own merits, rather than comparing it (often not favourably) to the source material.

The most recent show that I could not totally relate to or enjoy while watching it is Ann Marie MacDonald’s 1990 feminist play Good Night Desdemona (Good Morning Juliet). To be fair, this is a totally personal bias so this show did not have much of a chance of appealing to me from the start. I typically do not like watching Shakespearean plays since I have trouble understanding their archaic language. Macdonald’s play very successfully mimics the Bard’s style of prose, writing blank verse in “unrhymed iambical pentameter” and using obscure, old-fashioned words that I was not familiar with. While this was an impressive feat that I appreciated intellectually, it hampered my comprehension and enjoyment of this work. I read the synopsis of the play on Wikipedia to give myself a chance and this is what I discerned.

Constance (played by MacDonald herself) is a meek, middle-aged assistant professor at Queens University who is fixated on the premise that the Shakespeare’s plays Romeo and Juliet and Othello were actually comedies written by an anonymous author before the Bard co-opted the works and turned them into tragedies. She has an unrequited crush on her narcissistic boss, professor Claude Night who manipulates her into writing papers which he takes credit for, advancing his own career before stealing her opportunity for a promotion and abandoning her for a younger female student.

Experiencing an existential crisis over his betrayal, Constance figuratively goes down a rabbit hole (or literal wastepaper basket) and ends up in scenes from Othello and then Romeo & Juliet where she interferes with the respective plots at the critical moments that prevent the deaths of Desdemona and Juliet. Freed from their predetermined tragic ends, these two heroines become archetypes who represent different suppressed facets of Constance’s own personality that surface through her interactions with them. While Constance is all about intellect, Desdemona is a fierce, courageous warrior who represents the assertiveness and self-assurance that Constance lacks.  The romantic and passionate Juliet represents Constance’s repressed sensuality and desires, giving Constance the confidence to let herself be vulnerable and experience love. By the end of the play, the three sides of Constance’s psyche integrate into a single strong, confident woman, solving the riddle posed to her of how “Two plus One makes One, Not Three”.

This play deals with some ambitiously complex themes that went over my head while I was watching it, mostly because I did could not follow the prose. I therefore could not grasp the underlying messages and missed most of the clever word play. I later found a copy of the play and slowly read the text, looking up the words that I did not recognize and asking AI about plot points that I did not understand.  This allowed me to appreciate the work more, but I still don’t think I would enjoy watching this play, even with my newly acquired knowledge. I am sure that those who like Shakespeare would really like this play. Unfortunately, it was not for me.

Theatre 2026: Our Little Secret @ CAA Theatre

My husband Rich and I watch so much live theatre each year (30-40 shows) and have seen so many plays and musicals over the preceding decades that any new performance which we now attend gets compared with all the ones from the past. It is getting more difficult to find a show that does not feel at least slightly derivative and even harder to find one that generates that pure sense of enjoyment from being thoroughly entertained for an entire evening.

Using Rich’s analogy, we have watched shows where we come out of the theatre feeling like we just ate a big bowl of kale. Understanding that something is good for you doesn’t mean you like the taste of it. There are plays that we appreciate artistically and intellectually but don’t really enjoy watching. They might be too depressing, too slow, too long, too confusing, too thematically heavy-handed or too intentionally shock-provoking. After watching such shows, we look at each other and say “That was kale”.

That feeling of pure theatrical joy where you leave feeling happily buoyant but still intellectually stimulated is hard to come by. We were lucky enough to feel it after watching the first show of our 2026/27 Off-Mirvish subscription series.  It was an 85-minute-long one-man autobiographical musical comedy called “Our Little Secret”. Written by actor Noam Tomaschoff, the show describes his discovery of a well-kept family secret and the journey that he and his parents (Gideon and Slyvie) went through as they came to terms with its revelation.

At age 31, Noam saw a sale for a 23andMe DNA kit that he hoped would provide him with insights on ancestry, physical and character traits, and most importantly, potential health issues. Up to then, Noam always believed that he was the only child of a Jewish father and Italian mother. Faced with the probability that Noam would find out through DNA testing, his parents finally disclosed to him that Gideon was not his biological father. Instead, due to his father’s infertility issues, Noam was conceived with the sperm from an anonymous donor. Cycling through feelings of shock, anger, betrayal as well as curiosity, Noam set up to find out more about his biological father and discovered not only “Captain Jack”, a flamboyant, American/Irish commercial pilot, but also that he had 35 half-siblings that were also sired using Jack’s prolific sperm.

Having grown up as a theatre kid and now as a working performer, Noam naturally processed his angst and emotions about this discovery by writing a musical with the help of his close childhood friends Ryan, who wrote the music, and Russell, who co-wrote the book. Our Little Secret first appeared in the 2023 Toronto Fringe Festival. The three friends reached out, hoping that Come From Away producer Michael Rubinoff would come watch their show. When his schedule prevented him from doing so, Michael sent Mirvish Marketing/Programming director John Karastamatis instead. Seeing potential in what he watched, John sent the trio lengthy notes on how to further develop the show, which they did over the next three years. The comedy went to Edinburgh Fringe in 2024, Montreal in 2025 and Edmonton in October 2026 before ending up at Mirvish’s CAA Theatre in November.

What started as a raw 60-minute Fringe show that focused on the comedic and wacky parts of this story has since been expanded into a 90-minute play. It is still a high-energy, fun-filled, hilarious comedy but has added emotional depth and vulnerability to the depictions of Noam and his parents, giving this personal tale a heart. In addition to portraying Noam’s past tensions with his father that become amplified by the revelation of this secret, we also get his parents’ perspectives. Dialogue and text relay Gideon’s feelings of shame and dismay at not being able to biologically produce a son, and Sylvie’s weariness from being the constant buffer between her husband and son.

Beyond enhancing the content and pacing of the plot, the latest version of Our Little Secret has leveled up on the stagecraft including using a live 4-piece band to provide the music, and more intricate sets and lighting design.  A multi-leveled set represents the family cottage to the left, Noam’s apartment in the centre and an entryway/door frame on the right. Shelves are populated with lantern-like objects including childhood keepsakes that light up in various colours to reflect the current mood of the musical. These props reminded me of an exhibit from this year’s Nuit Blanche called “The Museum of Lost Objects” which also featured lit-up keepsakes. Broadway star Adam Pascal (the original Roger from Rent) was hired to reshape the staging and choreography of the piece, using the multi-level space to propel Noam across the stage and even into the audience at one point. A video screen displayed at the end of the musical show images of Noam with some of the siblings that he has found so far, photos of Jack, and ones of Gideon playing ping pong (one of his many interests).

