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.

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... 

Tiny Beautiful Things at Shadow Theatre - Theatre for Your Soul!

 Tiny Beautiful Things at Shadow Theatre
Photo Credit: Marc J. Chalifoux Photography and Video

In Tiny Beautiful Things by Nia Vardalos (of My Big Fat Greek Wedding fame), anonymous online columnist “Sugar” receives letters asking for advice, to which she responds with reflections on her own life which helps those seeking guidance (and the audience) with their own challenges. Michelle Todd is perfectly cast as Sugar (aka author Cheryl Strayed). Todd is warm and empathetic, and makes you believe that Sugar is in a good place now, but that there have been many terrible things in her life that she has overcome. The portrayal is honest, emotional when necessary, and layered with a gentle humour. The letter writers (played by the trio of Michael Peng, Brett Dahl and Sydney Williams) embody a wide variety of humans seeking advice for a wide variety of life challenges. Their portrayals are also honest and generous to each other and the audience. Peng is particularly moving as father in mourning. I was worried that a play based on letters back and forth would become a bit 'talking heads' but directors John Hudson and Lana Hughes have wisely created a world where Sugar interacts with her petitioners in conversation - they are welcome in her home (an adorable set designed by C.M. Zuby). It's dynamic and healing. 

 Tiny Beautiful Things at Shadow Theatre
Photo Credit: Marc J. Chalifoux Photography and Video

I mention that it felt a bit like therapy (in a good way) as the stories told by Sugar made me reflect on my own past and current emotional challenges. I am still thinking about some of these things several days later. With laughter, some tears, and some gentle introspection this show is one that will feed your soul. If you don't connect to all the stories, you are bound to relate to a few of them. 

Tiny Beautiful Things is presented by Shadow Theatre at the Varscona Theatre and runs until May 12th. Tickets are $25-$38 and there are Pay-What-You-Can nights. You can purchase tickets here. 

Robot Girls is full of Laughs and a Love for Science at Shadow Theatre!

If you’re looking for a show on in Edmonton this week and next, I highly recommend Robot Girls presented by Shadow Theatre at the Varscona. It’s a brand new work by Trevor Schmidt about about a school science club at an all-girls junior high school. The four actors (played by Larissah Lashley, Hayley Moorhouse, Abigail McDougall and Jayce McKenzie) are letter perfect as grade 7, 8 and 9 students who endeavor to build a robot in their club to go to an international science competition. Their teacher advisor is missing in action, so it’s all up to them to figure out how to get the work done.

As a junior high school science teacher myself, I was both tickled and impressed by the portrayals. McKenzie is simply hysterical as the grade 7 club member Vanessa. She's filled to the brim with a golden retriever puppy energy that feels all too real. Moorhouse, on the other end of the age spectrum, plays the senior member of the club, grade 9 Bloody Mary, with just the right amount of distain and compassion for her younger club mates. In the middle, we have two grade 8 of varying temperaments; Lashley with her student council Vice President authority, and McDougall who just needs a club to be in while she balances the demands of her family. I was struck by how accurate (in a heightened way) the three ages were portrayed. You wouldn’t think there was a wide difference difference between a grade 7 and a grade 9, but there is, and this show capitalizes on it and really makes it work. It was also terrific that these weren't 'mean girls' or 'troubled girls', but real kids who happen to be smart and like science and want to belong somewhere, which is far more my experience with the age group. 

The laughs start immediately with this show. Schmidt has a knack for writing funny and truthful, young female characters. Co-Directors John Hudson and Lana Michelle Hughes keep the action moving with clever lights and robot dancing. The pace is brisk and tight. The relationships are honest, sometimes unintentionally hurtful, often touching, and most of all very humorous. 

Of course it’s not all simple. With the lack of a teacher in the room, the four girls must figure everything out on their own both with the robot building and how to deal with each other. Mistakes are made, but then fixed, and the future for women in science looks very hopeful.

I can’t overstate how funny it is, and how much the packed opening night audience was howling with laughter. If you have a daughter or granddaughter, or niece, aged 12 and up, I highly encourage you to take them to see this show. It might be really cool for them to recognize themselves on stage (whether they are a science kid or not). It’s more about the relationships than the science, but the science is pretty cool, too. It’s Spring Break next week so you could take your kid and they don’t have to get up early the next morning for school.

Robot Girls by Trevor Schmidt runs to March 31st at the Varscona Theatre. Tickets are $25-$38 with a Pay-What-You-Can night (at the door), and can be purchased here.

Photo Credit: Marc J. Chalifoux Photography and Video