"If you're chomping at the bit for the next season of Bridgerton, head to the Stratford Festival, for a splashy, earnest production of Sense and Sensibility"
THE GLOBE AND MAIL
Dear Gentle Readers,
A little birdie has shared that the quaint streets of Stratford are a buzz with excitement about Kate Hamill's delectable adaptation of Sense and Sensibility. Audiences and critics are raving: this production is light, vibrant and oh-so-funny, with a delightful cast of quirky characters. Rumour has it that this exquisite blend of romance and comedy simply can't be missed this summer!
"For theatre audiences hungry for a hearty comedy this summer, Sense and Sensibility is the production to see."
TORONTO STAR
"If you choose to miss this boisterous new production, I have but two words for you, which I shall borrow from the play's sororal protagonists: 'For shame!' "
TORONTO STAR
"High-energy farce"
POSTMEDIA
"Delightfully funny"
TORONTO STAR
"The vibes are just right for such a classic rom-com"
THE GLOBE AND MAIL
"Playful, charming and uniformly well-acted"
THE GLOBE AND MAIL
"Revels in wit, warmth and whimsy"
POSTMEDIA
"I've never said this before, but this was one of the BEST all-round productions I've seen! Casting, blocking, costumes, sound, props, lighting, set, pacing... Perfection. Or dang close. Don't miss this one."
AUDIENCE REVIEW
"Can confirm, it is PERFECT!!!"
AUDIENCE REVIEW
"A refreshingly irreverent take on the original novel, yet one that maintains every bit of the source material's dry and sarcastic humour”
TORONTO STAR
REVIEW: Annie glitters with heart - and a bit of revolution
Stratford's joyful new production proves a musical can be both wildly entertaining and quietly radical
June 28, 2025
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00:05:56
If you think it’s political to say that the wealthy people of today owe something to the poor people of tomorrow, then you will consider Stratford’s new production of Annie a political statement. But also, if you love a feel-good musical featuring singing and dancing by talented kids, you will want to see Annie.
The opening night’s gala performance, featuring a cast of thrilling-to-watch young performers, proves that a play can be both a political statement and incredibly enjoyable to watch.
The pluck and energy of lead actor Harper Rae Asch shone through like a bright star in a pretty dress. But her lead energy was supported by a cast of children and adults who sparkled like a clear night sky around their bright star. Director Donna Feore has assembled a deeply skilled cast and equipped them to speak in a collective voice.
Asch’s voice was undeniably strong during her solos, but the opening night audience basked in the light of every single actor who crossed the stage. The crowd was rapt by musical numbers that included as many as 16 actors at once.
The show featured gymnastic tumbling runs by some of its youngest stars, as well as an adorable dog. Like as in, a real live dog on stage.
Among the young performers, I’m tempted to say that Cydnee Abbott stood out as Pepper, the slightly nasty orphan who gently teases Annie for her trademark optimism. That’s when she’s not handspringing across the stage. But to point out Abbott would mean pointing out each of the young players, who each shine brightly in their own unique way.
Shall I name Isla Horner as July, and Evony Harker as Clara? Cambridge's Olivia Padfield as Audrey? They're all amazing.
This iconic musical, which was first performed on Broadway in 1977, is immediately infectious. The opening night’s crowd got on board immediately, rising to its feet after the show’s iconic first song, ‘Maybe.’
Does it go without saying that when Sandy the dog was on stage, the love was palpable? You could hear the crowd going ‘aawww…’ whenever the dog looked out at the crowd during songs.
But a dog, however cute and well trained, can’t hold up a show of this scale. Daddy Warbucks must act as the structural and emotional heart of the story, and Dan Chameroy succeeds in the role. He projects Good Dad Energy when he moves about his opulent home. Yes, he’s disgustingly wealthy amidst a crashing economy, but his wealth saves the day for a whole bunch of children.
As the plot progresses, Chameroy as Warbucks becomes more vulnerable and loving, developing an emotional relationship with Annie as well as a growing emotional interest in Grace, his “assistant” who’s beginning to look very much like a mother figure for Annie. By opening his heart to Annie and Grace, and by delivering his numbers with just the right amount of strength and softness, he shows how a man’s humanity and love can shine right through a pinstriped corporate suit.
As Grace, Jennifer Rider-Shaw brought last night’s audience to the edge of their seats with her crystalline voice and her character’s gorgeous dresses.
The women characters of this show truly steal the stage, and their wardrobe plays a big role in their ability to do that. Yes, these women look feminine. But they can also move and express themselves freely in the beautiful clothes they wear. Even the poor women and orphans express a subtle beauty through their dress. These women are safe to look feminine while moving their bodies in public spaces.
This is a kind of utopia.
As Miss Aggie Hannigan, Laura Condlin’s frowsy bosslady is a joy to watch. She fills the room with Mean Lady Energy every time she walks into the orphanage, but somehow she manages to look weirdly sexy. Who else could inhabit this part so fully and joyfully but Condlin.
Carol Burnett, look out!
But it’s not just about how the women look in this show. This play represents another kind of utopia, one that lies wrapped in its plot. It’s the idea that a little girl can have actual influence on patriarchal power structures. It’s the idea that politicians might prioritize tomorrow’s voters rather than today’s.
It’s mostly women who do the work of showing us how a utopia like this might look. How Jennifer Rider-Shaw can sing like that and dance like that while wearing shoes like that will inspire awe in the feet of anyone who has ever worn heels.
But the men are equally stars of this show, never being outshone amidst the swirl of beauty. The lavish uniforms worn by Daddy Warbucks’s male staff members fill the need for structure and line on stage, and the male dancers here bring incredibly athletic energy to every number.
How Mark Uhre as Rooster Hannigan can pour every single drop of his rudest, sexiest self into his dance numbers is simply beyond understanding. How Derek Kwan as Drake steals the comedic moments of the show is another sight to behold. He becomes an instant crowd favourite during his fleeting moments of spotlight.
To be in the same room with this kind of talent is why musical theatre can be so satisfying. Our phones are turned off and our attention is turned on to the present moment. This is why theatre and performing arts are so needed in Canada – and the world – this summer.
To be in the same room with this political message also feels special. There’s a Canadian vibe flowing underneath it all. With subtle nods to Manitoba in the script, and through the colour palette of Annie’s red and white dresses, this production feels like a patriotic nod to Canada’s present-moment predicament. For a crowd that enthusiastically sang the anthem while standing before the show, Annie felt a bit like encouragement.
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Annie, Scoundrels, and a Biker Macbeth: What’s Really Happening at Stratford This Season?
By Keith Tomasek, June 11, 2025
The 2025 Stratford Festival season opened with a lineup that had audiences and critics buzzing.
From Shakespearean classics to crowd-pleasing musicals and a fresh adaptation of a Canadian classic, the Festival’s first set of opening nights offered a mix of bold choices and familiar favourites. The Festival’s 2025 season features 11 productions, five have opened with six more openings to come. I’ve read every show review and publish them on this website’s “Shows” page.
