Lauren Brotman, Braden Griffiths, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
So, what have director Jack Grinhaus, playwright Thomas Morgan Jones, and actors Lauren Brotman and Braden Griffiths been cooking up over at Vertigo Theatre? A little something called A Killing at La Cucina. A Luccia Dante Mystery.
Vertigo Theatre’s latest murder mystery takes us on a journey that delves into the realm of high-end dining, the influence of critics in our society, as well as the world of virtual reality, artificial intelligence, and our own mortality.
Introducing Lucia Dante a world-renowned espresso drinking Italiandetective hired with the task of figuring out who might have murdered Robert Carlyle one of the world’s most famous and influential food critics. A man whose opinions could make or break any dining establishment – virtual or real – and who was a frequent guest at FATE the restaurant where his life ended, and our story begins.
Lauren Brotman, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
Why is the restaurant called FATE? Well, that’s because you pay $15,000 to enjoy a meal unlike any you’ve ever experienced before where the food has been reduced and transformed into a taste shattering concentrate that provides you with an unparalleled euphoric dining experience. Plus, on average one out of every one thousand diners will die.
Adding to the drama of the evening patrons are asked to prepare messages to send to loved ones that can be delivered should they be that one out of a thousand. The danger and presence of death creates an emotionally complex layer to the dining experience at FATE that no other establishment can duplicate.
Lauren Brotman, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
Who are the suspects? We have Hunter the Head Waiter who considers himself the face of FATE since he’s the one who guides diners through their culinary experience. There’s the introverted and seemingly innocent Drew the dishwasher whose job is to look after, clean and account for all the glassware, cutlery, and dishes in the restaurant.
Next on our list of suspects is Dominic the Sous chef and Sebastian the Chef and owner of FATE who both have access to the food and how it’s prepared and so each had the opportunity to tamper with Richard Carlyle’s meal. Rounding out our list of suspects is Armand a billionaire and an investor in the restaurant as well as Prism a sinister developer, entrepreneur, and hacker whose online activities are not always legitimate.
Braden Griffiths, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
Playing this array of characters is the versatile Braden Griffiths who uses his impressive skills to give each character a distinct voice, unique body language, and different personality while giving us an array of suspects each with their own secrets and motives making it a challenge to uncover the truth.
The play is essentially a series of interrogations as Lucia one by one questions each of the suspects searching for motives and opportunity. But she’s there not just to figure out what happened to critic Richard Carlyle but to also settle a personal vendetta against Prism the nefarious hacker whom she blames for the death of fashion designer Isabella Rouge. But in this new digital age Isabella lives on – at least virtually as an AI that Lucia has created and uses to help her solve the mystery and exact justice over the course of the story.
Bringing Lucia Dante to life is Loren Brotman who delivers a performance that masterfully conveys the complexity and depth of Lucia’s character while guiding us through her investigation where we learn more about her story while she uses her insightful interrogation techniques to solve the crime and reveal the truth.
Lauren Brotman, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
One of the most entertaining aspects and enjoyable parts of the play is the imaginative set, digital projections, and stylistic break the fourth wall moments. I loved that aspect of the play and would welcome more of those moments should Lucia return for future murder mysteries.
Creating this theatrical and futuristic feeling setting is set designer Narda McCarroll, lighting designer Jaymez, projection designer Andy Moro, costume designer John Iglesias, and sound designer MJ Dandeneau. Adding to the fun are the theatrical moments where characters use cleverly staged movement and transitions to tell the story. This illustrates a wonderful collaboration between the cast, director, and choreographer Javier Vilalta that adds a heightened sense of style and sophistication to the production.
Lauren Brotman, Braden Griffiths, Set Design by Narda McCarroll, Costume Design by John Iglesias, Lighting Design by jaymez, Projection Design by Andy Moro. Photo by Fifth Wall Media.
Skilfully bringing all of these elements together director Jack Grinhaus and playwright Thomas Morgan Jones have created a culinary thriller that is both visually stunning and intellectually stimulating that will leave audiences fully satisfied yet hungry for more.
***
A Killing at La Cucina by Thomas Morgan Jones and directed by Jack Grinhaus and starring Lauren Brotman and Braden Griffiths provides audiences with a tasty mystery presented in a highly theatrical manner that dives into the nature of the virtual world, our fascination with fate and death, and the darker side of human nature and ambition. The show runs from March 15th to April 13th. Tickets are available at the Vertigo Theatre website or by calling the box office at 403-221-3708.