The fabulous songs that Noam and Ryan wrote range from funny to touching with stellar, fast-paced dialogue that provide important exposition and advances the plot. The opening song asking “What Comes Next” outlines the central conflict in speak/sing fashion while a song that transitions from the question “What is a Man” to “What is a Dad” outlines identity crisis and self-doubt felt by both Noam and Gideon. A potentially emotionally charged reenactment where Sylvie and Gideon meet with a fertility doctor is undercut and turned into a hilarious scene through the use of sock puppets to portray his parents while they sing about “Our Little Secret”.  As Noam starts to find out more about his “bio-dad”, he portrays him in the jazzy “Captain Jack”, and when he finally meets one of his half siblings, he sings the rowdy song “Two Brothers”.  One aspect of the performance that I was thrilled about was the excellent acoustics and perfect volume balance between the singing and background music that allowed me to hear every word and follow the storyline perfectly. This is so often not the case in shows that we have watched in the past.

For some reason this season, for our past two Mirvish and Off-Mirvish shows, our subscription seats have been assigned to opening night performance. This was a detriment when we watched Operation Mincemeat since all the kinks had not been worked out yet, leading to poor acoustics and a major technical issue that resulted in a significant delay to the start of the show, without the issue being successfully resolved.  I was therefore a bit leery when we were at opening night for Our Little Secret as well, but it turned out to be magical.  The show went off without a glitch and we had a couple of added bonuses. Before the performance began, Noam’s best friends and co-creators Ryan and Russell came out for an introductory speech where they talked about how the show’s journey and how thrilled they were to be in a Mirvish production.  Then at the end of the show, Noam announced that his parents were in the audience and pointed them out to massive applause.

That was the perfect ending to a wonderful show that had me smiling and laughing from start to finish, with a slight teary sniffle during the touching moments. Rich and I walked out of this show with a bounce to our steps, slightly giddy at how much we enjoyed what we just watched.

We had one final laugh at home when we reviewed the program, reading the biographies of the actors and creative team. The last entry was a tongue-in-cheek credit given to 23andMe as “Twist Choreographer” with a hilarious “biographical writeup”. You could not ask for better product placement or free publicity!

Theatre 2026: Operation Mincemeat Musical @ Royal Alex

Operation Mincemeat was the code name for an elaborate scheme of deception carried out by British Intelligence in 1943 that contributed to the success of a critical invasion and helped to turn the tide of World War II. It was so far-fetched and macabre that it comes as no surprise that the germ of the idea came from future James Bond creator Ian Fleming, who was employed as an assistant in Naval Intelligence at the time.  He helped pen the “Trout Memo”, which offered up 54 suggestions for deceiving the enemy, of which the idea that became Mincemeat was #28. The concept was to drop a dead body into the sea with “secret” documents containing false information meant to misdirect the Germans. Fleming attributed the strategy to a similar plot from the 1937 detective novel called The Milliner’s Hat Mystery by Basil Thomson. The goal was to convince the Reich that the Allies planned to invade Sardinia as opposed to the true target of Sicily.

As core members of the counter-espionage organization called British Twenty Committee, Ewen Montagu (Naval Intelligence) and Charles Cholmondeley (MI5) were tasked with adopting and expanding the concept. They contacted pathologist Sir Bernard Spilsbury and a coroner to find the perfect corpse whose cause of death could plausibly pass for a recently deceased drowned man of the correct age and physique but also who had no family seeking to bury him. The candidate selected was Glyndwr Michael, a homeless man who died after ingesting rat poison. With the help of many agents and officers throughout MI5 and the British military, Montagu and Cholmondeley created a persona for their corpse. They named him Captain William Martin, who was on a mission to deliver secret documents to the Allies when his plane was shot down. The corpse would be transported via submarine to the Southern coast of Spain near Huelva and released into the water to be discovered by the Spanish, who were known to share information with Germany.

In order to sell the story and Martin’s persona, the team went to great lengths give him a backstory including creating a fiancée named Pam waiting for him back home. They enlisted MI5 junior clerk Jean Leslie to portray Pam and added her photo to the “pocket litter” found on his body, along with receipts for an engagement ring, theatre ticket stubs and several love letters that were written by Leslie and senior secretary Hester Leggatt. A briefcase was strapped to his trenchcoat containing the letter with the misleading battle plans, as well as other correspondence between various high-level officers.

The ploy worked and the misdirection caused Hitler to reallocate troops to Sardinia, leaving Sicily relatively unprotected. The Allies successfully liberated the island with surprisingly low numbers of casualties on both sides. The operation was almost derailed by an unexpected turn of fate when an American pilot (also named William!) crash-landed and survived in the exact same location a mere 3 days before Martin’s corpse was discovered. Suspicious of this incredible coincidence, the Spanish conducted an autopsy on Martin. British diplomatic vice-consul Francis Haselden was in Spain to help the plan along. He influenced the autopsy results to reflect a drowning and then lured the Spanish into passing the false information to the Germans.

Because of the morally questionable way that the team procured their body, the details of the operation was kept secret for many years after the war ended. Since then, there have been many books, movies, plays and now even a musical based on this fantastical but true story. In 1953, Montagu wrote the government-sanctioned book “The Man Who Never Was” which was turned into a movie in 1956. More adaptations were created throughout the years including a 2014 BBC television miniseries “Fleming” The Man Who Would be Bond”, telling the story from Ian Fleming’s perspective.

In 2022, a war/spy drama aired on Netflix starring Colin Firth as Ewen Montagu, Matthew Macfadyen as Charles Cholmondeley, Kelly Macdonald as Jean Leslie and Penelope Wilton as Hester Leggatt. For dramatic purposes, the movie added fictitious subplots including a love triangle between Charles, Ewen, and Jean, suspicion that Montagu might be passing on secret information to his brother, a known Soviet agent, and a grieving sister who wants to claim Glyndwr Michael’s body and had to be paid off.  I think the true story is so fascinating on its own that these tired Hollywood trope additions don’t seem necessary.

