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. 

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... 

Theatrical Nostalgia - Billy Bishop Goes to War and Morningside Road

It's interesting that after seeing Big Stuff on the weekend, the next two shows I saw this week learned in heavily to feelings of nostalgia. Nostalgia for eras of history I wasn't even born yet for (WW I and WWII). I had a fascinating conversation after the second one about why we see so many shows dealing with periods of history from before we were born that we somehow are still cognizant of - perhaps due to cultural storytelling in our lifetimes - but also wondering about how'd we write about our youth which was more the 1970s and 1980s and how and why we'd tell those stories... 

I took in the inaugural production from Edmonton Repertory Theatre Company this past week. For their first production they mounted a Canadian Classic, Billy Bishop Goes to War starring Steven Greenfield as Billy Bishop and Cathy Derkach on piano and supporting vocals and sound effects. This is not the first time I've seen this play, in fact I have seen it twice before, but it is a show worth revisiting, and if you've never seen it you should. A large part of that is the excellent script and how it tells and shows the real Canadian World War One hero, Billy Bishop. It's a terrific story with songs and in this production it is animatedly told by Greenfield. He is certainly up to the task of playing the unexpected hero. Known as the worst student ever to come out of the Royal Military College, Bishop becomes a flying Ace in WWI and shoots down a remarkable amount of German planes and receives the highest of military honours for it. Greenfield is physical and flexible as he plays not only Bishop, but a plethora of other characters. He is supported throughout this by Derkach, a gifted pianist and vocalist. I feel this is one of the plays that every Canadian should probably see, and this production, directed by Gerry Potter, is an excellent interpretation of it. The play explores themes of heroism, the cost of war and the brutal realities of conflict, and the creation of a national hero.

The Edmonton Repertory Theatre Company has taken up residence at the Biederman Theatre (inside Lifestyles Options Retirement Community - 17203 99 Ave NW). This is a new space for the Edmonton Theatre community and it's a lovely one. Free parking is available to the West of the building. Billy Bishop Goes to War runs from October 24-November 8, 2025. Tickets run from $23-$40 and are available here.

I also had the opportunity to see the newest iteration of Morningside Road at Shadow Theatre. I had seen the first version of this lovely musical at Fringe in 2023 and recommended it to everyone at the time. The updated version is an expanded two act musical with a full band and additional musical numbers. Morningside Road tells the story of a Girl (played by playwright & composer Mhairi Berg) and her grandmother Elaine (Maureen Rooney). The two are close and the Girl has always been entertained by the stories her grandmother has told her about growing up on Morningside Road in Scotland and how she met her grandfather during World War II before the two of them emigrated to Canada to start a family. As they revisit the stories Berg plays the younger Elaine and we meet her grandfather in the past who is known as the Lad (Cameron Kneteman). But grandmother Elaine is starting to experience dementia and as she deteriorates her stories change and we discover that the actual past was somewhat different from what she's been relaying over the years. I do not want to give too much away, but let's just say, secrets are revealed. The music (by Berg and Simon Abbot) is gorgeous and takes up more space in the story than in the original Fringe production. I absolutely loved That Blessèd Wedding Day and Christmas Stockings and I think those were both new or at least more developed! All three performers are lovely singers and committed to telling this story. I did wish that I was experiencing it for the first time, however, because I knew the big secret so the reveal had less impact on me. I'm curious, if you are seeing it for the first time, how that discovery rings with you.  

I'm so impressed with Shadow Theatre for investing in this show. I love that they are looking at what local artists are doing at Fringe and helping to develop those works further. We have so much incredible talent creating new work in the city and this was a real treat to see in the mainstage season. 

Morningside Road runs to November 2nd so you need to catch it quickly. I was meant to see it a week earlier but shows were canceled due to illness, so I am sorry this is coming so close to the end of the run. Tickets are $25 - $40 and can be purchased here. 

Where You Are at Shadow Theatre - It's where I want to be...

I caught Where You Are by Kristen Da Silva presented by Shadow Theatre this past Saturday afternoon. On the ride over the uber driver asked me about the play and I realized that other that the cast members and knowing that two of them were sisters I really didn't know much about it, but I was confident based on that information that I would enjoy it. I was not wrong!