***
Up next at Vertigo is The Davinci Code running from May 10 to June 8, plus Vertigo has just announced their 2025/26 Theatre Season which features a wonderful selection of plays that will certainly satisfy the appetite of any mystery loving patron. To explore the new season in greater depth, click the link below. Subscriptions to the 2025/26 season start at $200 and may be purchased online at vertigotheatre.com or by phone at 403-221-3708.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
Alberta Theatre Projects continues their winning season with a sharp, funny, and engaging co-production with Theatre Aquarius of King James by Rajiv Joseph. Smartly directed by Haysam Kadri and starring the talented Michael Blake as Shawn and Devin Mackinnon as Matt the play focuses on the friendship between two men who bond over their love of basketball, superstar athlete LeBron James, and the Cleveland Cavaliers.
Adding to this entertaining production is Multi-Disciplinary artist and DJ Diana Reyes, better known as Fly Lady Di, whose sound mix uses original sports clips and soundbites of LeBron James to bridge scenes and add a feeling of a live sporting event to the evening.
Diana Reyes (Fly Lady Di) in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
The story of the play unfolds over the course of twelve years and begins in 2004 when LeBron James is the number one draft pick in the NBA, and he plays his rookie season as a Cavalier. Matt, who is a true fan, has had seasons tickets to the Cavaliers since he was six years of age. His fondest memories of childhood are going to the games with his father. Unfortunately, he’s now run into some financial difficulties and he’s trying to sell his father’s remaining season tickets to raise some money so he can pay off some debts he’s accumulated through a failed business venture.
Enter Shawn an equally dedicated Cavalier fan whose childhood also revolved around his love for the Cavaliers, but his family never had the money to afford tickets to a game. Now having had an unexpected bit of good fortune he wants to fulfill his lifelong dream of going to the games and cheering on his team. A mutual acquaintance brings Matt and Shawn together and there’s an immediate bond between the two as they start to share their views and opinions about LeBron and the Cavaliers and what an impact the team had on them as they grew up in Cleveland.
There’s a friendly and teasing banter between the two right from the very start as they haggle about the price of the tickets, and they get to know each other. Of course, there’s no big secret about where this is heading. Matt has tickets. Shawn wants tickets. There are two tickets for each game. That could only mean one thing – this is the beginning of a beautiful friendship.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
If you’re a sports fan, then you know that following your team through the seasons year after year as they battle their way to the championship is a journey filled with euphoric moments of victory and crushing moments of defeat. It’s also a lot of fun to share that journey with fellow fans and in particular with friends who share your passion for the game. The good news is you don’t have to be a sports fan to enjoy King James. Sports acts as a backdrop with the career of LeBron James and the Cleveland Cavaliers providing the historical context of the play.
Playwright Rajiv Joseph when talking about the play said, “In this country, at least, there’s sometimes this notion that some men are only able to express their emotions when they’re talking about sports, and I think that’s what this play is about. It’s about these two individuals – these two young men – who are friends, who have a hard time actually telling each other what’s on their mind, and their only entry point into that sort of deeper emotional exchange is through talking about sports – talking about LeBron – talking about Michael Jordan.”
Devin MacKinnon and Michael Blake in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
In addition to an outstanding and talented cast director Haysam Kadri has assembled a first-rate design team composed of set and costume designer Brian Dudkiewicz, lighting designer Louise Guinand, and sound designer Maddie Bautista.
The play takes place in two locations. In act one we find ourselves in La Cave du Vin, a wine bar on the east side of Cleveland where Matt works as a bartender. The bar is partially underground was formally a church and features stained glass windows to bring natural light into the place.
In act two the action shifts to Armand’s Upholstery and Used Furniture Store. It’s one of those old curiosity shops filled with everything from stuffed Armadillos to one of those large globe bars that you can open up and store bottles of whisky in.
Armand’s is the family business where Matt’s parents earned a living and funny enough while Matt tends to take it for granted and not think of it as being anything particularly special Shawn loves the place.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
It’s the real and heartfelt performances of Michael Blake as Shawn and Devin Mackinnon as Matt that makes the play such fun to watch because we can see these two guys being friends. They click. They find in each other someone to share the journey. And they do such a convincing job of being friends that when Matt and Shawn’s friendships runs into a crisis, we feel upset.
Why? Because nobody likes to see their friends fight. Come on guys. Grow up. All we want is for Matt and Shawn to think big picture and not get caught up in saying and doing hurtful things that they’ll end up regretting later. But rest assured while there are certainly a few dramatic turns and twists in the play much of the story is filled with good humour and big laughs and a satisfying and hopeful ending.
King James is a play about friendship. How it begins. How it flourishes. How it can go sideways. And how it can be restored and renewed. As an audience what we’re really experiencing is an emotional journey for two people with a fondness for the game and a love for each other that they find difficult to express.
Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
The play ends when Shawn and Matt are still relatively young. They’re only 33 years of age. The stories not over. I want to know what happens to these characters as they get older and enter middle age. I want to hang out with these two and listen in on their conversations about sports and life and learn about their dreams and hopes and disappointments. I want to know what kind of a person Shawn is at 40 or Matt is at 60 and most of all I want to follow them on their journey because I would love to think that these two share a lifelong friendship that makes both of their lives richer and more rewarding.
King James by Rajiv Joseph is the third play in the 50th Anniversary Season of Alberta Theatre Projects and offers audiences a touching and humourous exploration of friendships that celebrates the unifying power of sports.
Epilogue – March 17, 2025 – St. Patrick’s Day
There was more I wanted to say about King James in my original blog post, but I didn’t say it because at the time I couldn’t find the words I wanted to use. Or I couldn’t find a concise way to talk about the things I wanted to talk about. And I still haven’t. But I was really excited to see King James because the play offers such a rich opportunity for discussing so many different things about life.
King James allows us to explore our feelings and thoughts about sports and our feelings and thoughts about friendship and our feelings and thoughts about how theatre and sports are cousins because they both focus on the human experience and are live visceral events. And so, I thought I’d publish my original blog and then return to it after the run and explore a few more aspects about the play – free now from having to avoid spoilers. So, fair warning. If you do read on, then I may mention things about the play that if you haven’t seen it will definitely be spoilers.
So, first what are we to make of professional sports? Back a long time ago when towns would participate in sporting events you really had teams made up of people who lived and worked in that city or that town. It was your home. And so, when you went to cheer on the hometown team you were really cheering on the hometown team.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
Members of the team were actually your friends, neighbours, coworkers and family. Of course, some towns would hire a ringer. A player of greater physical ability that the locals could pass off as one of their own. This would be someone who for a fee would play on your team and tip the scales. And it was considered bad form to do such things.
Jump ahead to today and I’d argue that the hometown team is now almost entirely composed of what would have been described as ringers and only very rarely does a team include a hometown boy. So, what is it we are cheering for if we’re no longer cheering for the real hometown team? What is it we’re identifying with when we go to watch a team play because the players are paid employees. Their loyalty is bought and sold. They can and do play for different teams during their career. So, why when they play for our team do we cheer them on. Why do we care about the outcome of the game when the people playing often have no real connection to where we live other than a contract.
I think it’s part of our tribal behaviour. I think we naturally gravitate towards groups that represent our thoughts, ambitions, hopes, and feelings even if that group is an artificial creation. I think that’s because a lot of our identity comes from the groups each of us associates and identifies with. That includes the sports teams we cheer for as well as the political party we support, our religious identity, whether or not we’re vegetarian or – like the Dude in The Big Lebowski – we live to bowl.
And as is true of all things human there’s a good side to our tribal behaviour and an evil side to our tribal behaviour. The Dr. Jekyll and Mr. Hyde of society. I would also argue that we’ve been seeing a lot more of Mr. Hyde on the world stage of late than the kindly Dr. Jekyll.
The bad side I’m not going to dwell on. I’m just going to mention it. On the bad side we see the violent hateful and competitive side of humans who can take things too far in sports. I mean soccer riots and the violence against fans of an opposing team – what does that tell us about humans? It’s a tin cup for Christ’s sake. At one time it did not exist. At some point in the future it won’t exist. Yeah, have fun and cheer on your team but what’s with the violence and hate and the riots after your team wins the championship. They won. Why are you burning cars. Those are disturbing outcomes.
And then there’s the 1971 Stanford Prison Experiment that reveals a lot about group dynamics and our willingness to adopt the beliefs and behaviours of particular groups and ways of thinking. Ever heard of that one? That was a psychological experiment where participants in the study either became guards or prisoners. Let’s just say some people took the experiment a little too far. You should look it up. It’s part of that ugly side.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
On the good side, sports give us an opportunity to celebrate the human spirit and to marvel at the amazing physical abilities of elite athletes like LeBron James, Serena Williams, and Tiger Woods. And LeBron James, from what I can tell, is not just an exceptional athlete but is also an exceptional person whose success on the basketball court has been the result of a life dedicated to developing the natural gifts he was born with.
Here is a man who is arguably the best basketball player of all time, having racked up an impressive number of records and stats, including being the NBA’s all-time leading scorer with, as of March 17, 2025, 41,924 points. The next closest to LeBron is Kareem Abdul-Jabbar who has 38,387 career points and has been retired since 1989. LeBron who just turned forty has said he has a few more years of peak performance in him before he plans on retiring so that number is sure to increase.