Surprisingly, the 2023 West-End stage musical comedy of Operation Mincemeat actually follows the historical facts of the mission much more closely, despite being a fast-paced, farcical, irreverent, gender-bending five-hander.  Five actors play the major roles of Ewen, Charles, Jean, Leslie, and superior officer Colonel Johnny Bevan who was the gatekeeper and decision maker for the operation within the team. In addition to these five main roles, the actors played almost 80 other characters, often in quick-change style with rapid on/off-stage costume changes or by simply donning or removing hats or glasses or by changing posture and demeanor while remaining on stage.

Traditionally, the male roles of Montagu and Bevan are played by female actors while the female role of Hester Legatt is played by a male actor. The deliberate gender-blind casting is meant to alter the way the audience perceives human behaviour. It allows the female actors to portray roles of power, satirizing MI5’s misogynistic “old boys club” while the male character gets to show vulnerability. This is especially true in Hester’s showstopping song Dear Bill where she provides the text of for the fake love letter that Pam writes to William Martin. It starts off as fiction but eventually morphs into a heart-wrenching lament as Hester relives her personal sorrow over her own lost love Tom, who died in WWI. It is impressive to note that the male actor is not given over-the-top feminine wardrobe to play Hester amongst his other male roles. Wearing his white shirt and grey slacks, he turns into character with a mere change of posture, voice and spectacles on a chain that he props onto the bridge of his nose. Yet he is totally believable in the role.

Through all the character changes and dialogue, the musical focuses on the extreme level of detail, administrative bureaucracy, mundane paperwork, and office politics that was involved as well as highlighting the female clerical staff with several songs including Useful where Jean and Hester lament never getting recognition for their contributions. Instead of introducing a love triangle or a fake relative for the corpse as in the movie, the musical satirizes the real-life issue of the additional plane crash, dubbing the U.S. survivor “Willie” Watkins and making him a stereotypical, loud and pompous American caricature.

Despite sticking closer to history, the musical also takes some liberties and makes additions for dramatic purposes. Similar to the movie, there is a subplot involving Montagu absconding with secret documents and being suspected as being a spy when in reality, he wants the information to write a script for a movie after the war. Jean Leslie is portrayed as a highly ambitious clerk that fights for agency, recognition and feminism while in reality, she was a newly hired 18-year-old clerk who donated her photo but was much less central to executing the plan. One deliberate change from history was the portrayal of pathologist Bernard Spilsbury as a morally corrupt con man when at the time, he was a well-respected expert. It has been described as “historical revisionism utilized for dramatic justice” since decades later, it was proven that he performed sloppy autopsies and often falsified evidence leading to wrongful convictions and even executions. It was illuminating to see photos and read about the real heroes of this operation within the program compared to the portrayals that we watched.

The songs and score of this musical were ambitious, complex and eclectic, featuring a wide range of different musical genres and pastiches while doing a great job of advancing the plot through the lyrics. The only issue was the unusually muddy sound quality at the Royal Alexandra which typically has good acoustics, making it difficult to make out the words sung in some of the fast-paced songs.

The opening song “Born to Lead” as well as “The Pitch” are written as classic military tunes or traditional marching band music with fast-paced patter and a strong marching beat. Cleverly, the opening few bars of Born to Lead sample a snippet of the iconic James Bond Theme by as a tribute to the contributions which Bond author Ian Fleming made to this operation. Hip-hop and Rap are used for rapid-fire lyrical delivery in the songs “God That’s Brilliant” and “Bevan’s Update”, conveying significant information so quickly that you need to really listen to hear it all. The Disco-Pop song “All the Ladies”, where Jean dreams about working alongside the male officers, noticeably riffs on Beyoncé’s iconic song “All the Single Ladies (Put a Ring On it)”. “Sail On, Boys”, sung by the crew on the submarine, is a traditional folk song or sea shanty. Despite its title, “The Ballad of Willie Watkins” is an upbeat bluegrass/country rock song, while the satirical “Das Ubermensch”, which mocks fascism and the Third Reich, is a high-octane German techno and Eurodance parody. And as already mentioned, “Dear Bill” and “Useful” are sincere, heartfelt ballads. My favourite tune is a patter song, “Act As If”, that features rapid, rhythmic delivery of lyrics that mirrors the escalating panic, manipulation, and tension between the characters.

The closing numbers of the two acts of this musical are both showstoppers. Act I ends with a mashup of another fast-paced patter song “Just for Tonight”, where Montagu convinces the team to prematurely celebrate the success of their plot”, juxtapositioned against a somber reprise of “Sail On, Boys” as the submarine comes under attack while trying to complete its mission of releasing the body. The five actors on stage rapidly switch between the two songs through the use of lighting and by donning and removing of the sailors’ knit beanie hats.

The tour-de-force final song of the show titled “Glitzy Finale” summarizes the success of the operation, then becomes a reprisal melody, calling back to many of the previous song motifs with their eclectic genre styles. Next the song switches to Montagu finally directing his film about the caper, with an actor playing Cholmondeley, who was deemed not right for the role of playing himself.

It is in this scene that we finally found out why the audience was not let into the theatre until 10 minutes after the show was supposed to start, causing long lineups of patrons waiting outside for over 30 minutes. As Montagu brags and exaggerates about his accomplishments, he is supposed to be hoisted into the air, just to have the hoist malfunction and drop him down again. Rather than the scripted malfunction, the technical issue was real and the hoist would not work even after the long delay. Finally giving up, the show proceeded but when it got to the point where Montagu was to be lifted, he made a crack about delaying the start of the show for so long just to have this still not work. The missing sight-gag didn’t really affect the performance and the ad-lib was almost funnier. The song ended on a somber note with a tribute to Glyndwr Michael, explaining how he finally was recognized (posthumously) for his contributions to the war with a plaque and his name added to the tombstone of “William Martin”.

This show was both silly fun to watch and historically enlightening. Despite the long wait and the slight sound issues, I really enjoyed watching this musical.

Theatre 2026: Son of a Preacherman

We first encountered Ins Choi when by pure luck we scored the last two tickets of the last performance of Kim’s Convenience at the 2011 Toronto Fringe Festival. We had bought a package of 10 tickets that needed to be redeemed at the theatre before each show.  We tried to arrive 30-60 minutes ahead of time for the shows that we wanted to see, to ensure there were still tickets left. We had not heard the hype for Kim’s Convenience or realized that every performance before this had sold out. But I misread the start time of the show which resulted in our arriving at the theatre over 90 minutes in advance. Because of that, we secured the last two tickets and were able to brag that we watched this play before it became nationally and then internationally famous, touring across the county and being turned into a TV series that eventually got picked up by Netflix.

