A Couple of Shows! Cyrano de Bergerac at the Citadel and Autumn at Shadow Theatre!

Over the last week I saw a couple of shows in town and depending on what you like, you might want to check out one or both of them. There are always lots of good shows on in Edmonton which is one of the reasons I like living here!

Photo by Nanc Price

Anyhow, most recently, I saw Cyrano de Bergerac at the Citadel Theatre. It was the show to wrap up the season (my mother and I have season tickets) and it was simply a terrific end to the theatre year! Adapted from Rostand's script by local playwright, Jessy Ardern, Cyrano de Bergerac is clever and fast paced with many humorous moments and a few sad ones! The cast attacked the script with vigour and commitment and it made for a wonderful afternoon of theatre. Usually when I see sword-fighting shows I wish for less sword-fights, but the sword fight in this one was staged so brilliantly that I actually wished for more! Leading the cast was the tremendous Scott Shpeley as Cyrano. He was incredible! I wish we saw him more on our stages! Not many could handle the tricky word play and the physical and emotional demands of this role, but it feels effortless coming from Shpeley (I'm sure it was not - but he made it seem so easy!). He's surrounded by a great ensemble and you get the feeling they all know they are doing something really special on that stage. Catch this one if you can. You won't regret it! 

Cyrano de Bergerac runs to May 24th at the Citadel in the Shoctor Theatre. Tickets run from $74-$139 and can be purchased here. 

Photo by Marc J Chalifoux

Last week I also caught Autumn by Peter Quilter at Shadow Theatre. The story is about two middle aged sisters with not much in common who have come together to throw a wedding for the daughter of one of them. This is a play for sisters, particularly those who love each other but who recognize that they are very different and those differences often lead to tensions. While I wasn't a great fan of the script as I found it a bit repetitive and predictable, the performances of the two actresses (Karen Johnson Diamond and Cathy Derkach) make the most of what is on the page. There are quite a few laughs and a satisfying resolution and it did make for an enjoyable afternoon. 

Autumn runs to May 24 at Shadow Theatre at the Varscona. Tickets are $25-$40 and can be purchased here. 

Request Programme at NLT - Figuring out the story behind the action...

I love those shows where you have to lean in more as an audience member. Request Programme is one of those shows. Because the single actor on stage has no dialogue and instead performs units of action while listening to a radio show, it is up to the audience to interpret their actions and their responses to the show they’re listening to. There are no definite answers to this interpretation, and in fact the possible interpretations are equal to the number of audience members. I know from discussions on the ride home with my husband that we both took away different things and the conversation was interesting because we could speculate on what the other had perceived. And again we could not be definitive. It’s all observation.

Vanessa Sabourin - supplied

The featured radio show, Request Programme, is a fantastic collection of songs by local female artists. I was so pleased to hear some of my favourites and for the two artists I had not previously known. I really enjoyed their songs as well. It is amazing to think that all those wonderful artists live and create in our community. I’m of the age where I want to buy their CD, in fact, I would love it if you could purchase the soundtrack to this play. It’s clear that those pieces were curated specifically for the production of this show in our community. I think they did a fabulous job.

So what’s this play about? Well because there’s the ambiguity in understanding the motivations of the character on stage it’s not 100% clear - but it is inherently personal. It’s definitely a reflection on loneliness in our modern society. It seems to be pre-cell phone pre-computer so there’s even a lack of reaching out digitally, which amplifies the isolation of the character on stage. As I mentioned earlier, there are units of action performed by the actor, and my understanding from a conversation with director Trevor Schmidt is that each of the actors (there’s a different one every night of the production - I saw Vanessa Sabourin) has leeway in how they perform those units of action. There are some tasks that are specifically dictated.  I don’t know which ones and there’s one in particular that I don’t want to talk about because I don’t want to have spoilers. How each actor responds to the different songs is individual choice which gives way to multiple interpretations of the story behind the action. It makes it intriguing to think about coming back and seeing how having an actor of a different age or ethnicity or even attack might affect your interpretation as an audience member. I’m hoping to do so but I’m not exactly sure when and I think I want to pick an artist that might be different from the one I saw on opening night. I’m not exactly sure how I’ll be able to pick that one.

It's a compelling piece of theatre. Well worth checking out, maybe even more than once. 

