A young hero’s quest for identity in the delightful, inspiring all-ages musical Rose

Rose ensemble, with Hailey Gillis centre. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

 

Soulpepper continues its Family Festival programming with the world premiere of Rose—a brand new original musical three in years in the making, adapted from Gertrude Stein’s only children’s book The World Is Round. With music and book by composer and music director Mike Ross, and lyrics and book by Sarah Wilson; directed by Gregory Prest, assisted by Jennifer Weisz; and choreographed by Monica Dottor, this delightful, inspirational story follows the journey of the nine-year-old titular hero as she sets off in search of her identity. Rose opened at the Young Centre last week; I caught the matinée yesterday.

Narrator Frank the logger (Frank Cox-O’Connell on guitar) and logger bandmates Buddy (John Millard on banjo) and Jessie (Raha Javanfar on violin) welcome us to the town of Somewhere, where everyone likes to say their name and tell you all about themselves. Only the quiet, introverted Rose (Hailey Gill) just can’t seem to say her name, no matter how hard she tries, or how much encouragement she gets from her outgoing BFF Willie (Peter Fernandes) and faithful dog Love (Jonathan Ellul). Rose is a thinker who believes a name means a lot—and she has questions. And maybe the answers to those questions will help her sort out her predicament. After all, how can she say her name when she doesn’t know who, what, where, when or why she is? Mocked by classmates who view her as a weirdo, but determined to learn, she asks her teacher Miss Crisp (Sabryn Rock), who encourages her to try something new.

Rose takes this advice to heart and chooses a different direction, trying on a new, wild personality in the process—a decision that puts her friendship with Willie in jeopardy and further isolates her from her community. Then, inspired by the idea of getting a new perspective from the local mountain top, she sets off alone to climb it to see if she can find her answers there—and ultimately, the voice to say her name.

A tale of navigating life’s contradictions and weirdness, Rose is about love, acceptance and being true to yourself—and the resilience, determination, faith and hope required in the search for the answers to life’s questions. Even if things don’t work out the way you’d hoped or expected, the journey’s the thing. And, oh the places you’ll go, within and without yourself, when you step out of your comfort zone and try something new—all while recognizing and respecting your limits.

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Hailey Gillis. Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

Gillis shines as our young hero Rose, giving an engaging, thoughtful and vulnerable performance as the not so little girl on a big mission. Shy, awkward and pensive, Rose longs to say her name and is driven to crazy lengths to find it within herself to do so. Gillis’s performance resonates in a deep, honest way; we’ve all felt lost and out of step with our lives at times—and identity is an ongoing evolution as we continue to explore our talents, desires and boundaries. Fernandes is an energetic treat as the confident extrovert Willie; the perfect match to the quiet Rose, Willie enjoys life’s simpler pleasures—but even he finds himself starting to ask questions. Ellul makes an adorably sweet and goofy canine pal with the loyal Love; struggling to be heard himself, even Love manages to push past his communication boundaries.

This multimedia, multidisciplinary musical features a multi-talented, multi-tasking ensemble, most of whom play several roles; not previously mentioned are Troy Adams, Michelle Bouey, Alana Bridgewater, Oliver Dennis and Raquel Duffy. Stand-outs include Bridgewater’s fierce Tina Turner-esque turn as the Lion Woman, in a powerhouse performance executed with style and impressive vocal chops. Grown-ups of a certain age will recognize Dennis and Duffy’s hilarious nod to Body Break as Trevor and Beth the Gym Buffs; and Dennis brings rock star charisma and presence as Billie the Lion. Rock gives us an endearing, comic performance as Miss Crisp, the patient, put-upon, high strung teacher.

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Raha Javanfar, Frank Cox-O’Connell & John Millard (foreground), with Raquel Duffy, Oliver Dennis, Peter Fernandes & Scott Hunter (background). Set, lighting & projection design by Lorenzo Savoini. Costume design by Alexandra Lord. Photo by Cylla von Tiedemann.