Ins Choi’s latest endeavour is a 70-minute-long autobiographical play titled “Son of a Preacherman” which is basically a one-man show where he tells stories, sings songs and recites a poem while reflecting on his life and career. He is backed by a 3-person band, playing keyboard, percussions, and guitar, who sporadically join the scenes as other characters to fill out his narratives.

As conveyed by the play’s title, one of the main themes of this show deals with how despite there being multi-generations of preachers in his family including his grandfather, father, siblings and cousins, Choi had no desire to follow the family tradition. Instead, he wanted to be an actor and struggled to achieve this goal, against the express wishes of and pressure from his mother, and the depressing lack of substantial acting roles for Asians when he was starting out.

Son of a Preacherman was first performed in Vancouver in 2025, then moved to Ottawa in September 2026, before selling out in Toronto for its 3-week run (extended by a week due to popular demand). While the show was staged in regular theatres in the previous cities, in Toronto the venue was the Timothy Eaton Memorial Church. This was an inspired choice given the religious subject matters discussed. Within the church, the play was performed in the chancel with the band positioned in the apse at the back. The audience sat in the choir seats that flanked both sides of the altar while Ins strolled up and down in the space between. At times during the play when Ins would ask God or Jesus for guidance, he would look up at the magnificent stained-glass window (titled “Light of the World”) at the back of the apse, or out towards the back of the church where a light was shone.  Seating the audience right in the choir created a uniquely immersive and intimate experience for the attendees. It also allowed us to see the video displays that were projected high on either side of the apse, with the images adding context to Choi’s stories.

The show began with Ins singing a whimsical but irreverent song titled “Birkenstock Jesus” that seemed to set the light, comedic tone of what was to follow. It posed the question of how Jesus would react and be received in the 21st Century. Then Choi introduced himself as a preacher’s kid (PK) and listed a disparate bunch of celebrities that were also “PKs” (Denzel Washington … Vincent Van Gogh ... Alice Cooper). 

From there, he mused about not having many Asian role models growing up (let alone Korean ones), so he idolized the few that he could find. He sang a song about wishing he could be “Bruce Lee’s Best Friend”, while showing an image of the Chinese Kungfu master on the video display. He moved on to Japanese idols including pro wrestler Ricky “The Dragon” Steamboat and skateboarder Christian Hosoi who invented the move called “Christ Air” where he spread his arms mimicking Christ on the cross. Choi cheekily even claimed to identify with Bert from Sesame Street because he was yellow-skinned with black hair. His point was that while growing up, he could not easily see himself on TV or movies although things started getting better with George Takei on Star Trek, Pat Morita on Karate Kid, and Michael Chang on the tennis circuit (Still no Koreans!).

But as he tried to pursue an acting career, he could only land stereotypical background roles like “Waiter #5” or “Asian Gangster #4”.  His experiences sounded identical to those described in the novel Interior Chinatown by Charles Yu. Choi concluded that the only way to act in a story that reflected his own heritage was to write one himself. This led to his writing Kim’s Convenience about a Korean family running a grocery store, including a part for himself as the ne’er-do-well son.

Son of a Preacherman then took a step back to reflect on the lives of Ins’ grandparents and parents as he described their journeys to becoming preachers and his own path to eschewing the “family business” (which he reluctantly worked at for years) to pursue his true passion. Ironically, he ended with an impassioned poem that felt like a sermon as he urged us all to not give up and “just start” to follow our dreams. This seemed to validate his father’s point that there is not that much difference between a preacher and an actor.

While Son of a Preacherman started out as a light comedy, it lost focus and changed tonally along the way, turning into a serious drama as he described the impacts of the Korean war on his family, and finally ending up in a preachy manifesto. Although the play was extremely short at only 70 minutes, for me it felt like I watched two separate plays. It seemed like Choi could not decide what type of play he wanted this to be. However, it was very cool to watch this show from the choir and if possible, all future productions of it should be staged in a church.

Theatre 2026: Dancer - A Musical in Ten Furlongs

I warily went to watch Dancer: A Musical in Ten Furlongs since I usually don’t like “musicals” that are mainly dance performances. Shows in this vein that come to mind include the second half of Andrew Lloyd Webber’s musical “Song and Dance”, Contact which features three stories told through contemporary, swing and classical dance, and “jukebox dance musicals” such as “Movin’ Out” which featured the catalogue of Billy Joel songs. I don’t think that dance conveys a story as well as listening to the lyrics of a song, and for me, the dance portions often feel like “filler”. 

This was especially true during the Golden Age of Musicals where a ballet “dream sequence” was often inserted into the middle of a show because it was the trendy thing to do and did little to advance the plot. Modern dance musicals do a much better job of actually using this art form to tell the story. The 2020 dance musical Message in a Bottle employs Sting/The Police songs to present a poignant tale of war, displacement, and the refugee crisis through the use of contemporary dance, breakdancing, acrobatics, street dance and ballet. Watching this show opened my eyes to how a well-done dance performance accompanied by the right songs could be a very effective narrative vehicle. Dancing to lyrics of songs as opposed to just a musical score helps to bridge the gap for me between a pure dance performance (which I still don’t enjoy as much) and a book musical (which I usually love).

Dancer: A Musical in Ten Furlongs follows the life and trajectory of Northern Dancer, the iconic Canadian thoroughbred racehorse who won the Kentucky Derby, The Preakness Stakes and the Queen’s Plate races in 1964 and was one of the most influential breeding stallions in the 20th Century. Owned and bred by Canadian business tycoon Edward P.Taylor, Northern Dancer was named as a tribute to his grandfather, the American racehorse Native Dancer.  Born late in the season, Northern Dancer was relatively small and extremely temperamental, resulting in his failure to be sold at Taylor’s annual horse auction. Instead, the feisty yearling stayed in Taylor’s own Windfields racing stables. Northern Dancer was trained by the legendary Argentine-born trainer Horatio Luro, nicknamed "The Grand Señor", who was known for his patience and knack at handling difficult, high-strung horses, and tended to by black stable hand Bill Brevard, who was thought to be the only person the horse truly trusted. Given Northern Dancer’s inauspicious beginnings, his triumphs and legacy make for the ultimate underdog (or in this case, “underhorse”) story.