Marc J. Chalifoux Photography

The two sisters, Glenda and Suzanna (played by Coralie Cairns and Davina Stewart), live together on Manitoulin Island and while they are clearly very different, it is not hard to imagine them being sisters. They have strong chemistry and an easy way of relating to each other. They do a great service to Da Silva's occasionally over-written script. Cairns and Stewart are gifted with making it all seem so real and believable and that this is a relationship with a long history and ingrained patterns of interaction. We meet Glenda, the wilder of the two, with a Something About Mary inspired hairstyle, raccoon eyes, and a heavy metal t-shirt under her bathrobe, and that sets the tone for what to expect from her. Suzanne arrives a little later, impeccably groomed and dressed, returning from church which she attends more for gossip than for spiritualism. They comfortably and humorously bounce off each other and we find out that Glenda's adult daughter Beth (played by the sharp and smart Nikki Hulowski) will be arriving soon for a visit and that there's a potential for conflict as Glenda has a long history of saying the wrong thing! We are also visited by the handsome and handy neighbour Patrick (Brennan Campbell) who the sisters clearly enjoy seeing on a regular basis. He's got his own history which involves being left (near) the altar. Beth arrives and things kick-off. We've also got hints that there is something big the sisters have been keeping from her. I don't want to give it all away, but of course, you have two attractive young actors who are unattached so there's potential there for a liaison, and it's clear that when Beth finds out the secret - she might not be happy about it. Come and see and find all that out. There are many laughs along the way of discovery and the four actors work really well together. Hulowski was terrific. Her reactions to the ridiculousness of her mother and aunt were perfect and wonderfully in the moment. Campbell was charming and kept up with the three powerhouse women on the stage. And, as I mentioned earlier, Stewart and Cairns have a real ease with each other which was so essential to creating that key relationship. 

Marc J. Chalifoux Photography

Now, I say it's where I want to be... maybe not right now, but I can totally imagine hanging with my sister and relating in our own way to each other the way Glenda and Suzanne do. I definitely connected to the situation. And the emotional investment you have in your adult children and their futures also resonated big-time for me. I would say for anyone around my age plus or minus 20 years with a sister you are close to, this is a terrific choice for a night out. The audience agreed with a standing ovation when I saw it. 

Where You Are runs until May 18 at the Varscona Theatre presented by Shadow Theatre. Tickets are $25-$38 and can be purchased here. They also have pay-what-you-can performances. 

A Visual Feast! After Mourning - Before Van Gogh at Shadow Theatre

Marc J. Chalifoux Photography

I took in the World Premiere of After Mourning - Before Van Gogh by Canadian playwright Mike Czuba this past weekend at Shadow Theatre (presented at the Varscona Theatre). Second only to my love of exploring math and science in plays is the exploration of visual art and artists in plays. With today's modern technology and the ability to include projections, theatres are able to do this in a way that literally immerses the audience in the work of the artist. Indeed the work of Vincent van Gogh is prominent in the play thanks to the wonderful projection design of Matt Schuurman. 

In Czuba's play we are not focused so much on Van Gogh but rather how his brother's widow, Joanna (played by Lora Brovold and Donna-Leny Hansen) works in her life to establish and preserve his legacy. Remember, Van Gogh only sold one painting in his lifetime. His fame and recognition of his genius only came after his death. After husband Theo also dies, Joanna dedicates her life to the legacy of Vincent and also to pass this along to her son, Vincent Willem. 

Marc J. Chalifoux Photography

The play is told in multiple times and we see an older Joanna (Brovold) remembering her past as she struggles with a decision to allow the National Gallery to have Van Gogh's Sunflowers. She looks back on the journey she's had wondering about her choices about when and how to share Van Gogh's art to the world. Brovold is outstanding as the anchor of the show, always observing her past as it's relived onstage, and wondering about whether she has done a good job, and what she might have done without the monumental task she set for herself. Surrounded by the ghosts of her husband Theo (Steven Greenfield) and Vincent (perfectly appointed Andrew Ritchie, who also plays her son Vincent Willem), Joanna deftly navigates the art world where, as she is a woman, she is given little respect.

It's this looking back and wondering about choices that I connected the most with. I would say that Joanna, if she could really look back, should be immensely proud of what she accomplished. For even though she did not make the paintings, it could be argues the rest of us would not know much about them if it weren't for her.  I thought a lot about that as Starry Night and Sunflowers swirled in my vision from the stage. Czuba's play honours not only the artist, but also his champions and protectors.

After Mourning - Before Van Gogh runs until April 6th. Tickets are $25-$38 and can be purchased here. They also have pay-what-you-can and two-for-one performances. 

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

Grabbing a Few Shows in the CCCCCOOOOLLLLDD of January... And looking forward to a warmer February!