Harper Rae Asch as Annie.Photo: David Hou
Before I get to my summary, let’s talk about the elephant in the room.
Trying to capture the spirit of a theatre production just by reading reviews is a bit like the story of those five blind guys describing an elephant — everyone’s got a different take, and none of them are quite the whole story. So, what follows is just my perspective, based on what I’ve read and heard. It’s not the full picture of the beast.
Here’s a look at what the critics are saying.
SHAKESPEAREAN SURPRISES
As You Like It at the Stratford Festival
Under the direction of Chris Abraham, this production reimagines the pastoral comedy as a politically charged narrative. The first half presents a dark, militaristic setting, while the second half shifts to a lighter, more whimsical tone. Critics have noted the contrast, with some feeling the two halves don’t quite mesh.
Performances, particularly by Sara Farb as Rosalind, Makambe K. Simamba as Celia, and Aaron Krohn as Jacques have been consistently praised.
Sara Farb as Rosalind and Christopher Allen as Orlando. Photo: David Hou
Writing in The Globe and Mail Aisling Murphy sums up the performances with this line: “As You Like It is a production of extremes, and Abraham’s cast, a veritable “greatest hits” of Stratford Festival actors and frequent Toronto players, drives the tale home without any weak links.”
Until Oct. 24 at the Festival Theatre.
Macbeth at the Stratford Festival
Robert Lepage’s ambitious reimagining of “Macbeth,” set against the backdrop of 1980s Quebec biker gangs, has received mixed reviews.
Lucy Peacock as Lady Macbeth. Photo: David Hou
Critics are unanimous in praising the concept as bold and agree the production is visually striking; some critics feel the execution doesn’t fully capture the intensity of Shakespeare’s text, especially since Lepage has trimmed dialogue and cut entire scenes.
Writing in the Toronto Star, Joshua Chong pulled no punches: “Indeed, it’s an expensive, extravagant and altogether epic endeavour. And yet, this highly anticipated staging amounts to nothing more than a feeble letdown, despite some glimpses of brilliance and its starry cast of Stratford favourites. ”
Until Nov. 2 at the Avon Theatre.
The Winter’s Tale at the Stratford Festival
Antoni Cimolino’s direction of “The Winter’s Tale” has been met with acclaim. In a season dominated by high-profile productions, Cimolino’s nuanced and visually elegant staging offers a quiet counterpoint. Sara Topham’s portrayal of Hermione and Graham Abbey’s performance as Leontes have been praised as particularly compelling.
Yanna McIntosh as Paulina with David Collins as Antigonus and members of the company. Photo: David Hou
Writing in Stratford Today, Daphne Gordon observes that Antoni Cimolino explores themes of redemption and grief noting that Graham Abbey, as the tyrannical King Leontes, grounds the production with a compelling performance. Gordon adds that “we still don’t talk much about male grief. This play carves out a moment to wonder why that is.”
Until Sept. 27 at the Tom Patterson Theatre.
MUSICALS THAT HIT THE MARK
Annie at the Stratford Festival
Directed and choreographed by Donna Feore, critics are celebrating “Annie” for its vibrant energy and strong performances. In the title role, Harper Rae Asch has garnered consistent praise for her stage presence and vocal ability.
Members of the company. Photo: Ann Baggley.
Writing in Broadway World, Lauren Gienow highlighted the astounding dance and acrobatic skills of the young artists portraying the orphans, noting, “The performers who received the most cheers on Opening Night, however, were most certainly the orphans. Along with Asch, Cydnee Abbott, Evonny Harker, Harmony Holder, Isla Horner, Sofia Grace Otta, Olivia Padfield, Jessica Reddy, and Addison Wagman are utterly stellar every moment they are on stage.”
Until Nov. 2 at the Festival Theatre.
Dirty Rotten Scoundrels at the Stratford Festival
This production has garnered attention for its comedic timing and engaging performances. Liam Tobin (Book of Mormon on Broadway and North American Tour), as Freddy Benson, has been singled out for his energy and charisma.
Liam Tobin and members of the company. Photo: David Hou
The show earned a “Critic’s Pick” from The Globe and Mail’s Aisling Murphy, who enjoyed director Tracey Flye’s production so much that she wrote, “I’ll probably catch it again before it closes this fall: Never before has cheering for the bad guys been so fun.”
Until Oct. 25 at the Avon Theatre.
Anne of Green Gables at the Stratford Festival
Kat Sandler’s new adaptation of “Anne of Green Gables” offers a fresh perspective on the beloved story. Some are suggesting that this show is the surprise hit of the Festival. Critics are celebrating Caroline Toal’s portrayal of Anne with some emphasis on Toal’s dynamic energy and emotional depth.
Josue Laboucane as Mr. Phillips, Jordin Hall as Gilbert Blythe, Caroline Toal as Anne Shirley, Steven Hao as Jane Andrews. Photo: David Hou.
Here’s what Joshua Chong wrote in the Toronto Star: “No matter if you love the book or hate it, or are totally unfamiliar with its story, Sandler’s new production is unmissable. It’s charming, tender and incredibly heartfelt, and it left me laughing in one moment and in tears by the next.
Sandler’s updates, while respectful of the original material, breathe new-found relevance into this classic Canadian tale. And it’s all told by a wondrous company of actors who are not only immersed in the storytelling but also seem to have a deep love for the story itself. ”
Until Oct. 25 at the Avon Theatre.
This Season at Stratford
Incredibly Special New Piece of Art
“Nothing quite matches the magic you feel when everyone in a room – both on stage, and in the audience, basks in the knowledge that an incredibly special new piece of Art is being shared with the world.
This delightful piece of metatheatre is comedically self-aware when it comes to updates and changes it makes and to how ‘Anne’ purists might react to this…but it is also self-aware in that the heart and the soul of the story remain firmly intact…
This adaptation takes liberties when it comes to the original story – in more ways than one, updating elements of it for today’s world. It is clear that Sandler takes great care in doing this – always centering the novel, and utilizing the established metatheatrical device to literally reassure us all that even if things have changed slightly, this is still our Anne and everything will be ok.”
One of Canada's most beloved
novels has a new adaptation at the
Stratford Festival - and it's
unmissable, whatever the purists
might think
This new stage adaptation of "'Anne of Green Gables," written and directed by Kat Sandler, lends the
classic story some contemporary relevance.
June 3,2025
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It’s one of Shakespeare’s so-called ‘problem plays,’ but in the hands of the Stratford company it’s a must-see production
Director Antoni Cimolino’s “The Winter’s Tale” places complete trust in the material and in the skill of its cast. The result is astounding.
Updated 7 hrs ago
June 2, 2025
3
André Sills as Polixenes and Sara Topham as Hermione, front, with members of the company in “The Winter’s Tale.”
