This April, acclaimed Canadian composer, writer, and lyricist Britta Johnson’s Life After returns to the city where it began, in a new production at the CAA Ed Mirvish Theatre. I saw the first professional production back in 2017 at Canadian Stage’s Berkeley Street Theatre and remember being captivated by the fluidity of the staging, the deeply felt yet often funny writing, and the way the songs carried the audience into the heart of the characters’ emotions.
One of my favourite things at Soulpepper is their concert series. Under the leadership originally of creator and music director Mike Ross and now under Frank Cox-O’Connell, each concert explores a new theme, artist or group of artists, interweaving words and music in a uniquely satisfying way particular to the story or stories that emerge.
The holiday season’s musical shows run a wonderful gamut: perennial holiday fare; more modern takes on the holiday; year-round family favourites; and, of course, pantomime.
Among the perennials this year are such shows as the National Ballet’s Nutcracker, the Shaw Festival’s A Christmas Carol, and Canadian Contemporary Dance Theatre’s Wintersong compilation of dance pieces celebrating the winter solstice, while the more modern takes include a musical version of the 1983 movie A Christmas Story about to take the stage at Theatre Aquarius directed by Artistic Director Mary Frances Moore. And headlining the year-round family favourites are My Fair Lady, also at the Shaw Festival, and The Sound of Music at The Grand Theatre London, both of which run right into the waning days of December.
Pantos soar on stage at theatres across the province at this time of year, usually combining contemporary comedy with songs in the telling of traditional fairy tales or equally well-known magical tales. This year’s crop includes Sleeping Beauty…A Fairy’s Tale at Theatre Orangeville and what seems to be a panto-oriented Christmas Carol at Tweed & Company’s stages in Bancroft and Tweed. Even Ross Petty’s madly modern yet traditional panto, The Wizard of Oz: The Toto-ly Awesome Family Musical, is back, at the Elgin Wintergarden Theatre Dec 6 to Jan 5. It is now under the banner of Canadian Stage but with many of the former creative team in place. Written by Matt Murray, it will be directed by Ted Dykstra with music directed by Mark Camilleri, and stars audience favourites Dan Chameroy (Plumbun) and Eddie Glen (The Scarecrow), along with multi-Dora-Award-wining Vanessa Sears as the Wicked Witch.
There is a particular joy to watching music theatre, arising from the story being told in both words and music: a natural exuberance, another level of emotion, music as an international language that can carry us further than words alone can do. The Grand Theatre in London understands and celebrates this, giving us a 2024/25 season, under the title “A Time for Play,” with even more music theatre content than usual, anchored by four major musical productions as well as the always sold out Jeans ‘n Classics concert series.
Three remarkably dissimilar music theatre productions, all in one place and performed by one company, have been thrilling audiences since previews in the spring – at the Shaw Festival in Niagara-on-the-Lake.
For months there has been speculation, in “the business” and out, about what the unannounced “secret” seventh show of the upcoming 2024/25 Mirvish season might be. Possibilities mooted have included Beetlejuice and MJ: the musical, among others.
The real news is much more exciting.
It’s a new year, so cue the cold winds and snow as the lighthearted fare of the holiday season gives way to tougher, darker, fascinatingly rich new works drawn from older sources.
December is usually filled with the return of shows we think of as old family favourites, so it is exciting when new candidates for that status take a step into the spotlight. One such is new holiday musical Chris, Mrs. making its world premiere debut in December at Toronto’s beautiful Winter Garden Theatre December 5-31.
I walk into the Crow’s Theatre gallery space, on a mid-November day, excited to be here to sit in on the afternoon’s rehearsal of Natasha, Pierre & the Great Comet of 1812. The space is familiar to me from stage managing Uncle Vanya and The Master Plan here, but I have never seen it so full of stuff. There are instruments everywhere – a double bass, two cellos, a drum set, two keyboards, two accordions, a clarinet, someone with a guitar...
When you have an actor with the musical and acting chops to play Mama Rose, it is a good idea to program the musical Gypsy as part of your season.
The beginning of the summer season is exploding with the openings of new musicals – shows previously delayed by COVID shut downs, new projects and classics revisited – with a little flood in late May, inconveniently early for our May 31 release, but worthy of mention nevertheless.