Although this is officially a book musical with songs and dialogue to propel the plot, dance is a vital part of this show. Unlike the play Warhorse which uses a massive puppet to depict the titular horse, Northern Dancer and the other horses that he races against are all portrayed by skilled performers who embody the movements, spirit and emotions of the animals through contemporary dance mixed with ballet and modern dance moves. Luckily, the dancers are not costumed with hokey horse heads, possibly having learned a hard lesson from the musical Cats! Instead, the dancers representing the other horses wear sleek leotards in shades of beige, brown, tan and roan with matching-coloured socks. Accompanied by their flowing movements, these minimalistic costumes turned each lithe dancer into a graceful, elegant and powerful racehorse right before our eyes. By contrast, the short, stocky dancer perfectly cast to play Northern Dancer stomps onto the stage with hunched back and dressed in baggy shorts, a wife-beater tank top, and white socks (representing Northern Dancer's three white hoofs). The surly sneer on ther performer's face (which he maintains throughout the entire show until the bows) and his jerky, skittish movements effectively convey Northern Dancer’s reputed temperament.

The stage is set up with a curved racetrack ramp that is used to simulate laps for the choreographed races while the open area in the centre of the stage allows for straight-on views of a race as the horses gallop, leap and jockey for position. At the top of the ramp is a platform for the announcer who calls each race and also serves as the narrator of the story. A multi-media screen mounted on the back wall displays black-and-white video projections of archival photos and video of historic races.

Several of Northern Dancer’s races are recreated, leading up to his climactic Kentucky Derby victory. In one of these races, the famed jockey Willie Shoemaker is hired to ride Northern Dancer.  I thought it was quite hilarious that the actor who portrayed Shoemaker in this scene was huge and heavy set and would have crushed the horse in real life. I guess this actor was chosen because he could sing, as he struts around while belting a song that brags about of his riding prowess. Willie Shoemaker is famously known for turning down the chance to ride Northern Dancer in the Kentucky Derby, opting to ride the larger, more powerful California-bred colt Hill Rise instead. The performer who portrayed Hill Rise was a statuesque, muscular dancer dressed all in black who towered over all the other dancers. It was breathtaking every time he was on stage. At the start of the Kentucky Derby, dancers dressed as jockeys actually mounted each of the horse dancers, and this time, the performer playing Shoemaker was much smaller. The race for the Kentucky Derby came down to a neck-to-neck victory by Northern Dancer over the much larger Hill Rise, and the size difference between the two dancers portraying these horses really emphasized the David vs. Goliath battle.

The innovative choreography, designed to simulate the horses’ movements and to create the thrillingly intense and athletic horse races, turned out to be the highlight of the show. The actual songs and book of the musical paled in comparison. We found the songs to be forgettable and overshadowed by the dance elements. But even worse was the book which distorted history in an attempt to add unnecessary drama to the plot. The Trainer Luro was portrayed as a cartoonish, mustache-twirling villain who ordered Northern Dancer to be “whipped into submission” and forcing the horse to run on a cracked hoof.  In reality, Luro was firmly against any physical punishment and halted training to rest Northern Dancer. In the musical, it was the black groom Brevard who was portrayed as the saviour fighting for the welfare of the horse. The true-life racial indignities that Brevard suffered during this Jim Crow era was compared to the physical hardships endured by Northern Dancer. The other social issue that the book tried to highlight was the fight for equality by the feminist movement, as represented by the frustrations of E.P.Taylor’s wife Winnie. Much of the plot and many of the songs were devoted to these two social issues, which took focus away from Northern Dancer’s story. It felt like the book writer tried too hard to add gravitas and social relevance to the story, when just sticking to the facts of Northern Dancer’s feats would have been enough.

To my surprise, while I really enjoyed watching this musical, it was the dance and choreography which I loved and not the songs or the parts of the plot that did not relate to the horses.  Maybe I am starting to appreciate dance after all!

Theatre 2026: Measure for Measure @ Crow's Theatre Studio Space

Measure for Measure is one of William Shakespeare’s lesser-known plays, written in the middle of his career, and often termed one of his “problem plays” since there is not a definitive consensus of whether it should be considered one of his comedies or tragedies. The plot deals with themes of justice, exploring the balance between following the letter of the law versus showing compassion and mercy. It questions the difference between what is legally versus morally right.

The play begins with Duke Vincentio wondering if he has been too lenient in following his own laws. To test this theory, he passes his power to the strict judge Angelo and pretends to leave Vienna but secretly returns dressed as a friar to witness how Angelo wields his power.  Angelo invokes an ancient law which punishes premarital sex with death and sentences Claudio to die for impregnating his betrothed Juliet prior to marriage.  Claudio’s sister, a chaste novice nun, arrives to beg for mercy. The lecherous Angelo bargains with her, offering to spare Claudio if she agrees to give up her virginity and sleep with him. This is the ultimate hypocrisy since Angelo would be committing the “sin” that Claudio is accused of but can get away with it since no one will believe Isabella. The nun refuses to give up her soul to save her brother (much to his dismay).  The Duke/Friar comes up with a plan whereby Angelo’s ex-fiancee Mariana, who Angelo dumped after her dowry was lost at sea, will sleep with Angelo while pretending to be Isabella. Despite getting his way, Angelo still orders the beheading of Claudio. The Duke/Friar intervenes again by arranging the head of a dead pirate to be presented to fake Claudio’s death. 

In the last scene, the Duke reveals himself, forces Angelo to marry Mariana, produces the still alive Claudio, and then proposes to Isabella but the play ends without her answer. This ambiguous ending has been cause for much debate with a split opinion of whether she accepts or refuses yet another unwanted proposal from another powerful man.

I generally do not like watching Shakespearean plays as I find the flowery, archaic language difficult to understand and I spend so much energy trying to discern the meaning of what is spoken. I decided to watch Crow’s Theatre’s production of Measure for Measure, adapted by Christopher Manousos, because of its play within a play format where a group of (deliberately unnamed) actors perform the Bard’s work as a radio program. The premise of this adaptation promises intrigue between the actors of the outer play, which would reflect upon the inner play. This added dimension intrigued me.  To prepare, I read a detailed synopsis of Shakespeare’s Measure for Measure which I summarized above.

The show was performed in the smaller Studio space in Crow’s Theatre with the stage set up in the round, or more accurately, in the “rectangle” as the audience were seated along all sides of an elongated rectangle. At the centre of the stage were two long, narrow tables that fit together to appear as if they were a single table.  Once the show started, the tables were separated and moved to the left and right of the stage. On each table were props used to create sound effects for the radio show including a pair of boots that made stomping noises, bells for ringing, paper for crunching, chains, belts and various metal cups and plates.