REVIEW: Banjos and boxers…a comical, musical spin on a Shakespearean classic
Tuesday, May. 27th, 2025
Theatre goers were left whistling a tune after a modern version of a Shakespearean classic.
As You Like It, directed by Chris Abraham, carried us through a difficult time period (mostly) in the Forest of Arden, where Rosalind and her cousin Celia fled into exile, meeting up with a spirited cast of characters as complicated as they were enticing.
Sara Farb excels as the banished duchess hiding some important personal details – sometimes courtesy of a trucker hat – from Orlando (Christopher Allen), whose physicality throughout the play (including a spirited fight scene early on) hides a more sensitive side.
Makambe K. Simamba brings her talent to Celia, burning youthful energy with her cousin and trying to keep everyone none the wiser, even as Rosalind starts to melt for Orlando.
Along the way, some memorable actors come in and out – with Seana McKenna as the Duchess and Evan Mercer and Andrew Chown as Orlando’s brothers.
The show moves from darker to lighter and takes a comedic deep dive courtesy of Steve Ross.
Always a master of physical comedy, his Touchstone character exuded a style of sexiness found attractive by perhaps only his love interest, and their inability to keep their hands off each other, or his clothes on, led to a memorable, almost Full Monty, love scene.
Where those lipstick lips on Touchstone’s boxers?
No need to verify that.
Set and costume designer Julie Fox kept audiences enthralled as conservative dress gave way to increasingly more modern fair near the end.
Winter snow fell on stage and fires were going in the woods, while soldiers with long guns were stationed on the theatre steps. A musically inclined Jaques (Aaron Krohn) and his frenemy Amiens (Gabriel Antonucci) entertained with their witty one-liners and catchy tunes.
In the boy, we didn’t see that coming department, the music was a sign of things to come.
As You Like It wrapped up with everyone finding love and dancing some jigs to the rhythmic strums of a banjo and claps of support from a sold out Festival Theatre.
As You Like It runs until Oct. 24.
REVIEW: Stratford’s As You Like It Offers No Refuge in the Forest
This take on Shakespeare’s comedy reimagines the court as a fascist regime and the forest as a fragile space of survival
Makambe K. Simamba as Celia (left) and Sara Farb as Rosalind in As You Like It. Stratford Festival 2025. Photo: David Hou.
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00:07:00
As As You Like It opened on the main stage in Stratford last night, King Charles and Queen Camilla were touching down on Canadian soil in a symbolic bid to reinforce Canada’s sovereignty. The timing was uncanny. Director Chris Abraham’s sharply political production reimagines Shakespeare’s beloved comedy not as a pastoral romp, but as a portrait of a post-imperial world – where order has collapsed into brutality, and kindness survives only at the margins.
Act One unfolds across a starkly lit, wintry set. This is not a medieval court. It’s a future regime that resembles a shipping dock or warehouse. Low-ranking courtiers must haul heavy sacks in grim, mechanized repetition. Snow falls throughout the early scenes, and the world is utterly devoid of beauty, comfort or joy.
Amidst this cold world, Christopher Allen’s Orlando quickly comes to represent a hero who must stand against a fascist state. Here is a man whose strength and labour enrich others, but earn him nothing. In this world, oppression is an economic logic that prolongs empires.
Violence prolongs this empire, too. In an era when audiences are numbed by screen violence, Abraham’s production introduces threat to the stage in ways that seem designed to make audiences feel the visceral sensations of fear.
Women wear armour-like garments, suggesting that their bodies require protection. The court is surrounded by fences and security personnel. Armed men in military uniforms patrol the aisles of the theatre, their presence a constant reminder that the violence of the regime extends beyond the stage and into the audience’s space.
The effect is disorienting and immediate, blurring the line between theatrical conflict and real-world fear. In one scene, a character is shot; his body flies sideways and the lights go to black. It is unmistakably contemporary and very uncomfortable.
So when Orlando demands that his older brother Oliver give him his due as the son of their well-born father, it doesn’t just sound like a personal grievance. It hints at class consciousness that threatens the very foundations of capitalism. Audiences find themselves rooting for a new, more humane reality.
But first, we must feel the humiliation of displacement. After Oliver denies Orlando his due and threatens his safety, the hero flees court in order to survive. With help from his trusted servant Adam, he sets out for the Forest of Arden, hoping to join a banished Duchess who has made a home there, along with a band of loyal supporters.
In the forest, life isn’t easy, but at least kindness can exist. When Orlando first encounters the banished Duchess, he is stunned to be offered a meal with no expectations. In this world, food is offered to a stranger simply because he is in need. These banished courtiers don’t have much, but what they do have, they will share.
This dreamlike forest is a space of reinvention. And at the centre of this reinvention is Rosalind, played with luminous clarity by Sara Farb. Her performance anchors the production with emotional intelligence and buoyant joy at having escaped the court’s oppressive grip.
Disguised as a male shepherd named Ganymede, Rosalind moves fluidly between genders and social roles in the forest. Her cousin and steady friend Celia accompanies her. Together, the two friends are free to imagine how chosen families might continue to exist beyond the constraints imposed by capitalism.
After falling in love with Orlando at first sight, Rosalind develops an elaborate scheme to get close to Orlando while maintaining her disguise. A slightly ridiculous love story begins to unfold, offering relief from the brutality of Act One. The audience can finally exhale. Our fears for the lives of the characters recede and we are no longer flanked by heavily armed guards.
The tone shift from the court to forest is most intensely felt during the play’s moving musical interludes. Featuring original compositions by Canadian singer-songwriter Ron Sexsmith, the music takes Shakespeare’s words and turns them into a soothing balm. A guitarist on stage underscores the fact that this is music made by bodies, not machines. It is creative labour – willingly shared rather than cruelly extracted – and offers moments of simple joy.
In the role of Jacques, Aaron Krohn brings a kind of cowboy coolness to the Forest of Arden. Dressed in a long coat and wide-brimmed hat, he moves through the forest like an outsider who intends to live on his own terms. His gritty delivery of the famous Seven Ages of Man speech reminds us that human life will continue even after powerful empires fall.
And comedy pushes through in the forest, arriving in the form of Touchstone. The jester, played with boorish charm by Steve Ross, travels with Rosalind and Celia, offering commentary on the absurd expectations we place on romantic love. He also brings moments of physical, sometimes uncomfortable humour. In one scene, he drops his pants while his love interest Audrey spreads her legs for him. Like the violence of the first act, this salacious scene seems intended to jar audiences who are accustomed to extreme content. But if it’s improper, at least it’s not cruel.
Farb’s Rosalind uses the forest to imagine new ways of being. Her scenes with Orlando are alive with bawdy comedy, but her bond with Celia, a steady friend played by Makambe K. Simamba is what makes the forest feel momentarily safe. Exiled from their own world by fascist men, Rosalind and Celia manage to restore their own humanity by caring for each other.
