Shrek the Musical (Young People’s Theatre)
Young People’s Theatre’s production of Shrek the Musical is lean, green, and utterly joyful. It’s one of the biggest productions in the company’s 60-year history and that investment pays off with a strong ensemble, William Layton’s vibrant set design, and an overall high standard of production that could easily hang with the country’s biggest musical heavy hitters. Crucially, despite this being big for YPT, the company still holds true to its YA core and chooses the abridged version of the show, which condenses 2.5 hours into a slick 85 minutes with no need for an intermission. What’s cut is mostly filler and all the most indulgent jokes, leaving the script tight and the pacing right for young audiences (and restless critics). The show buzzes by with high energy without ever feeling rushed. Trevor Patt is bright, earnest, and charming as the titular ogre and has great chemistry with Ellen Denny who sparkles as a crass and expressive Fiona. Joema Frith brilliantly tackles the iconic role of Donkey without leaning on impersonation and Michael Therriault once again proves why he’s Canada’s quintessential physical performer by artfully cutting his height in half as Lord Farquaad. Sharp, irreverent, and fantastically sung, this Shrek is an unironic beauty, inside and out.
tick, tick… BOOM! (Bowtie Productions)
The Jonathan Larson of tick, tick… BOOM! is five years, eleven months, and 22 days away from changing the face of musical theatre forever. And he’s five years, eleven months, and 21 days away from dying suddenly at the age of 35. The ticking clock of both of those facts gives this mostly autobiographical three-hander an eerie emotional heft that marks it as nearly as important and interesting a piece of musical theatre history as the blockbuster that followed it (Rent). It’s also a fascinating piece of adaptation, having been assembled into its current stage form after the author’s death then reassembled again for a 2021 film version I’m tempted to call one of the best movie musicals ever made. The show was only ever a solo piece when performed by Larson himself and the film takes on a whole new structure, putting the stage show in the rare position of being relevant and produceable as something unique unto itself. It’s also great programming for the always smart Bowtie Productions, harnessing the youthful ambition of the upstart company and the emerging artist energy of the creatives they work with. Leading man Joshua Kilimnik has a very pretty voice that sounds great on the subdued “Jonny Can’t Decide” but struggles with some of the higher rock notes while Diana Del Rosario soars specifically when challenged (her “Come to Your Senses” is one for the ages) but seems a bit uncertain in Susan’s quieter moments. Misha Sharivker brings key frenetic energy to the character of Michael that I wish permeated the whole production a bit more and he forges a strongly believable bond with Kilimnik’s Jon that roots the characters in their long shared history. I’m always here for this fascinating show in any form and, though not as much of a knockout as some of their previous work, Bowtie has once again proven their reliability as smart and effective producers of indie musical theatre.
Predictable Holiday Rom-Com the Musical (Second City Toronto)
A very strong 6-person ensemble holds it down in this silly but sweet parody rom-com. The book could stand to be a bit stronger since parody should be able to stand on its own as an example of the thing that it’s parodying (the jokes need sharpening and my parody-skeptical heart really just wants deeper characters) but Suzy Wilde‘s music and George Reinblatt’s lyrics elevate the comedy to more than just mockery. Tess Barao is the perfect quirky leading lady with Hallmark hair and powerful pipes, foiled well by the very funny Barbara Johnston as her scheming rival. Tenaj Williams is skillful, dynamic, and charming as the leading man- a problem because he’s supposed to be parodying the notably uninteresting men at the heart of most predictable holiday rom-coms but it’s better to be good than accurate. Light, fun, and swift on its feet, this breezy show is everything it wants to be.
King Gilgamesh (And the Man of the Wild) (Soulpepper & Tria Theatre)
This much-celebrated theatrical retelling of the epic of Gilgamesh interweaves music and myth with a modern story of unexpected friendship. Though Ahmed Moneka and Jesse LaVercombe are a dynamic pair (Moneka’s boundless energy and easy charm are particularly irresistible), I found the piece dramaturgically muddled and therefore a bit hard to connect with. The take-home effect is so influenced by the finale and the great fun of the fantastic live band that the dramatic core is easily overshadowed, but that doesn’t make it less important.
Editorial Note:
While we saw and enjoyed both Mirvish’s Tell Tale Harbour and Crows/Musical Stage Co/Soulpepper’s Octet, we won’t be reviewing them in adherence with our policy to only write about shows we saw on formal press tickets. We apologize to the artists who deserve honest feedback and well-earned praise.