The music makes a joyful noise—inspired by blue grass, folk, gospel, rock and traditional musical theatre—and features a tight onstage band in addition to the three musician loggers: Scott Hunter on bass, James Smith on keys and Adam Warner on drums. The songs will have your heart singing and get you on your feet as you cheer for Rose along her journey. Visually spectacular and sporting a vibrant palette, Lorenzo Savoini’s imaginative and practical set, lighting and projection design, and Alexandra Lord’s playful costumes, add to the magic.

Truly a musical for all ages, Rose has something for everyone—and, like the Lion Woman, you may even see yourself in our young hero. A name really does mean a lot. Say yours loud and proud!

Rose continues at the Young Centre until February 24; advance tickets available online or by calling the box office at 416-866-8666 or 1-888-898-1188.

ICYMI: Check out this Intermission Spotlight by Robert Cushman on Mike Ross.

And here’s the production teaser:

 

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SummerWorks: Powerful, moving & darkly funny apocalyptic musical And Now, The End

HERO-And-Now-the-End-149-620x500A musical about an impending apocalypse by asteroid? Count me in!

Ante Up Productions’ And Now, The End at SummerWorks – by writing team Victoria Hauser, Emily Nixon, Drew O’Hara, Zach Parkhurst and Jake Vanderham, with music, lyrics and music direction by Vanderham, and direction by Esther Jun – is just the thing.

Roxton, a small Canadian town, becomes a microcosm for a what-if scenario of an upcoming global-scale disaster, where we see the practical, social, emotional and psychological effects on humanity. The opening scene between the Doctor (Amir Haidar) and Patient (Zach Parkhurst) sets the tone: the Doctor’s job has become about assisted suicide.

Attempts to stop Asteroid AXS-677’s trajectory towards Earth have failed and citizens have been told that it will collide in a year, in effect ending the world. The news throws society into chaos, forcing people to rely on transistor radios and landlines to maintain communication. Buddies Dan (Paolo Santalucia) and Scott (Jeff Yung) have taken advantage of the situation at the local, now abandoned, radio station where they once worked low-level jobs to start their own radio show, providing news, views and music. Cathy’s (Tamara Bernier Evans) astronaut husband is stranded on a space station and befriends her neighbour’s brother Frances (Troy Adams), who has returned home to find his brother’s family gone. School’s out for high school seniors Johnny (Hugh Ritchie) and Clare (Ruth Goodwin), but these BFFs will never really graduate. And Inez (Kaleigh Gorka) is alone and will give birth within the year.

The score soars and moves, with gorgeous cello arrangements, beautiful lyrics and strong vocals from the ensemble. Full cast choral work book-ends the show with “Beneath Our Falling Sky” to set the scene and the finale “Look To The Burning Horizon,” a bittersweet, hopeful anthem for what’s to come. Santalucia’s and Yung’s scenes provide great comic relief (“Listen To Our Show”). Gorka and Haidar give a lovely performance of the passionate and conflicted love song “Kiss Me;” while Bernier Evans’ moving “Parts of You” is a heartbreaking grasp at the memory of what her husband looks like – and Adams is equally moving as the man who reluctantly stands in for that memory (“Crazy”). Goodwin’s account of an incident from Clare’s past, one that has repercussions today (“Look in the Eyes”), is a beautifully rendered ballad of pain and conflicting emotions. Ritchie’s “Frogs in the Rain,” a song about Johnny and Clare’s childhood adventures, brought tears to my eyes.

These are complex relationships, made all the more poignant by the countdown to impact: One year, one month, one week. One day.

With shouts to Beth Kates’ set design: the sterile white environment, the abandoned personal artifacts, and the moving flats with black light-activated illustrations of the constellations, are starkly beautiful – not to mention eerie.

And Now, The End is a powerful, moving and darkly funny apocalyptic musical with an outstanding cast and score.

Do the Mirvish folks know about this?

There are two more performances for this run, playing at the Theatre Passe Muraille main space: tonight (Sat, Aug 16) at 10 p.m. and Sun, Aug 17 at 5 p.m. You can also follow And Now, The End on Facebook.