Microphones attached to the corners of the tables where used in rotating fashion by the actors as they performed the Shakespearean play. Four chairs, one on each side of the rectangular audience seating, were marked as “reserved” with one of the chairs placed directly next to my seat. Once the performance began, actors who were not in the current scene would alternate sitting in one of these chairs.

Prior to the show, the room was bathed in stark white light and haze while during the radio performances, the lighting dimmed and changed to shades of greens, blues and violets. Whenever there was a break in performance, the bright white lighting reappeared, clearly delineating the inner and outer play.

While waiting for the show to start, we heard strange sound effects of drumming with the occasional echoey sound that reminded me of sonar or perhaps whales calling. It was never clear to me why these sounds were played since I did not detect the correlation to anything that happened later once the show started.  I asked Google AI when I got home and the explanation was that the sounds tried to emulate the chaotic audio-recording environment and clarified that we were not supposed to be in 17th century Vienna.  This was lost on me.

As the show started, five actors appeared on stage to perform the radio show, referenced only by their roles. There was the Sound technician, responsible for the foley effects as well as being the narrator who indicated the start and end of scenes, and announcing commercial breaks.  The director and his very pregnant movie star wife strolled in hand-in-hand, followed by another actor who was friends with the director, and finally a beautiful, long-legged actress who was a last-minute substitute.

As these characters interacted, it seemed clear that their roles within Measure for Measure reflected their personalities in the outer play.  Each of them played a main role as well as one or more smaller parts. The director, who appropriately played Angelo, was also in a position of power in the outer play. And similar to Angelo’s character, the director was smarmy and lascivious towards the substitute actress who was playing Isabella, leering at her and once pressing himself against her.  The substitute actress was flustered and out of place, thrown into a high-pressured live broadcast with zero rehearsal time. This mirrored Isabella’s situation as she tried to negotiate with Angelo.

The visibly pregnant movie star appropriately played the pregnant Juliet as well as many other roles including Angelo’s spurned ex-fiancée Mariana, an elderly male magistrate, and a female brothel owner. The director’s friend played the Duke disguised as a Friar while the sound guy played Claudio, Claudio’s flamboyant, loose-lipped friend Lucio, and a pimp (bawd) named Pompey. At one point, the Sound guy performed an argument between Lucio and Pompey, signifying the switch back and forth between the two characters by donning and removing his sunglasses.

Watching Measure for Measure performed as a radio play with all the necessary sound effects, and watching the actors rapidly switch between characters as they navigated across the stage added an interesting dynamic. But the promised “outer play drama” never amounted to much and was much too subtle for me to fully appreciate at the time. There seemed to be some tension in the first act between the movie star and the substitute as they eyed each other uneasily. Then a shocking action closed the first act and we looked forward to watching the fallout in the second act. But nothing came of it and in the end, the play was mostly just a rendition of the inner play.  This was disappointing for me.  One interesting reference between the outer and inner plays occurred at the end after the radio show was done. As all the actors were leaving, the director complimented the substitute actress on her work and invited her to join his company. She looked a bit shell-shocked by the invitation, hesitated in her response and then the show faded to black. This was a direct callback to the Duke’s marriage proposal to Isabella at the end of Measure for Measure.

Theatre 2026: Hell's Kitchen @ CAA Ed Mirvish Theatre

I have stated many times that I prefer a book musical with an original plot and songs over a juke box musical that relies on the catalog of a popular performer or group to form a show. For me, the worst is the biographical juke box musical that is often a drama about the performer’s life and career with songs sung in a diegetic manner as part of auditions, studio recordings or concert performances. Almost as bad is the jukebox musical that comes up with a ridiculous story in order to force-fit a set of songs. Bat Out of Hell (Meatloaf) and We Will Rock You (Queen) come to mind, each reduced to using the trope of the “dystopian” world in an attempt to make the plot work. The gold standard which all future jukebox musicals with original stories are compared to is Mamma Mia, whose plot weaved ABBA’s songs so seamlessly that it felt like each song was written for the show.

Lately as a way to generate a built-in audience, more and more juke box musicals are being produced, hoping to cash in on the fans of the artist(s). Hell’s Kitchen is the latest jukebox musical to come to Toronto via Mirvish productions, featuring the discography of R&B and soul singer Alicia Keys. Since I only know a handful of Keys’ songs and her genre is not usually my favourite, I could not even count on familiarity like I did for MJ the Musical. Knowing that the show was playing at the CAA Ed Mirvish Theatre, which is notorious for its poor acoustics, did not help. I therefore went in with low expectations, hoping to be pleasantly surprised. But first, to give myself a chance, I read the synopsis in Wikipedia, then listened to the cast recording while following along with the lyrics.

One interesting aspect of Hell’s Kitchen is that it is a hybrid of the two types of jukebox musicals. While this a fictional story and not considered a typical biographical musical describing Keys’ childhood, career and rise to success, many elements of the plot are heavily influenced by Keys’ life. The main character is a 17-year-old girl named Ali with a protective white mother nicknamed “Jersey” who once worked as a performer, and absentee black father named Davis who is a traveling piano player always on the hunt for his next gig. The show implies that Ali gets her musical talents from Davis. The portrayal of Jersey closely mirrors Keys’ mother Terria Joseph, who maintained an acting career while working as a paralegal to support her child. Keys’ real father Craig Cook was a flight attendant, not a musician, and was not a part of her childhood, unlike Davis who pops in and out of Ali’s life but cannot be depended upon to stick around.

The supporting characters, including sounding-board friends for Jersey and Ali, Ray the doorman, and especially the older street percussionist Knuck, who becomes Ali’s love interest, are all fictional composites that help flesh out this coming-of-age story and the mother-daughter conflict that is the heart of the musical. The ensemble dancers with their baggy clothing, low-riding jeans that expose their underwear, and hip-hop dancing add to the vibrant and gritty vibe of the neighbourhood.