Request Programme is presented by Northern Light Theatre at Studio Theatre Inside Fringe Theatre Adventures. The show runs until May 16th. Tickets are $22-$37 and there are Pay-What-You-Can and 2-for-1 performances. You can purchase your tickets here. 

Shows I Saw But Didn't Have Time to Write About... Until Now...

This has been a busy few months for me, not just with theatre, but with life. I started a new position which seems to be ever-evolving and that has taken up a lot of mental and physical space in my life; I am also working on a show (Waiting for the Parade - Walterdale Theatre - I am doing Props - it goes up sooooooon!) so that naturally has taken up time in my life; I have had a nice visit from my sister from Toronto; I remain active on the Walterdale Board; and I am still trying to occasionally read. Somewhere in all that, I have managed to see some shows AND NOT write about them... My reflections on these will be briefer than usual. 

Photo by Brianne Jang

Most recently, I saw A Chorus Line at MacEwan University. The show itself is not my favourite structurally, but I thought they did a really good job with it. I always forget how many of the songs I know! It's also nice to see this show done by people the right age (or close to it) who can also handle the dance. I felt the dancing was really strong (and it needs to be). Standout moments for me (besides the big dance numbers) were Ethan Bintu-Watt's vocals (he played Richie), a monologue from Don Raphael Figueroa (Paul) which made me cry, and the lovely trio who sing my favourite song from the show, At the Ballet (Layne Labbe, Harmony B, and Mana Middleton). 

Photo by Nanc Price

I also saw The Wizard of Oz at the Citadel. It was good and I think kids in particular will love it. I enjoyed the afternoon but having done the show myself many years ago, it was hard to wow me and I think they actually missed a few opportunities to do so. Yeah, yeah, I know, they fly people. That's cool. And really, it's not like there was anything wrong with the 'pieces' of the show, but I didn't feel a lot of chemistry between Dorothy and the 3 friends and that's the heart of it for me. They were all individually good, some stronger than others, but they didn't feel connected. My favourite parts were the ensemble numbers and I think the ensemble was outstanding. The costumes and the big group dance numbers were really what made the show for me. By the way, if you want to be the one that the lead jitterbug surprises in the audience, I can tell you the exact seat because I was sitting in it! ha ha ha! Anyhow, the rest of the audience was up on their feet, so it's quite possible I just had an off day. 

Photo by Nanc Price

Before that I took in Death of a Salesman at the Citadel. A classic that I have seen three times before. They did a solid job, but there were a couple actors were miscast (in my opinion) and the ending didn't really give me the punch that it usually does. It would, however, be hard to beat the production that the Citadel produced 15 odd years ago. I was a bit distracted by the staging with the alley of musical instruments and for a show that is long to begin with, adding length with a cinematic score didn't really serve the piece. But sometimes I was drawn to watch the instrumentalists instead of the action and I wasn't really sure why that choice was made other than it seemed like a cool thing to do. Also, by casting a person of colour as Charley, it really changed our perceptions of why Willy rejects his help. It makes it seem that Willy is racist, as opposed to it being about pride and failure. The moment is shifted dramatically and it greatly alters what playwright Arthur Miller likely intended. 

Please remember, these are just my ramblings and my personal reactions to these shows. I respect that others will have engage with the material in a very different way. I don't have to love everything I see and I'm cool with that. 

The Revolutionists and Cry-Baby! The Musical - First 2 shows of my 3 Show Weekend! Off to a Terrific Start!

The Revolutionists by Lauren Gunderson at Shadow Theatre
March 18-April 5, 2026
2 hours (including 15 minutes intermission)
Starring: Aimée Beaudoin, Alexandra Dawkins, Jaquelin Walters, & Kijo Gatama
Directed by: John Hudson
Photo Credits: Marc J. Chalifoux Photography and Video

Tickets are $25-$40 and can be purchased here. 
There are also Wednesday matinees, pay-what-you-can and 2-for-1 nights for financial and schedule accessibility. 

This was a terrific show with four strong actors taking on the challenge of playing reimagined historical figures from the height of the French Revolution. I was familiar with "let them eat cake" Marie Antoinette (Beaudoin) and the murderer of Marat, Charlotte Corday (Walters) but not playwright Olympe De Gouges (Dawkins) or champion of freedom and democracy, Marianne Angelle (Gatama). Fortunately there is a nice page or two in the program for background on all four of the historical figures, but don't worry, you don't need the background to get the play. For me it was great to skim that before and read more afterwards! This play imagines what if the four of these women converged at the time of the French Revolution. With three of them coming to playwright De Gouges for her writing skills to help them tell their story, write political pamphlets, develop their last words and plead their cases to the world. While these four were unlikley to have met in real life, putting them together onstage provides many opportunities for tension and humour. 