It's tough on those theatre artists who present in January in Edmonton. Sometimes we get a mild winter and the weather doesn't affect the house size much, but when it's cold-cold-cold like it was in 2020, it can be tough to get people out of the house and into a theatre. I know it affected me a bit, but I still managed to catch a couple shows...

I took in Cost of Living earlier in January at the Citadel theatre. It closes today, so you won't be able to catch it (sorry...). It was a well-done show, if not what I expected. It told two stories - one about a PhD student with cerebral palsy and his new caregiver, and a woman who has suffered a devastating accident resulting in being confined to a wheelchair as a quadriplegic and her ex-husband who still loves her and comes to help care for her. The acting was excellent and all four artists gave compelling and complicated performances. It was also very cool to see Venom from The Guild (Teal Sherer) onstage in Edmonton (call me a fangirl!)! I was a little disappointed by the script, however, as it felt unfinished. It also seemed to imply that the story was more about the two able-bodied characters and how they were the more disenfranchised of the four characters, and my impression going in was that it was about all four equally. I know, it's probably just the sales messaging, but it left me going, "huh...?" Still, it was a very thought-provoking piece, and perhaps that 'huh' was what they wanted me to leave with. 

I was delighted to catch Everybody Loves Robbie at Northern Light Theatre this past month. It's closed as well, so I am terribly sorry you missed it. It was Sold Out for much of it's run and it was easy to see why. It was a delightful trip back to the high school drama class/club, told by two engaging actors (Richard Lee Hsi and Jayce MacKenzie) who both charmed the audience and broke our hearts. As a former drama kid AND high school drama teacher, I was so in love with this show. You might say I was in nostalgia overload. Ellen Chorley's script was brilliantly constructed and although it was full of highs and lows, it was truthful and engaging, supported by wonderful direction by Trevor Schmidt, who kept it flowing much in the way that high school tumbles by for a teenager. I actually hope they bring this show back. Every high school drama student (past and present) should see this show. 

Most recently (and you can still catch this one until February 9th) I saw Happy Birthday Baby J at Shadow Theatre. The story centers around a couple who are choosing to raise their child without a gender and they have invited a small group of friends and family to celebrate the child's 2nd birthday. At first it was a little challenging because I really didn't like the characters, but once I gave myself permission to laugh at them, I had a great time and I laughed A LOT. It's an interesting premise and playwright Nick Green has penned a clever script to explore the complicated world of wokeness. Gary and Louise (Chantel Perron and David Ley) feel rejected by their baby group because of their choice to raise the child without a gender, but it's really because they spend all their time Wokesplaining that no one can stand them. I've been thinking a lot about this one, and how much it says about what's wrong with 'people who think they know better than everyone else and also feel they have to tell them'. There's a cautionary tale in there, whatever you choose to do with regards to raising your own children. There's a lot more going on in the show beyond the question of gender, as it also throws in race, social media, relationships, and the complications of family and friendships. 

Anyhow, that was January... I'm looking forward to a warmer February with more shows. I already have 4 lined up for the next two weeks! I'll be back to tell you about those in a few... 

October Theatre Offerings - It's going to get busy!!!

Here's what's starting onstage in Edmonton in October. 


Silent Sky - Walterdale Theatre - October 2-12

The true story of 19th-century astronomer Henrietta Leavitt, Silent Sky explores a woman’s place in society during a time of immense scientific discoveries, when women’s ideas were dismissed until men claimed credit for them. Social progress, like scientific progress, can be hard to see when one is trapped among earthly complications. Henrietta Leavitt and her female peers believe in both, and their dedication changed the way we understand both the heavens and the Earth.


Open Invitation - Saint Maggie Productions - October 2-12

Becky is an exhausted mom and her husband Sebastian is a man trapped in a soul killing day job. It’s date night and they are going to attend a “snobby” dinner party at the home of one of Becky’s old show-choir friends. Some of the guests she’s known for 20 years, some she hasn’t seen since high school. Sebastian doesn’t want to go and is convinced that the dinner’s hosts are Swingers and just looking for a “hook-up”…and he’s going to prove it. Becky thinks he’s nuts and so they place a bet and hilarity ensues with each trying to win what it is they think they want most from the other.

High Tea - Firefly Theatre & Circus - October 6

Ever wondered what a true “High” Tea would look like? Join the company of Firefly Theatre and Circus as they dangle overhead serving steeps, champagne and sweets! An afternoon of multi-sensory delights, HIGH TEA guests will sip quality teas, nibble on scones and sweets, and enjoy traditional cucumber sandwiches — all while being entertained by Firefly’s talented servers as they dangle from the rafters.