To provide the requisite wedding scene, Rosalind abandons her disguise and re-enters as herself. But she wears a wedding dress fashioned from a blue IKEA bag. It’s an emblem of survival, rather than wealth or tradition. With bare legs and a joyful smile, she reunites with her mother, marries Orlando, and congratulates both Celia and Touchstone on their marriages.
But this song and dance scene feels a bit forced. The brutality of the court still lurks at the edges of the audience’s consciousness. There will be no joyful return home for these characters. It’s obvious that they must continue their lives in exile – and now it’s until death do us part.
This is no utopia. It’s an ingenious reality stitched together from the scraps of capitalism, consumerism, and colonial inheritance. When Rosalind delivers the play’s famous epilogue, she entreats the audience to carry something of the story with them. In this version, it’s not just charm or comedy we’re asked to remember, but the possibility of joy rescued from the wreckage of modern society.
REVIEW: Annie glitters with heart - and a bit of revolution
Stratford's joyful new production proves a musical can be both wildly entertaining and quietly radical
Harper Rae Asch as Annie and Dan Chameroy as Oliver Warbucks in Annie. Stratford Festival 2025. Photo: David Hou.
If you think it’s political to say that the wealthy people of today owe something to the poor people of tomorrow, then you will consider Stratford’s new production of Annie a political statement. But also, if you love a feel-good musical featuring singing and dancing by talented kids, you will want to see Annie.
Last night’s gala performance, featuring a cast of thrilling-to-watch young performers, proves that a play can be both a political statement and incredibly enjoyable to watch.
The pluck and energy of lead actor Harper Rae Asch shone through like a bright star in a pretty dress. But her lead energy was supported by a cast of children and adults who sparkled like a clear night sky around their bright star. Director Donna Feore has assembled a deeply skilled cast and equipped them to speak in a collective voice.
Asch’s voice was undeniably strong during her solos, but the opening night audience basked in the light of every single actor who crossed the stage. The crowd was rapt by musical numbers that included as many as 16 actors at once.
The show featured gymnastic tumbling runs by some of its youngest stars, as well as an adorable dog. Like as in, a real live dog on stage.
Among the young performers, I’m tempted to say that Cydnee Abbott stood out as Pepper, the slightly nasty orphan who gently teases Annie for her trademark optimism. That’s when she’s not handspringing across the stage. But to point out Abbott would mean pointing out each of the young players, who each shine brightly in their own unique way. Shall I name Isla Horner as July, and Evony Harker as Clara? Olivia Padfield as Audrey? They're all amazing.
This iconic musical, which was first performed on Broadway in 1977, is immediately infectious. Last night’s crowd got on board immediately, rising to its feet after the show’s iconic first song, ‘Maybe’.
Does it go without saying that when Sandy the dog was on stage, the love was palpable? You could hear the crowd going ‘aawww…’ whenever the dog looked out at the crowd during songs.
But a dog, however cute and well trained, can’t hold up a show of this scale. Daddy Warbucks must act as the structural and emotional heart of the story, and Dan Chameroy succeeds in the role. He projects Good Dad Energy when he moves about his opulent home. Yes, he’s disgustingly wealthy amidst a crashing economy, but his wealth saves the day for a whole bunch of children.
As the plot progresses, Chameroy as Warbucks becomes more vulnerable and loving, developing an emotional relationship with Annie as well as a growing emotional interest in Grace, his “assistant” who’s beginning to look very much like a mother figure for Annie. By opening his heart to Annie and Grace, and by delivering his numbers with just the right amount of strength and softness, he shows how a man’s humanity and love can shine right through a pinstriped corporate suit.
As Grace, Jennifer Rider-Shaw brought last night’s audience to the edge of their seats with her crystalline voice and her character’s gorgeous dresses.
The women characters of this show truly steal the stage, and their wardrobe plays a big role in their ability to do that. Yes, these women look feminine. But they can also move and express themselves freely in the beautiful clothes they wear. Even the poor women and orphans express a subtle beauty through their dress. These women are safe to look feminine while moving their bodies in public spaces.
This is a kind of utopia.
As Miss Aggie Hannigan, Laura Condlin’s frowsy bosslady is a joy to watch. She fills the room with Mean Lady Energy every time she walks into the orphanage, but somehow she manages to look weirdly sexy. Who else could inhabit this part so fully and joyfully but Condlin.
Carol Burnett, look out!
But it’s not just about how the women look in this show. This play represents another kind of utopia, one that lies wrapped in its plot. It’s the idea that a little girl can have actual influence on patriarchal power structures. It’s the idea that politicians might prioritize tomorrow’s voters rather than today’s.
It’s mostly women who do the work of showing us how a utopia like this might look. How Jennifer Rider-Shaw can sing like that and dance like that while wearing shoes like that will inspire awe in the feet of anyone who has ever worn heels.
But the men are equally stars of this show, never being outshone amidst the swirl of beauty. The lavish uniforms worn by Daddy Warbucks’s male staff members fill the need for structure and line on stage, and the male dancers here bring incredibly athletic energy to every number.
How Mark Uhre as Rooster Hannigan can pour every single drop of his rudest, sexiest self into his dance numbers is simply beyond understanding. How Derek Kwan as Drake steals the comedic moments of the show is another sight to behold. He becomes an instant crowd favourite during his fleeting moments of spotlight.
To be in the same room with this kind of talent is why musical theatre can be so satisfying. Our phones are turned off and our attention is turned on to the present moment. This is why theatre and performing arts are so needed in Canada – and the world – this summer.
To be in the same room with this political message also feels special. There’s a Canadian vibe flowing underneath it all. With subtle nods to Manitoba in the script, and through the colour palette of Annie’s red and white dresses, this production feels like a patriotic nod to Canada’s present-moment predicament. For a crowd that enthusiastically sang the anthem while standing before the show, Annie felt a bit like encouragement.
'Sense and Sensibility' opens at Stratford Festival next month
The 2025 season also features 'As You Like It,' 'Annie,' 'Dangerous Liaisons,' 'Macbeth,' 'Dirty Rotten Scoundrels,' 'Anne of Green Gables,' 'The Winter’s Tale,' 'Forgiveness,' 'Ransacking Troy' and 'The Art of War'
StratfordToday Staff
Jessica B. Hill as Elinor Dashwood (left) and Olivia Sinclair-Brisbane as Marianne Dashwood, Sense and Sensibility. Stratford Festival 2025.
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00:06:09
NEWS RELEASE
STRATFORD FESTIVAL
************************
Mark the 250th anniversary of the birth of Jane Austen with a trip to the Stratford Festival for a beautiful and captivating production of Sense and Sensibility. Filled with simmering gossip, swooning assemblies and fierce wit, Kate Hamill’s stage adaptation of the classic novel hits the stage today. Directed by Daryl Cloran and led by Jessica B. Hill and Olivia Sinclair-Brisbane, this tale of sisters bound by love is a pure Regency Period delight.