It's very funny and fast paced. I am pretty sure that several of the actors have backgrounds in clowning as the physical commitment and choices are no-holds-barred. Gunderson's dialogue is modern yet feels entirely appropriate and helps to create many moments of laughter. Early on in the play, which is somewhat meta in it's construction, they discuss that a play that starts off funny and ends seriously and maybe has a few songs, is best (I don't have the exact quote). There is music, and references to both Les Miserables and Hamilton, which feel perfect and expected so there's a bit of delight when they happen.  The cast works well together as an ensemble, with no weak links. Beaudoin is hysterically funny at times and seems to be channeling Marilyn Monroe and Moira Rose - I loved her! Angelle and Corday come at different angles as proponents of their causes and it works. Gatama's Angelle demonstrates maturity and calm, while Walter's Corday is fiery and impulsive. Two sides of the revolutionary coin. The Playwright De Gouges is in the middle and I reflected most on her role as she wants to act, but is hesitant because of the consequences. Dawkins skillfully walks this line between action and inaction, showing real indecision and rationalizing. 

I loved the set (Cindi Zuby). I'm a sucker for a beautifully painted floor. As a former set painter I know the incredible work put in to create things like that. But not only did it create the writer's room of De Gouges, but the pattern on the floor at times suggested prison bars, and the set and lights (Ken Matthews) created a stylish upstage guillotine, for when that was needed. 

As mentioned, it's funny at the beginning and serious at the end. The historical write-ups give you a head's up (see what I did there) about what happens to them in real life. It's an engaging ride and highlights many things about the impact of revolution - what the women were doing (often omitted from history), and what happens when a leader is removed and what moves into the vacuum (it's not always what you expect). I did reflect about a lot of things happening in the world today and what could happen. I also thought about the role of artists - should they not be speaking out more boldly? Some are today and attempts to silence them have been noted. Will those in power go further? That's got to be a fear... 

Cry-Baby! The Musical presented by Uniform Theatre at The Roxy (Theatre Network)
March 19 - 22, 2026
Nancy Power Theatre
120 minutes with an intermission
Cast: Gab Gagnon, Arden Phillips, Renell Doneza, Jacob Holloway, Amanda Neufeld, Matthew Gregg, Megan Holt, Sarah Kyle, Sika Clarke, Lucas Paterson, Benjamin Healey, Rhiannon Eldridge, Kit Brooks, Gunho Kwak, John Avila, Ethan Lang, Robyn Clark, Damon Pitcher
Director: Lauren Boyd
Musical Director: Mackenzie Tennessen
Choreographer: Jason Hardwick
Photo Credit: Mat Simpson

Tickets are $32 (including fees) and can be purchased here.  

Usually I wait a couple days before writing because I need to let my thoughts percolate, but there are only two performances left (as of writing this) and I don't want you to miss out. This was such a good show. It's not for everyone, but if you love really well-done musicals and the off-centre humour of John Waters, then you should definitely go to this show. 

Cry-Baby! is a musical adaptation of the John Water's film of the same name. It tells the Romeo & Juliet-like story of Wade "Cry-Baby" Walker (Gabriel Gagnon) and Allison Vernon-William (Arden Phillips). Allison's a square and Cry-Baby is a drape (delinquent). Of course, there is conflict between the drapes and the squares, leading to arson, false charges and incarceration of the drapes, and then a prison escape. A lot happens! And it's so fun in a campy, raunchy way! 

There is so much awesome about this production. The cast as a whole are great singers and dancers. Jason Hardwick's choreography is clever and funny, and the cast delivered it with 100% commitment and excellent execution! This is the second show I've seen him choregraph this season, and I want to see him choreograph even more around town! The score is a mix of rockabilly, blues, and swing, featuring songs like "I'm Infected," "Screw Loose," and "Nothing Bad's Ever Gonna Happen Again". Music Director Mackenzie Tennessen conducts a fabulous band to make all the numbers rock. Both the leads, Gagnon and Phillips, are excellent singers who definitely know how to sell a song - "Girl, Can I Kiss You With Tongue" is a ridiculous treat to watch. Stand-outs in the show include Amanda Neufeld as the likely insane Lenora Frigid who is obsessed with Cry-Baby. Her comedic gifts abound! Renell Doneza is outstanding vocally and we were very fortunate to get to hear him riff on "Jukebox Jamboree" and "Jailyard Jubilee". He can sure sing and it's incredible! 