I thought the book writer (in collaboration with Keys) did an excellent job of selecting songs and weaving together a earnest and heart-felt (albeit, a bit derivative) tale of the spunky, independent 17-year-old, Ali, who chafes against Jersey’s efforts to shield and protect her. The show opens up with “The Gospel”, a song written by Keys in 2014 which acts as a no-holds-barred depiction of New York City ghettos. The fast-paced lyrics, starting with “I said we're all God's children, products of the ghetto. Momma cooked the soup. Daddy did the yelling… The roaches and the rats, heroin and the crack, Couldn't blame me, I'm just giving the facts" went by so quickly and was mostly drowned out by the loud orchestrations, vindicating my efforts to review the words beforehand. I still couldn’t follow what was being sung, but at least I had an idea of what the song was about. This was a great song to set up the environment for the story.

Next wisely, Keys wrote two new songs specifically for the show which introduced each of the two main protagonists, revealing their hopes and fears. Ali sings the “I want” song “The River” which describes her desire for more freedom. “I'm alone here in a crowd of seven million. I know there's more to life than this, cause something's calling me”. Jersey then sings “Seventeen” which vocalizes her frustrations and fears that her daughter would get into trouble trying to grow up too soon. “She’s just 17 and her brain just don’t work… Think she knows it all. She don't know nothing.” 

Then the show takes flight and reels off one Alicia Keys hit after another, including the few that I recognized. When Ali tries to talk to Knuck for the first time, she and her friends sing “You Don’t Know My Name” as they dare her to approach him although for the first few choruses, the friends tease her by singing “He don’t know your name”.  Eventually Ali starts a relationship with Knuck (without revealing she is just 17) and also discovers her love of the piano through lessons with Miss Liza Jane.  Ali’s euphoria is perfectly depicted through the song “Girl on Fire”. The song is interrupted by Ali’s friend Tiny who spews off an angry rant in rap, giving her a reality check and reminding her that Jersey is going to kill her once she finds out.  Unfortunately, the lyrics were unintelligible given the loud background music and bad acoustics. I had to google later to find out what all that was about.

Later, things fall apart after Jersey catches Ali and Knuck together and has the police haul him away. Devastated, Ali refuses to speak to her mother, who calls Ali’s father Davis in for moral support. Davis is all charming and flirty with Jersey, singing the sultry song “Fallin”, then cheers up Ali by singing the song he wrote for her as a child “If I Ain’t Got You”. But then, Davis takes off again and Ali realizes that it is her mother who has aways been there for her. They reconcile with the song “No One” (“No one can get in the way of what I feel for you”).  I must admit that familiarity does have an impact since I appreciated the songs that I recognized more and marveled at how well they were integrated into the story—not quite Mamma Mia standards, but not bad at all!

There were a couple of powerhouse songs that were new to me but blew me away with their force and passion. The first was “Perfect Way to Die” which Miss Eliza Jane sings about the racism and police brutality that she endured and witnessed in her past. Keys wrote this song in 2020, at the height of Black Lives Matter, as a protest against the frequent murders of blacks by white policemen. This scene was one of many that effectively used background video. In this case, images of murdered children including Emmett Till (murdered in 1955) flashed by. The other was “Pawn It All”, sung by Jersey to express her dismay that Davis was leaving and disappointing his child once again. The tour-de-force performance by Jersey as she belts out this song made it the “eleven-o’clock number” of the show, leading to thunderous applause.  Hell’s Kitchen ends with the uplifting anthem “Empire State of Mind”, acting as a love letter to New York City.

The set representing the neighbourhood of Hell’s Kitchen in New York City was filled with scaffolding with video used to project skyscrapers.  The orchestra played on various platforms within this scaffolding, including the piano player who provided much of the live music while the actors portraying Miss Liza Jane, Ali and Davis pretended to play. On Broadway, the piano player in the orchestra was Alicia Key’s own high school piano teacher at Manhattan’s Performing Arts School. The show opened with a very effective use of video as Ali rides down the elevator from her 42nd floor apartment, describing how different musicians lived on various floors. As the elevator door stops, there is Jazz on the 32nd floor, Merengue and Latin dance music from a dance class on the 27th, Opera on the 17th floor, Classical music on the 7th to 4th floors, and finally piano on the ground floor, which turns out to be Miss Liza Jane playing.

As much as I prepared myself not to like this jukebox musical, I found myself really enjoying it and admiring the natural ease with which Keys’ lyrics propelled the story. I can see this musical being used to introduce a younger generation to musical theatre. The age of the audience members surrounded us at our performance seems to confirm that this is the case.

On a side note, shortly into the first act, the musical had to be paused due to technical difficulties. A voice came over the intercom asking the actors to leave the stage, the audience sat in the dark for a few seconds, and then the lights came on. It took several minutes for the action to resume.  This is the second time within the same year that an issue occurred at the CAA Ed Mirvish Theatre.  The same thing happened during a performance of Some Like it Hot, which we watched in February.  Add this to the fact that the sound quality at this theatre is terrible, to the point where entire reddit threads complain about it, and you wonder if it is time to shut down this theatre and perform a major upgrade. Hopefully something is done soon to resolve these technical issues.

Amélie Musical @ Daniel Spectrum (AKI Studio) Theatre

The whimsical, endearing, and critically acclaimed 2001 French-language romantic comedy Amélie was nominated for five Academy Awards including Best International Feature Film. Starring a wide-eyed Audrey Tautou in the titular role, the movie explores how Amélie’s sheltered childhood with Raphael, her emotionally detached father, and Amandine, her strict, high-strung, and apathetic mother, affects her relationships with others as an adult. When her doctor father gives her a regular checkup as a child, she is so excited to see him that her heartbeat rises, causing him to misdiagnose her with a heart condition. Trying to protect her, Amélie’s parents keep her isolated at home with a goldfish named Blubber as her only friend. Once she turns 18, Amélie leaves her now-widowed father behind and lands a waitressing job at the Two Windmills in Montmartre, Paris. There she interacts with the eccentric staff and customers but shies away from any personal entanglements. Things change upon the death of Princess Diana along with the unexpected discovery of a hidden box, which leads Amélie to open up and become a do-gooder like her idol Diana. Through her adventures in discovering the owner of the box, Amélie meets her soulmate Nino, an equally quirky character who is obsessed with the photos left in photobooths. But can Amélie overcome her awkward upbringing to embrace true love?

In 2017, a Broadway musical version of Amélie bombed, closing after just 6 weeks.  Created in the vein of slick, commercialized Broadway musicals, this show went for big, broad sets and an Americanized score and songs. This includes a confidence building “I Want” song (“Times Are Hard for Dreamers”) sung by an intrepid Amélie as she heads off for Paris, that channels Maria from the Sound of Music as she leaves the convent. This totally deviated from and therefore lost the quirky, innocent charm of the original story, and undermined the character of Amélie, who is supposed to be a shy, naïve dreamer. The change in tone did not resonate with the audience, leading to the show’s early demise, despite casting Broadway powerhouse Phillipa Soo of Hamilton fame in the lead role.