Sense and Sensibility follows the travails of the Dashwood sisters – sensible, subdued Elinor and the passionately emotional Marianne – after their father’s death leaves their family dependent on the whims of wealthy relations. When suitors, both suitable and otherwise, start courting the Dashwood girls, the sisters must blend sense with sensibility to protect their hearts and their reputations. Bristling with cutting social commentary and old-fashioned romance, the production is brimming with romantic longing and tender affection.
“This is a story about love in its many forms. Romantic love. Love between sisters. Love between a mother and her daughters,” says Cloran. “We follow two young women who are finding their voices and agency to make their own choices in the face of societal expectations. We experience Marianne and Elinor’s personal growth through the growth of their relationship as they both wrestle with the complexities of romantic love.”
Sense and Sensibility features Jessica B. Hill as Elinor Dashwood and Olivia Sinclair-Brisbane as Marianne Dashwood, with Andrew Chown as John Dashwood/John Willoughby and Seana McKenna as Mrs. Jennings/Mrs. Ferrars. The production also features Christopher Allen as Gossip 1, Celia Aloma as Gossip 3, Shane Carty as Colonel Brandon/Thomas, Ashley Dingwell, Thomas Duplessie as Edward Ferrars/Robert Ferrars, Sara Farb as Fanny (Ferrars) Dashwood/Lady Middleton, Jesse Gervais as Gossip 4, Jordin Hall, Jenna-Lee Hyde as Gossip 2, Aaron Krohn, Josue Laboucane, Julie Lumsden as Gossip 5, Glynis Ranney as Mrs. Dashwood/Anne Steele, Jade V. Robinson as Margaret Dashwood/Lucy Steele, Steve Ross as Sir John Middleton/Doctor, Makambe K. Simamba and Caroline Toal.
Cloran is joined by Set and Costume Designer Dana Osborne, Lighting Designer Jareth Li, Composer and Sound Designer Jonathan Lewis, Fight and Intimacy Director Anita Nittoly and Movement Director Julie Tomaino.
Sense and Sensibility has its official opening on June 19 and runs until October 25 at the Festival Theatre. Tickets are available at stratfordfestival.ca or by calling 1.800.567.1600.
The 2025 season also features As You Like It, Annie, Dangerous Liaisons, Macbeth, Dirty Rotten Scoundrels, Anne of Green Gables, The Winter’s Tale, Forgiveness, Ransacking Troy and The Art of War. For more information, visit stratfordfestival.ca.
A writer’s take on Annie & Macbeth in Stratford
By Dan White – Special to the Sydenham Current
Last week Joni and I travelled to Stratford three times in eight days to take in preview performances of Annie, Macbeth, and Dirty Rotten Scoundrels. For the last two shows our friend Janet Barnes and her friend Britany joined us. I believe this marks fifty consecutive years of me taking in at least one show in The Festival City. It was great fun introducing Janet and Britany to one of my favourite places as neither of them had been to a show in a great many years.
Annie was on the boards at the Festival Theatre and it was a nostalgic show for me as it was the first musical I ever attended. Back in the 70’s my drama teacher, Linda Gibb, arranged a school trip to see it at the Fisher Theatre in Detroit. This was Joni’s first time seeing it live.
We began our experience by stopping in the hall and standing in front of the musicians playing the fanfare. They are always excellent and we took a moment to acknowledge that fact. After they played we noted that only brass players would stand in front of four herald trumpets and a parade snare drum, and love it. They did appreciate the attention. It’s always nice to be appreciated for what you do, especially when you are often in a role that is taken for granted. As a tuba player married to a French Horn player, we get that. We play key roles within our ensembles, but the spotlight always drifts to the flashy instruments.
From the opening song to the finale, Annie was wonderful. Child actors can be a risk and this show relies heavily on 9 of them. Harper Rae Asch in the title role was superb. She has just the right balance of attitude and adorable mischievousness to make the character lovable. Her voice is beautifully suited to the role and we got lost in the story.
The balance of the girls were excellent. The dance numbers had energy to burn, were fun and the cast pulled off the playful choreography perfectly. The acting was solid throughout and the singing exceptional. These girls were having fun and it was contagious.
Laura Condlln played a deliciously nasty, and often inebriated, Miss Hannigan. Her comic timing was stellar and you couldn’t wait for her to get a kick in the shin or another well-deserved prank pulled on her by the girls.
If you have children that you would like to introduce to theatre, this is a great one. Watch for sales or call the box office to inquire. Full price in Stratford is a tough sell for families. Joni and I took advantage of a “pay what you wish” promotion.
(Full disclosure, Joni almost cried when Sandy, the dog, entered the stage.)
A few days after Annie Joni and I returned to Stratford with Janet and Britany to see Shakespeare’s Macbeth.
I have attended a great many productions of this show and even directed it at SCITS. Our pre-show was great fun. We bumped into friends from Sarnia and met up with our friend Mark from Stratford. Mark always has interesting stories to share about the season as he is a scenic carpenter there.
The show was sold out! This is outstanding as it is in previews, and it is a Shakespearian play, which often has the same appeal as cod liver oil to those subjected to Shakespeare dissection in English class.
This production had a very different feel from the opening. We knew that Robert Lepage directed the play and that it was set in a biker war in Quebec rather than medieval Scotland.
Lepage has a stellar reputation as a director, playwright and the founder and artistic director of a multidisciplinary production company, Ex Machina. I have never witnessed the excitement and anticipation the audience had as the house lights went down.
The opening looked and felt like a movie theatre with projection scrolling through the production team, the title and the act. Thunderous applause arose as Lepage’s name graced the set… and that was the bell that summoned the disappointment that arose over the ensuing two hours.
Rarely does a director in theatre take center stage and pull the focus toward themselves. Lepage’s opening credits did just that.
The set was truly stunning. It was a two-story roadside motel that moved and shifted from interior to exterior views, a single section or an entire row of rooms, stairs and doors. It was impressive to see. The cast wore microphones as they were often behind plexiglass and projection was impossible.
There were incredibly cool scenes with projection and the use of a scrim/mirror. I’ve never seen something like that in a theatre and it truly was an impressive effect. Actors could “appear” and multiply using lighting and the scrim.
That pretty much ends what I was impressed by.
The biker gangs used e-motorcycles with a “Harley” sound effect to rumble across the stage. While this was effective initially, the bikes were omnipresent and the effect lost its roar through overuse. If they were horses, the cast would not constantly be on their mounts.
The largest frustration was with the acting of the leads. I have seen most of these actors in other shows over the years and they are some of Stratford’s best and most experienced thespians. Yet, as I struggled to decipher what was missing for me in this show I realized what I found lacking. Depth.
There was no depth in the dialogue. The characters did not emote anything from me, the words were simply that, words. I did not believe the evil arose in the Macbeths, nor did I believe that the couple truly loved one another. I didn’t feel the growing distrust, envy and fear in Banquo. I felt nothing… and I wanted to!