The cast is also 100% committed to telling the story. This is a great collection of actors who were able to sell the campiness of the story. This is not an easy feat. But they all seemed to know how far to go and when to give focus to story. All this while singing and dancing! 

The show also has a super fun set (Will Chichak) and costume (Logan Stefura) aesthetic that helps support all the cool directorial choices (Lauren Boyd). I loved the themed costume details and the ice cream coloured squares contrasted delightfully with the darker dressed drapes in black leather and appliqued denim. The set was cleverly transformed by banners moving it from park, to country club, to junkyard, to jail. Very fun and it worked so well! 

I'm so glad that I caught the show - I wish I'd seen it earlier so I could have told you all about it last week! I have seen many a Uniform Theatre show in the past, and they are certainly living up to their high standards with this one. It is also terrific to see this Fringe-formed company branching out to producing in the main theatre season and taking risks with a show of this size and complexity and doing it so well.

A Nice Light Comedy to Keep You Warm - "I Meant What I Said" at Teatro Live

Teatro Live! is currently presenting a brand new play by Stewart Lemoine called I Meant What I Said. It's a bubbly little piece that demonstrates the power of the creation of story. Dinah (played cheerfully and optimistically by Bella King) is approaching her 30th birthday and is experiencing a period of reflection about her life and her purpose. As such, she starts to weave a story that comes to life in front of us. We meet a former friend and current acquaintance, Helen (Jayce McKenzie) who finds herself at a different turning point as her marriage appears to be ending. Dinah also observes Alex (Sam Free) who becomes her boyfriend in the story she creates (is he an actor? or an academic?), and Juris (Eli Yaschuk) a newcomer to the country seeking to converse in order to improve his English. In Dinah's story he also has a tragic past. Added to the mix is The Oddball (Nida Vanderham) who is actually several characters who fill in the world that Dinah creates. It's a very cool little story that roams from coffee shop to upscale hotel bar to academic classroom to wintry high mountaintops. Some is true, some is made-up, but I'm not sure we know entirely which is which. It's definitely about the journey! I had a very enjoyable time and as a playwright, I found the witnessing of the process of creation of story very interesting. I most enjoyed the interplay between King and Yaschuk, as he is such a natural comedian and King's reactions are so truthful. I also loved McKenzie's turn as the tightly wound Helen. This was a big shift from anything I have ever seen her in before and it was fun to watch. 

I also reflected on the five actors that were onstage, as it did not seem that long ago that I observed them as 'the young ones coming up', but now they are firmly established. It's a testament to the investment that the Edmonton theatre community has made to young artists that we can watch them evolve on stages over several years (and hopefully more to come). I certainly look forward to seeing these actors onstage in future projects and was glad to see them as an ensemble in this piece. As I said, it's a lovely comedy that will keep you warm this winter. Definitely worth checking out!

I Meant What I Said runs to March 8th at the Varscona. Tickets are $25-$42 and there are Pay-What-You-Can Nights and other special events. You can purchase those tickets here. 

Photo Credit:  Marc J Chalifoux Photography 

Sex Please, We're Sixty at St. Albert Dinner Theatre

This past weekend I took in the latest offering from St. Albert Dinner Theatre, Sex Please, We're Sixty! It was a laugh-filled evening, with a terrific dinner and great company at my table! Like any great farce, there are several doors and for much of the second act, you are never quite sure what will be coming out of what door! It's also chock full of big characters whose convergence leads to the requisite mix-ups and misfortunes. 