Luckily for musical lovers, in 2019, a new U.K. musical version totally revamped the show, resurrecting the charm, whimsy and quirkiness of the movie. Instead of American accents, the characters spoke with French accents intermixed with common French words.  Actor musicians played various instruments while acting and singing on stage. The sets and staging were more intimate to closer reflect the source material. Many songs changed in tone with slower pace and a more wistful, European feel. Some tunes were replaced with new songs to flesh out the characters and story, and others were moved to provide a better flow.

In the American version, young Amélie was played by a child actor who sang the earlier songs and appeared throughout the show to harmonize with her adult counterpart. The goldfish, renamed Fluffy in the musical, is played in full camp style by a grown man with a fish costume on his head. By contrast, in the UK musical, both young Amélie and Fluffy are played by puppets. The result of all these changes was a show that fared much better, playing across the UK and the West End between 2019 and 2021 despite being subjected to COVID shutdowns for over a year. This version received multiple Olivier award nominations whereas the U.S. version received no Tony nominations.

Shifting Ground Collective is a Toronto-based incubator for emerging musical theatre talent, giving early-career artists opportunities to act in full-scale musicals and cabarets.  We watched this group’s excellent production of The Drowsy Chaperone earlier this year and thought it was extremely well done. For their new show of the 2026/27 season, Shifting Ground Collective put on a production of the UK version of Amélie. Once again, we thought the show was stellar, featuring impressive triple-threat young performers who could act, sing and dance, although they did not play instruments. Instead, the band was positioned on either side of the stage with the strings, woodwinds and piano on the side and drums/electric guitars on the other. The actors also didn’t try to adopt French accents but did occasionally throw in simple French words such as “au revoir” or “merci” which even non-bilingual people like us could understand. I approve of this choice, since a fake French accent would have made the dialogue and lyrics more difficult to understand, especially in a theatre that already did not have the best acoustics.

Amélie is portrayed by Colette Richardson who is also a founding member and the executive director of Shifting Ground Collective. She plays the part with a sparkle in her eyes, a mischievous grin, and a sweet shyness and vulnerability that perfectly embodies the role. The strong supporting cast complement her well, providing both comedic and touching scenes and great dance numbers. At the Two Windmills Café, she meets the owner Suzanne, who once was a circus trapeze artist before an accident occurred where she was dropped by her partner (both physically and then romantically). Her two co-workers are Gina, who is still mourning the death of her husband who had left her for another woman, and Georgette, a hypochondriac who has a crush on the customer Joseph, who in turn is fixated on Gina. Other customers include Hipolito, a poet who has writer’s block and Philomena, an airline stewardess. She also encounters the grocer Collignon, who mistreats his assistant Lucien, her neighbour Dufayel, who is housebound due to a bone disease and spends his time reproducing copies of Renoir’s masterpiece “Luncheon of the Boating Party”, and finally Nino, who she falls in love with but is afraid to get too close to.

The main set piece on the left side of the stage is the photo booth that drives key plot points, with stairs behind it that lead to Amélie’s small Parisian flat. Various props are pushed onto the centre of the stage create the father’s doctor’s office, the family’s dining room, and later on, the interior of the Two Windmills café. Without props, it becomes the open space where large ensemble dance numbers are performed. On the right side of the stage is a door and a window which acts as the frontage of various homes including that of her neighbour Dufayel.

Following the lead of the UK musical, this version had some creative staging including the use of the cutest puppet to play young Amélie, styled with the same haircut as the actress playing the role. The scene of the child’s physical examination by her doctor father seemed much less creepy when performed on the doll as opposed to the adult actress. Rendered as a papier-mache fish on a stick, Fluffy the goldfish leapt out of the fishbowl and floundered on the ground. Shocked by what she considered a suicidal fish, Amandine insisted that Fluffy be released back into the river. As he swam away calling out “Au revoir”, he was represented by a large parade-float. When Dufayel showed Amélie his numerous attempts to reproduce Renoir’s masterpiece “Luncheon of the Boating Party”, the ensemble cast appeared on stage wearing similar straw hats and posed in the same positions as the people in the painting.

One effective concept that was not in the movie but added in the U.S. musical is the ancient Greek philosophical argument “Xeno’s Paradox” which argues that two objects (or people) can never meet because there will infinitely be a half-way point between them. During home-school lessons (in the song “Half-way”), Amandine teaches her daughter this theory and it becomes a metaphor for Amélie’s fear of intimacy and inability to form human connections. This inability to connect is mirrored in the other characters, who eventually are helped by Amélie’s good deeds. She helps pair up both Georgette and Joseph, and Raphael and Suzanne, gives Gina closure by forging a reconciliatory letter from her late husband, jolts Hipolito out of his writers’ block and gives him confidence by writing his insightful quotes on a wall, shames Collignon into appreciating Lucian, and spurs Dufayel into painting something original (a portrait of her) instead of merely copying others. But it takes Nino solving Xeno’s Parodox that leads to Amélie finally letting him in. With a reprise of “Half-way”, Nino determines that if they both step forward at the same time, they can bridge the "infinite" gap.

Two elements of high camp were retained from the US version, probably to demonstrate Amélie’s vivid imagination. First, after Princess Diana’s death, Amélie imagines that it is her funeral and Elton John, clad in his sparkly white jumpsuit and platform heels, is serenading her with the song “Goodbye Amélie”. Later, she steals Raphael’s garden gnome and sends it off on foreign adventures with a stewardess friend in order to help her father get out more and expand his world. To illustrate the postcards that Raphael receives from the gnome’s travels, an actress dressed in a green gnome costume prances around and sings the song “There’s No Place Like Gnome”. I felt like these two songs didn’t quite fit in with the vibe of the rest of the show.

We really enjoyed this delightful production of Amélie and were glad that we saw the U.K. and not the U.S. version. We continue to be impressed by the work of Shifting Ground Collective and look forward to watching more of their shows in the future. We especially like that they target more obscure musicals as opposed to the old standards that theatres like Stratford and Shaw like to produce. I regret that we did not learn about them earlier as I would have loved to have attended their recent productions of Ride the Cyclone and 25th Annual Putnum County Spelling Bee.