My friend Jay from Sarnia, an avid theatre consumer and someone whose opinion I respect, even if I don’t always concur, texted me as we made our way home. “So, what did you think of THAT?!” I called him the next day to see if I had missed something that he saw. He had the same opinion… spectacle without substance.
So, if you want to see a fun and entertaining show, I recommend Annie. If you can get really cheap tickets and want to check out a very interesting set and can look past the fact that this production hath murdered emotion… go see Macbeth.
I’ve run out of space for this column, so, in my next column, Dirty Rotten Scoundrels. And a teaser, as Meatloaf said, “Two out of three ain’t bad”.
Stratford Festival’s ‘As You Like It’ is not as you know it — with one risky swing that somewhat misses
Chris Abraham’s modern-dress production is perfectly paced. But its two halves feel disconnected.
Updated 15 hrs ago
May 27, 2025
3 min read
Sara Farb as Rosalind, centre, with members of the company in “As You Like It.”
By
As You Like It
3 stars (out of 4)
By William Shakespeare, directed by Chris Abraham. Until Oct. 24 at the Stratford Festival’s Festival Theatre, 55 Queen St., Stratford, Ont. stratfordfestival.ca or 1-800-567-1600
STRATFORD — I like my Shakespeare served with a side of risk. None more so than a work like “As You Like It,” one of the most popular plays by the Bard, which a professional critic will likely see more than several times throughout his or her career.
To directors, I say: Take a big swing. Deliver something new.
Chris Abraham does exactly that with his modern-dress revival, which opened the Stratford Festival’s 73rd season on Monday at the Festival Theatre. And even if his concept somewhat misses in execution, it still unveils new shades of meaning to this malleably deceptive and slippery comedy.
The bold choices begin off the top. Abraham makes clear that his version of “As You Like It” is more of a thriller than a carefree pastoral comedy.
Duke Frederick’s (Sean Arbuckle) court is violent and uncompromising, with Julie Fox’s militaristic set and costumes depicting a world under martial law. Armed soldiers guard the premises, their fingers always on the trigger.
To borrow a line from another Shakespeare play, “fair is foul and foul is fair.” Indeed, after the corrupt Duke exiles his sister (played with bravura by Seana McKenna), it’s only inevitable that he shall also banish his niece, the fair Rosalind (Sara Farb), with her doting cousin Celia (Makambe K. Simamba) in tow. Likewise, young Orlando (Christopher Allen), abused and neglected by his older brother Oliver (Andrew Chown), is also forced to flee.
But in Abraham’s production, the Forest of Arden where these nomads seek refuge is the most unidyllic one that I have yet seen. It’s an environment that’s cruelly barren, cold and harsh, with snow steadily falling on Fox’s rural set. To stay warm, the Duchess and her entourage (of what looks like a band of rebel forces) must tend to a small fire.
Seana McKenna as the Duchess with members of the company in “As You Like It.”
Abraham’s darker — and bleaker — staging of the material offers his characters no paradisiac escape. For his audience, too, this “As You Like It,” or the first half of it, at least, is no bucolic entertainment.
Instead, his interpretation seems to underscore the show’s themes of finding strength — or love, in the case of Rosalind and Orlando — in the face of adversity. No one can truly escape his or her circumstances, Abraham suggests. But hell, as the saying goes, is what you ultimately make of it.
The issue with this reading, however, is that as you push the first half of “As You Like It” into darker and grittier territory, it becomes far more difficult to tie everything back up in its home-stretch. The show is a Shakespearean comedy: old grudges are reconciled, the lovebirds are eventually wed, and the show ends on a note of joyful song and dance.
Abraham, however, can’t quite meld his vision for the play with the material itself. And by raising the stakes early on, some of the lighter storylines come across as out of place.
After intermission, the weighty, severe esthetic of the first half is all but abandoned. Fox’s wintery designs give way to summer flowers and foliage, paired with lighting by Imogen Wilson that’s far more expansive than before. Even the percussive compositions, by Ron Sexsmith and Thomas Ryder Payne, are soon replaced with tuneful folk numbers (sung gorgeously by Gabriel Antonacci and Olivia Sinclair-Brisbane).
Tonally, the two halves of this “As You Like It” feel like they belong in separate productions. Joined together, their juxtaposition is simply jarring.
From left: John Ng as Adam, Andrew Chown as Oliver and Christopher Allen as Orlando in “As You Like It.”
Still, even if Abraham’s macro vision somewhat misses the mark, there are rich rewards to be had in this staging.
As Abraham has proved in his previous Stratford outings and recent productions at Crow’s Theatre, where he currently serves as artistic director, he has a keen eye for detail. His blocking on the Festival Theatre’s thrust stage is fluid, making especially great use of the aisles.
And despite the brisk pacing, the production still lands each of the play’s emotional and comic beats, delivered by a cast that’s almost entirely up to the task. Farb, finding nuance and expressivity in her line readings, is wonderful as the headstrong Rosalind, and Simamba nails the physical comedy as Celia.
As Orlando, Allen’s opening night performance was initially somewhat shouty, but he greatly improved through the evening, eventually making for a charming Orlando. (The character still comes across as rather one-dimensional, but blame that on the writing.).
Of the forest dwellers, Michael Man evokes pity as the lovelorn young shepherd Silvius, scorned by the shepherdess Phoebe (Jessica B. Hill), who instead has her eyes set on Rosalind, disguised as the manly Ganymede. The melancholic Jaques, meanwhile, is played here by Aaron Krohn with a country singer’s swagger.
Aaron Krohn as Jaques in “As You Like It.”
It’s Steve Ross, however, as the fool Touchstone, who lends the play some much-needed levity, highlighted by an interactive comic bit at the top of the second half.
For many, including myself, this “As You Like It” is not as you probably know it. Abraham finds new colour and resonance in this very serious staging. And if his interpretation doesn’t entirely succeed, just heed Rosalind’s wise words in the epilogue: “to take from this play what you like of it.” Of this production, I will. And so should you, too.
REVIEW: Lepage's Macbeth shows that men are still full of sound and fury
Shakespeare's tragedy gets a '90s biker makeover that asks what today's men are fighting for, and what they've already lost
1 / 5 Lucy Peacock as Lady Macbeth and Tom McCamus as Macbeth in Macbeth. Stratford Festival 2025. Photo: David Hou.
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00:05:19
If there’s a reason to see Shakespeare’s plays in 2025, it’s to witness the timeless human follies that continue to afflict our societies, 400 years after The Bard put them down.
Stratford’s production of Macbeth, starring Tom McCamus as Macbeth and Lucy Peacock as Lady Macbeth, does just that. It explores why today’s men still make a practice of killing other men – and their sons – just so they can continue riding their noisy vehicles across the stage. Or rather, the land.
Renowned director Robert Lepage, with his ‘90s Montreal biker-gang presentation of the age-old story about a king who overreaches, is unapologetically telling a story about men. What has happened to them in the past several decades? What is happening now, and what will happen in the future?