Dead Centre of Town XII - Catch the Keys - October 10 - November 1

Some people lived here. Many people died here. Not everyone moved on…and those left behind are desperate to tell you their story. Edmonton’s only live-action thriller inspired by true history possesses Mellon Farm for an intimate and immersive theatrical retelling of some of Edmonton’s long-buried secrets. Secrets that can’t stay buried forever. Catch the Keys Productions presents Dead Centre of Town XII October 10 – November 1, 2019. Dead Centre of Town is NOT a haunted house, but it will haunt you long after you leave the Park.

Simone et le whole shebang - L'Uni Theatre - October 16-26

Simone has just been placed in a long-term care facility in Fort McMurray by her daughter Simone-Alice, who has been living in the city for the past 6 years. A québécoise actress in her sixties suffering from Alzheimer’s disease, Simone’s deteriorating condition has made her unable to care for herself. Jessy, an old acadian cowboy who dreamt of being a country singer, is in the same care facility. Though he still has his quick wit and his colourful vocabulary, he’s lost his mobility, his heart and his will to live. Both are haunted by what they’ve become. Somewhere between their egos and their fears, Simone, Jessy, and Simone-Alice must face their disappointing realities.

Fight Night - The Citadel Theatre - October 17-27

FIVE CONTENDERS.  FIVE ROUNDS. YOUR VOTE. Fight Night is an interactive production that examines how and why we make judgments about others, while asking whether the current political system really represents our choices.  

Baroness Bianka's Bloodsongs - Northern Light Theatre - October 18 - November 2

BARONESS BIANKA’S BLOODSONGS tackles the issue of addiction head-on through the revelations of a quirky Bulgarian Baroness who has unquenchable, unspeakable yearnings. A black comedy with a blood-red heart, the show explores life with an unusual addiction and the battle to overcome it. A wicked one woman cabaret about a spooky character with a fetish for blood.

Rigoletto - Edmonton Opera - October 19-25

As the infamous court jester, Rigoletto earns a living by making fun of people’s misery. So when his enemies seek revenge, they take the one thing Rigoletto values most: his daughter Gilda. What follows is a harrowing tale of greed, corruption, and violence that ultimately turns Rigoletto’s own fate into a cruel joke.

The Roomate - Shadow Theatre - October 23 - November 10

Sharon is a recent divorcee in her mid-fifties, and needs a roommate to share her unassuming Iowa home. Robyn, also in her fifties, needs a place to hide and a chance to start over. As she uncovers Robyn's secrets Sharon discovers in herself a depp seated desire to transform her own life. A dark comedy about what it takes to re-route your life - and what happens when the wheels come off. 


The Ballad of Peachtree Rose - WWPT - October 30- November 10

Max works for one of Canada's most notorious criminal organizations; Peach is a street kid trying to make a buck. A chance encounter entangles their lives indefinitely. From one of Canada’s best emerging writers comes a thriller that forces audiences to ask: “What is Justice?”

January had a lot of theatre in it... At least the last two weeks...

I saw 9 shows in January... I was supposed to see 10 but when winter hit on the 26th I couldn't face driving and missed one (😞)... But 7 of those shows were in the last two weeks! I'd say it's a real challenge to produce theatre in the second half of January in Edmonton - so much competition!

Anyhow, I saw some good stuff, some silly stuff, some ok things... A lot of hard-working thoughtful artists.

I started the month with the Mayfield's Back to the 80's. We had really enjoyed the first 80's show they did a few years ago and while the music in this one was still very well done (and my favourite era) I didn't think this show had as strong a script. An enjoyable evening, but not much more than that.

However, I followed that up with The Humans at the Citadel. I was able to see it twice and was glad I could because it was so layered. I loved the naturalistic acting, the excellent writing, the connections between the actors, and the beautiful choreography of action in the multiple locations. I think it was probably some of the finest acting and direction I've seen so far this season. It's hard to not want to play up the moments and keep them oh-so-real, but that's where the power of this play is - it has to stay human.