Set in a floral themed Bed and Breakfast, permanent resident Bud "the Stud" (Rob Beeston with the most absurd hairline and a ridiculous pelvis popping) is awaiting the return of a former guest with whom he had a liaison. The only problem is he can't remember who they are. Enter three possible candidates and off we go. There's also a very rigid and time obsessed B&B owner, Mrs Stancliffe (played by Myrna Ferris who has a delightful transformation in the finale of the show) and her fumbling but earnest suitor, Henry Mitchell (the charming and befuddled Dave McKay) who has been courting her for over a decade with no progression. He's a scientist who has developed a little blue pill for menopausal women to stimulate their libido called Venusia. When these get mixed up with Bud's Viagra, the hijinks abound! 

As mentioned, the show is full of larger than life characters. There's a nerdy scientist Hillary Hudson (Ursula Pattloch, with broken glasses and appropriate t-shirts) there to help Henry with the testing of of his magic medication; a romance writer Victoria Ambrose (Joanne Poplett), looking for a new and innovative way to end her latest novel; and Charmaine Beauregard, a southern vamp hoping to get some action with Bud (Christine Gold, who is an absolute hoot!) The folks at my table remarked of Gold, "She has the best lines!" and indeed, in the second act, every time she came onstage I was waiting to see what she would say next. I have been quoting some of them around my house all week. I don't want to give them away, so you will have to see for yourself! 

Like all good farces, the first act gets everyone in place and you can anticipate over intermission how they will all collide, and then the second act pays off with even more ridiculousness than you expect. The cast worked well together with everyone putting in 110% regardless of what silly thing the script asked of them. The laughs came hard and fast leading to a very enjoyable evening! 

Sex Please, We're Sixty runs to February 14th with shows on Thursday through Saturday at the St. Albert Dinner Theatre. Tickets are $70 and include a fantastic buffet supper. There's also a discount for groups of 10+. You can purchase your tickets here. 

The Mythology of War - An Iliad at Shadow Theatre

 Marc J. Chalifoux Photography

Last weekend I took in An Iliad at Shadow Theatre. The Iliad is an epic story from Greek Mythology recounting the battle of Troy. You've likely got some bits and pieces of it floating in your head, from Helen of Troy, to Achilles, to Odysseus, to The Trojan Horse. And of course, there's all those deities mixed up in it with vested interests: Athena, Apollo, Ares, and others. I'm very familiar, having directed The Penelopiad (the story of Odysseus' long suffering wife, Penelope) and having read Madeline Miller's The Song of Achilles last year and just finished her more recent novel Circe. I felt a bit surrounded by the Myth, but familiarity does cultivate affection. 

At the centre of this production, is the poet, played masterfully by Michael Peng. Peng is an excellent story-teller and even injured and constrained in his movement he weaves a compelling tale about the Trojan War. I appreciated that this retelling does not pick sides but rather tells the tale from the perspective of both sides. We hear about Hector as well as Achilles. The poet sees and relates wrongs and triumphs of either side of the wall. He has been telling this story for centuries and we are getting the version that's a little under 2 hours. He tells us he's told versions that last several days. The weight of that underscores the shorter version we receive. 

 Marc J. Chalifoux Photography

You can't help but reflect beyond the mythology and think about the essential nature of war, in fact, Peng draws our attention to war in the world over our long human history up to today. The list feels endless and sadly incomplete. As we live in a world with increasing tensions, it is perhaps a kindness to reflect on war through the lens of an ancient mythological one. I certainly have thought a lot about war lately and how relatively safe we are in North America (and growing less so). There are many places in the world where war is first-hand and deadly, and while the play does not provide answers to humanity's ongoing conflicts, the recognition that both sides of any conflict are human is important. 

As I mentioned earlier, the story is well-told by Peng. He is also supported by the live score created by Erik Mortimer on a variety of instruments. The music and sound is thoughtful and supportive of the storytelling. Directed by John Hudson, the blocking is simple, yet effective, as it avoids distracting from the story. I guess with an uninjured narrator you could add more physical action to the story-telling, but I actually found it very engaging to focus on the images created by the words, and the emotion layered on Peng's face and in his voice. Set in a lonely bar (set design by Scott Peters), where all the best stories are told, the show relies on the best of story-telling, the testimony of "I was there, I saw this, and it was devastating." 

An Iliad is presented by Shadow Theatre and runs at the Varscona until February 8th. Tickets are $25-40 with several Pay-What-You-Can performances and they can be purchased here. 

Fun Fact: The crutches used in the show came from my garage! A call went out for wooden crutches and I happened to have 3 sets of wooden crutches hanging in there, as well as 2 sets of metal crutches... don't ask...