Perhaps the need to say something about men today justifies the presence of massive moving motorcycles on the stage at the Avon Theatre. Sometimes, eight of them at once! Yes, it’s a bit gimmicky, but it really does create an enjoyable spectacle.
And these stage bikes look incredibly real, as per Stratford’s epically high standards for set and prop design. Fortunately, they don’t belch out real gas fumes. They’re actually electric bikes, but with the addition of realistically rumbly soundtracks for a ‘90s vibe.
In this production, even the Scottish play’s famous witches are men — sort of. Played by male actors in exaggerated drag, they walk the blurred lines between gender and sex, prophecy and seduction. Sad, strung-out, and not at all glamorous or attractive, they resemble hallucinations from a back alley. Their herbs come from a dumpster, and their magic comes from discarded needles.
The elaborate set of this production successfully creates an immersive mood, and somehow Shakespeare’s text makes sense on the outskirts of Montreal, circa 1993. Stagecraft provides movement and action, a nimble crew constantly pushing and pulling massive pieces of architecture around the stage. This creates a feeling of flow in play that can sometimes feel static.
John Gzowski’s sound and Kimberly Purtell’s lighting design are strokes of precision. The growl of a motorcycle replaces the thunder of hooves. Then there’s the subtly nostalgic chirping of crickets when the men cut their engines in the parking lot. The flickering lights, the grubby bathrooms, the wood panelling and mass produced ‘art’. Bullet holes are suggested by sudden splashes of light across the set.
Across this set, men move up and down, left and right. With a large cast of men wearing nearly identical chaps, jackets, beards, and tattoos, it’s a bit hard to tell them apart. Perhaps that is intentional. Is it the fate of men to be one bland face in a homogenous group of men?
The two women in this production stand out against the male backdrop. Maria Vacratsis’ Porter is a hardworking hotel manager and every inch a Québécois grandmother. And as Lady Macbeth in a moto jacket, Lucy Peacock brings her famous fire and feist to the ambitious queen. Denied a path to legitimate power over her own existence in this guy-guy world, it makes sense that this sexy, older Lady would remove her jeans to get what she wants.
This is not an empire, it’s a motel at the edge of the world, and would you like a rye and Coke? Macbeth’s descent is not accompanied by drums or trumpets, but by the hollow echo of a styrofoam cup, a bit of sugary coffee stirred with a wooden stick. The soundscape transforms ordinary moments into something mythic.
At times, this production seems detached, set back from the audience. Certain actions happen behind what looks to be a giant plexiglass screen. Other scenes unfold inside a building, and we can only see the players through small, square windows, as though we are voyeurs on the street.
It all has a muffling effect that might be the message. Does this staging mimic the experience of men who flatten their feelings so they can play the loyal soldier to whatever decrepit king they were born to serve?
McCamus’ bike, boots, and jackets suggest a hardened cool, but they’re clearly a costume, part of the macho performance his Macbeth can’t escape. And when he does become king, there are no royal robes. Just the same old uniform, but now with an added need for “armour,” also known as a bulletproof vest.
As Banquo, Graham Abbey fulfills the need for a masc silhouette, with his deep voice and wide walk. Tom Rooney’s lean, longhaired Macduff is a contrast. When Macduff realizes – on stage – that his wife and children have been killed because of his participation in immoral wars, we witness what’s behind a soldier’s bravado.
Macduff gives himself permission to feel something, and even dehumanized soldiers are shown to have a beating heart. Rooney is up to the job of providing a glimmer of hope. His Macduff is vengeful, but ultimately, loyal to truth. He’s a receptacle for hope that men can find a way through the moment we’re in – without compromising their psyches and souls.
REVIEW: Dirty Rotten Scoundrels is a sun-drenched romp through lies and love
Is there any more ridiculous but enjoyable fantasy than the one in which a financially predatory con man might cease swindling beautiful young women just because he falls in love with one? Ha ha ha.
Michele Shuster as Jolene Oakes, centre, with members of the company in Dirty Rotten Scoundrels. Stratford Festival 2025. Photo: David Hou.
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00:05:36
Is there any more ridiculous but enjoyable fantasy than the one in which a financially predatory con man might cease swindling beautiful young women just because he falls in love with one? Ha ha ha.
How about the fantasy that his target – a beautiful, young gal with a heart of gold and great singing voice – is actually conning the con man while living her best life in the South of France?
Bonjour! Take me to that world for two and a half hours.
Last night’s production of Dirty Rotten Scoundrels at the Avon Theatre, with a script by Jeffrey Lane and music and lyrics by David Yazbek, is both glamorous and sharply funny. It manages to poke fun at our cultural fantasies about money and wealth in a degenerating economy, while also celebrating them at the same time.
Director Tracey Flye took over the role of conjuring this production after it had already been cast by Bobby Garcia, a renowned director who died in December. This production is dedicated to his memory.
It’s relevant that Garcia was a Filipino-Canadian man whose work has a global flavour and relevance, and whose vision over his career often emphasized inclusivity and cross-cultural storytelling. His influence can be felt in the casting choices and thematic nuances of this production, which embraces cultural hybridity.
Global mobility is the underlying fantasy here, and the production depicts a past time and place when it was possible to find a “safe” place, a sunny, stylish and beachy place where hotels and homes are impeccably staffed and the weather is always good.
This is the South of France at an idyllic but fleeting moment – after Louis Vuitton luggage, but before global warming. This was also a time and place where an innocent American girl could find adventure and love affairs. It’s also where a seasoned American gentleman could go to mine some wealth.
Jonathan Goad leads the trio of main characters in this comic caper. As the older of the two scammers, Lawrence Jameson, he lives a charmed life in an art deco mansion, and his business acumen lies in knowing how to spot and scam the wealthy women he meets.
With a graceful and emotionally nuanced performance of Lawrence, Goad is the emotional centre of this story. He plays buddy and mentor to Freddy Benson, played by Liam Tobin as an ambitious scammer on his way up. As the scam progresses, Lawrence is taken by Christine’s kindness and catches real feelings. He shifts from being a buddy to Freddy to becoming a leading man in an off-kilter romance.
The young woman begins as a shared target in their con, but Christine soon shifts from naive mark to street-smart player. Dickson more than holds her own in this trio, using charm and wit to navigate the seedy economy of scams by pretending to be clueless. Her solo “I’m Here” showcases a strong stage presence and hints at the reveal to come. She’s not the fool they think she is.
Tobin plays the younger of the two male scammers, Freddy Benson, with clownish exuberance. His high-energy style might seem a bit over the top if it didn’t work so well as a counterbalance to Goad’s gentlemanly restraint. Seems there’s been a generational tone shift in the scamming biz.
So, yeah, the story is seedy, but these low-life scammers are living the high life, tromping around the Côte d’Azure like they own the place. The glamour and fun, plus a truly funny script with meta moments that earn knowing laughs from the audience, make this production feel like a delightful confection.