Then onto some Shakespeare with Malachite Theatre's Twelfth Night. Shakespeare is always a bit of challenge for me because I am very familiar with most of the plays and this one more so because I have actually played Olivia before (It's funny, because even though that was 25+ years ago, I still remember the feeling of saying those words). I really liked how they created the world on the play inside the church - it felt very homey with the trees amidst the pews. My favourite scenes were with the Duke (Byron Trevor Martin) and Viola (Merran Carr-Wiggin) and the hockey stick duel between Viola and Andrew Aguecheek (Perry Gratton). I did want the show to move along a bit faster, and with a familiar piece like this, I am always in favour of a little judicious trimming of the script... I know, I know... not everyone agrees.

Then the marathon began:

- Onegin at Catalyst Theatre - a joyous musical feast which made the tragic Pushkin story celebratory and which invited the audience to really share in the experience! Definitely a highlight of this year's theatre season!
- Kill Your Television's Shakespeare's R & J at Theatre Network - Four incredibly gifted young actors told the story of Romeo and Juliet. There are only four of them (and a beautiful red curtain) and they're all men. This was excellently and creatively done. I did wonder if it said more in 1996 than it does today... but maybe that's a good thing because it says something about where we are now?
- Shadow Theatre's Slumberland Motel - My husband said, "I wanted to see more of Julian Arnold onstage, but this wasn't exactly what I had in mind." Not a criticism of the acting, but more a comment on Julian Arnold's lack of clothes for much of the show. A tale of two vacuum salesman and a mysterious woman in a crummy motel room. A but funny and a bit sad. I did think that the play didn't really start until the last 10 minutes of Act One, but once it got going it was charming.
- Cardiac Theatre's Listening Room - A post-apocalyptic world full of young people trying to figure out their purpose and challenge the rules of their world. I had serious flashes of The Maze Runner and Divergent and all those good dystopian young adult fiction works after seeing this and lots of questions about "what happened to the world?"

- Send in the Girls' Soiled Doves: A Burlesque with Boots On - Burlesque combined with stories of women from the old west. Favourite moments included a real stolen horse round-up and the ever-so-sassy Morgan Yamada pretty much anytime she was on-stage. It's always interesting to see how this group merges theatre and burlesque.

And then tonight I saw Love & Information - review here.

Next: the very busy February! 

Constellations at Shadow Theatre... so many possibilities...

I'd heard about Constellations by Nick Payne a few years ago. It's concept was intriguing, multiple iterations of the same scenes, with slight changes to reflect the multiplicity of possibilities. I'm am avid Science Fiction reader, so the idea is one I have seen explored before in books and film, and I liked the idea of exploring that on stage. So when Shadow Theatre announced that it was part of their season, I was happy to get the chance to see it. My sister, who lives in Toronto, saw it at Canadian Stage last year, but wanted to discuss it with me only after I had a chance to see it (so now we are due for a phone chat...). In the wishing for one more multi-verse, I wish I had seen the version she saw too! I think this is the kind of play that would only be enriched by seeing multiple productions...

Anyhow, it's a boy meets girl story, about Marianne the Physicist (Liana Shannon) and Roland the Bee-keeper (Mat Busby). They meet, they flirt, they meet again, they flirt, they fight, they meet again, things happen, and again, and again.  Each time is different. Sometimes subtly so, and sometimes the changes are vast. The idea is that there are an infinite amount of ways that these two lives could intersect and interact. Some details are maintained for coherence, but it is possible to imagine that there are even more options out there. I liked the way director Amy DeFelice jumped from reality to reality - it was clear that we'd shifted but it didn't hold up the flow of the story. I also liked Tessa Stamp's set - scientific, yet abstract, its circles nested and repeated echoing the repetition and cyclical nature of the storytelling. I always enjoy a play with science or math, whether conceptual or concrete, so this was a good one to speak to my brain. I could easily imagine many, many more variations on the themes.

On a more emotional level, it's the kind of play that makes you think about the myriad of choices that we have in our own interactions. If I had been less angry... If I had invited them over... If I had said no... I think on that human level we all realize that our lives could be vastly different if the little choices were changed and added up.

Constellations is at the Varscona Theatre until November 12.
Click here for tickets.

A Mountain, A Weapon, and a Dinner Party...

Annapurna, Shadow Theatre - Funny, real, and moving, it tells the story of an unexpected reunion of a long estranged couple. Their history is revealed slowly and significantly as they each harbour resentments and scars from the past. Ullysses, in a powerful and humourous performance by Shaun Johnston, is a tortured cowboy poet who greets us in an unconventional outfit. Emma, played by Coralie Cairns, arrives at Ullysses' somewhat derelict trailer with an obvious hidden agenda and more baggage than just the large suitcases which suggest she is there to move in. The two have great chemistry together and Shadow has created a sensitive and funny show you probably shouldn't miss this theatre season.

Annapurna runs to February 5th at the Varscona Theatre. Tickets here. 

Star Killing Machine,Broken Toys - "This is absurd!" yells one of the characters... and yes, yes it is. But it is also a lot of fun and filled with some really great music. I did wish for mics, not because you can't hear every word, but because it's a rock musical and I wanted to hear it more. It's a new work and I hope that it's only an early incarnation, because I think there is a lot of future in it. Go for the music, go for the ridiculous twinkie, go for the rolling chair dance, go for the beautiful closing song, go for the quirky humour. There's a lot of reasons to see this show.

Only one show left - today at 2 pm. Tickets here. 

Disgraced, Citadel Theatre - As I woke up this morning and read my twitter and FB feed, this one feels all the more relevant. An explosive dinner party that lets you step inside the experience of those that aren't you... at least to some degree. You won't leave with answers, but you should leave with more empathy and hopefully connection. A terrific script brought to life by the perfect cast.

Disgraced runs to February 12th. Tickets here. 

Well, this week you could/should go see... A Picasso or The Realistic Joneses...

Well, those are my recommendations..

Shadow Theatre's A Picasso is a wonderfully sharp, funny, intelligent piece about Picasso in Paris during World War II. It's themes centre around censorship and art as a political weapon and compromising values in the face of the horrific power of the Nazis. Julien Arnold as Picasso and Alana Hawley as a German cultural attache go toe-to-toe in this two-hander. I saw the play at the Fringe a few years ago with Shannon Blanchet and Arnold and loved it then. This remount is just as sharp and the new dynamic between the actors makes it worth seeing a second time. A Picasso runs to April 3rd at the Backstage Theatre.

In the Roxy Performance Series, Wild Side Productions presents The Realistic Joneses. I did't know what to expect and I think that is the best way to see this show, because it is truly unexpectedly and unpredictably funny. Two couples, both Joneses, live on the same street and deal with illness and each other. You will laugh out loud and you won't see it coming. It's absurd and realistic at the same time. The cast (Belinda Cornish, Robert Benz, Amber Borotsik and Jesse Gervais) is stellar. The Realistic Joneses runs to April 3rd at C103.

Looking Ahead - What I'm Hoping to See Onstage in January 2016!

I've started my Theatre Planning for the new year.  I've already booked tickets for a few shows.

I will see my first show of 2016 tomorrow when I take in Dirty Dancing at the Jubilee Auditorium as part of the Broadway Across Canada series.  I'm not sure exactly what to expect, but I have a feeling I will know the music and that nobody will be putting Baby in the corner! No doubt I will have the time of my life! ha ha!

Then it picks up next week when Chelsea Hotel: The Songs of Leonard Cohen opens at the Citadel. I'm looking forward to getting it all rolling. This show already has terrific buzz about it as it has played to filled houses along it's tour. I'm also looking forward to the music.

Next on the list is Flora and Fawna's Field Trip (With Fleurette) at the PCL Theatre presented by Northern Light Theatre. I saw this show when it was at the Fringe a couple of summers ago and it made me laugh and cry. It's such a wonderful piece about acceptance and friendship and being unique and different and that's okay. I've heard that Opening Night is already Sold Out so I'd advise getting tickets in advance.

Following that I will be taking in Who's Afraid of Virginia Woolf? at the Citadel.  A fitting selection for the 50th Anniversary Season as it was the premiere performance when the Citadel opened it's doors. It's one of my favorite plays and I am looking forward to seeing the sparring between George and Martha!

Then, it's on to a new work with Bravo at the Backstage Theatre presented by Shadow Theatre. Bravo is written by Lethbridge playwright Blaine Newton who I served with on the APN Board of Directors.  I am looking forward to seeing this new Alberta play on stage!

Finally, I will be taking in Krystle Dos Santos 'Blak as part of the Made In Edmonton Cabaret Premiere Series at the Citadel.  I've been reading so much about the need for diversity in theatre, this one has me intrigued. It's billed as an artistic exploration of black culture in Alberta and created by those diverse voices themselves. I am looking forward to this, as well as hearing the music.  I missed Dos Santos last season when her Beyond the Stage show Sold Out but I heard nothing but amazing things about her show.

There's also Workshop West Playwright's Theatre Chinook Series at the end of the month.  I'll be seeing Ursa Major for sure and also checking out the offerings for a few other options.  There is definitely no shortage of good things to see this month!