The set design evokes the French Riviera with flair. Art deco frames surround the stage, lending an air of vintage opulence. A central staircase allows characters to descend like stars in an old Hollywood dream. The visual language is completed with striped beach umbrellas, swaying palm trees, and a palette of sun-drenched colours that suggest both leisure and luxury.
It may be sweet, but the seaside town of Beaumont-sur-Mer is just the right amount sour, too. We’re seeing the superficial beauty of an iconic spot on earth, and at the same time, we’re peeking into its seedy underbelly. The theme of financial opportunism is just gross enough to make this story interesting.
The slightly distasteful main plot is also sweetened by a subplot. As the lovestruck tourist Muriel Eubanks and the local police chief Andre Thibault, Sara-Jeanne Hosie and Derek Kwan develop a more organic attraction to each other. Our need for an actual love story is satisfied by their sexy, silly Rivieran affair, and both of these supporting actors clearly delighted the audience last night.
And as Jolene Oakes, a rich girl from Oklahoma who spontaneously falls in love with Lawrence, Michele Shuster earned hearty hoots and hollers from the crowd. Her red dress and cowboy style make a hilarious contrast to the French setting, highlighting the contemporary cultural clash between the U.S. and Europe. Her dance number “Oklahoma?” plays up the theme and is an early highlight in the show.
In the end, Dirty Rotten Scoundrels delivers exactly what it promises: A good time in questionable company. This production leans into the sleaze with just the right balance of self-awareness and charm. You may not want to live in a world run by con artists, but for a couple of hours, it’s a pleasure to watch them enjoy the momentary spoils of their work.
Review: DIRTY ROTTEN SCOUNDRELS at the Stratford Festival is a Hilarious Romp
Jonathan Goad and Liam Tobin are hilarious in this high energy musical comedy
By: Lauren GienowMay. 30, 2025
Last night, Director Tracey Flye’s production of DIRTY ROTTEN SCOUNDRELS opened at the Stratford Festival’s Avon Theatre. One of two musicals mounted at the Festival this season, this production is paired well with its counterpart, ANNIE. As musical comedies go, they simply could not be more different from one another tonally. Patrons who are seeking something edgier or who perhaps have a more cynical outlook on life than optimistic Annie, will enjoy the hijinks of Lawrence and Freddy. I personally suggest seeing both musicals though. After all, as is evidenced in this production, we all contain multitudes.
Written by Jeffrey Lane with music and lyrics by David Yazbek, DIRTY ROTTEN SCOUNDRELS is a musical comedy based on the 1988 film of the same name starring Michael Caine and Steve Martin. It premiered on Broadway in 2005 and I suspect that as was the case for this reviewer, this Stratford production will be the first time most audience members have the opportunity to see it live. It’s the story of two con men – the polished and charismatic Lawrence (Jonathan Goad), who has refined his craft of conning wealthy women vacationing in the French Riviera, and the unpolished up-and-comer (who is also charismatic) Freddy (Liam Tobin), who is eager first to learn from Lawrence and then to challenge him. When the two men compete to see who can scam “American Soap Queen” Christine Colgate (Shakura Dickson) out of $50,000, hilarious hijinks ensue and they get more than they bargained for.
Jonathan Goad and Liam Tobin are a formidable due as Lawrence and Freddy. The are charming, funny, they play off each other wonderfully, and they sing it well. Goad glides across the stage charming everyone he comes into contact with, trying on multiple comedic accents as he does it. Tobin’s hysterical and high energy performance as Freddy absolutely steals the show. It is unquestionable that this is his star turn at the Stratford Festival. By the nature of the plot, what Shakura Dickson is tasked with doing as Christine Colgate is underappreciated for the majority of the show. She plays the wide-eyed do-gooder role to great effect and fully nails the payoff for her character. She also has a beautiful singing voice. As a trio, these three are wonderful.
Sara-Jeanne Hosie, Derek Kwan, and Michelle Shuster also have fun stand-out moments in the show. Kwan has great chemistry with both Goad and later Hosie as Lawrence’s accomplice Andre Thibault, who is tasked with distracting Hosie’s Muriel Eubanks who is a hilariously willing and repeated victim of one of Lawrence’s ongoing scams. Shuster portrays Jolene Oakes – a woman who mistakenly believes she and Lawrence are to be wed. She is a delight to watch as she takes centre stage in her number Oklahoma and equally as entertaining as we see her come to regret everything in All About Rubprecht.
Speaking of the Ruprecht number, I found myself conflicted watching this scene. To scare off Jolene, Lawrence and Freddy hatch a plan to trick her into thinking Freddy is Lawrence’s strange secret brother, Ruprecht. The fake brother lives in a dungeon-like basement, has no manners, is vulgar, obscene, and inappropriately sexual. The number is hilarious. Tobin’s physical comedy here is pure gold. The insinuation though, is that there is something ‘wrong’ with Ruprecht. It is not specifically stated that he has an intellectual disability (and in fact a lyric has been changed to make this even more vague, and I applaud this decision), but it is implied. Lawrence and Freddy do numerous immoral things throughout this show and are hardly role models for good behaviour, so the show certainly is not sending any kind of message that this behaviour is appropriate, nor does it feel like a disability is being mocked - but it is still uncomfortable enough that I would feel awkward bringing a friend or family member with an intellectual disability to see the show and explaining the purpose of this number. I hesitate to even mention this because it’s a qualm I have with the story and not this particular production or any performance or piece of direction within it. In fact, it’s clear that the director and the cast took some care in mapping out this scene. It is an interesting exploration of the comedy of the 1980s and even of 2005, vs comedy of today though. All of this said, the scene serves the plot and is appropriately outrageous, and Tobin is at the top of his game here.
For the most part, this show is surprisingly ageless in terms of its humour, though there have been a few additional tweaks to lyrics. I realized this morning that there was an omission of a reference to the current US president in the number Great Big Stuff, and in chatting about that with a member of the company, I was informed that a few other things have been changed as well. It’s nice to know that those with the rights to the show are open to changes like this to better fit the age we live in.
Speaking of age, something that delights me about this show is that I frequently observed audience members ranging in age from 20 to 80 doubled over with laughter at the same scenes. Everyone’s comedic timing is superb and even when you see a twist coming, the lead-up is delectably hilarious…for all ages.
The ensemble of this production shines brightly and execute Stephanie Graham’s choreography to perfection. The choreography they are tasked with ranges from elegant ballroom to a silly country dance number with animated facial expressions, and to a person, they are sublime.
This production is great addition to the 2025 season that theatre-lovers will surely enjoy. I also suspect that visitors to Stratford who want to catch a show, but perhaps aren’t huge theatre buffs will be flocking to DIRTY ROTTEN SCOUNDRELS. The humour from the film translates well and it’s simply a great night at the theatre.
DIRTY ROTTEN SCOUNDRELS continues in Repertory at the Avon Theatre until October 25th.
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