LeBron has won 4 NBA championships, including back-to-back wins with the Miami Heat in 2012 and 2013, and with the Cavaliers in 2016, and with the Lakers in 2020. He also has three Olympic Gold medals from the 2008 Beijing Olympics, the 2012 London Olympics, and the 2024 Paris Olympics, and an Olympic Silver medal from the 2004 Athens Olympics. You do not obtain that level of success on talent alone. Achieving that level of success demands a level of commitment that few of us would be willing or able to match. And while the stats are a numerical record of his achievements, the real beauty of sport is to see him live in action. To be at the game. To witness firsthand his electrifying performance, his precision and his power and to marvel at his command of the sport.
And isn’t that also true of great actors. Do we not go to see them because they bring something extra to their performance? They reach deeper than other actors. They somehow are able to convey something more. And just like in sports the real joy of theatre is seeing a live performance. To be at the theatre and to witness firsthand what a great actor brings to the their performance and how they command the stage.
Both theater and sport can be thrilling. Isn’t that why we go to the game? For the thrills. Isn’t that the same reason we go to the theatre? We go to be thrilled. We go to be entertained. We go to experience some emotion and to make our life more fun and meaningful. We go to both the theatre and to sport to share the experience. Yes, with an audience but more importantly with the person we’re going with. When we go to the theatre that play becomes a part of our history, and a memory that we can relive and enjoy when we get together with the family or friends with whom we shared the original experience.
Diana Reyes (Fly Lady Di) in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
And while sport and fandom are definitely a part of King James the play is really about friendship and the importance of friendship in our lives. The play is divided into four scenes and this choice was made in order to duplicate the structure of a basketball game which is also divided into four quarters. Does that really work? I don’t know. Two acts four scenes – I suppose. But I don’t honestly feel it matters much. That might be the intention but for me I just like spending time with Shawn and Matt as they hang out together. There could have been a couple more scenes and that would have been fine with me.
Scene Two of Act I coincides with LeBron James leaving the Cleveland Cavaliers and going to play for the Miami Heat and it’s also when Shawn gets an opportunity to go to New York to pursue his dream of being a writer. That means he won’t be going to the games anymore. He’s moving on. And interestingly while Shawn feels betrayed by Lebron leaving and is even ready to burn his LeBron Jersey he’s ready to move on which means just like LeBron leaving his team Shawn is leaving his friend Matt. Matt doesn’t really say so but that feels like a bit of a betrayal. And even when we wish our friends well, we can often have mixed feelings about the choices our friends make that take them away from us. Distance is a hard thing to overcome. Even in todays connected world. Proximity plays a big role in our lives. And when you put physical distance between people over time the bonds of friendship can weaken because that distance usually results in less frequent opportunities to get together and build new memories.
In scene one of the second act there is an actual crisis in the friendship that plays out with the two friends becoming estranged from each other which means the final scene of the play is an attempt to repair and renew the damaged friendship. And while I like to think of Shawn and Matt being friends for life, you never know. This might indeed be the end of their friendship because life and circumstances have taken them in different directions. Shawn lives in L.A. working as a television writer. Matt still lives in Clevland and has yet to have had much success with any of his business ventures. So, they no longer spend time together going to Cavalier games which was the foundation of their friendship and there is the possibility that their friendship might become nothing more than the annual birthday greeting on Facebook and occasionally getting together when they’re on vacation.
Or maybe not.
The final scene in the play takes place on June 22nd, 2016, a few days after the Cavaliers have won their very first NBA Championship. Game 7 was played in San Francisco and Shawn was at the game and when it came down to the final seconds, he realized that the person he wanted beside him and to share that moment with was his friend Matt. But Matt wasn’t there. He should have been. And so, Shawn drives from San Francisco all the way to Cincinnati to see his friend Matt and to try and reconnect and hopefully begin again.
Michael Blake and Devin MacKinnon in King James. Photo by Dahlia Katz. Set & Costume Design by Brian Dudkiewicz, Lighting Design by Louise Guinand.
And I think they will. That’s the sentimental hopeful side of me.
I do think this friendship will last and I’d love to see the story continue as I mentioned earlier in my blog. I’d love to see another play or two that follows these two as they live their lives and get together when they can to catch up and reconnect. And maybe they’ll finally be able to move beyond their mutual love of basketball to being able to talk about other things going on in their lives in a deeper way.
We need our friends to keep us real. To help us process life. To explore options. To celebrate the big wins and the tragic defeats.
Life is hard. It’s even harder without friends.
And King James is really a celebration of friendship. And while theatre opens doors to empathy and understanding so too do things like our shared love of sport and our shared passion for the game whether that game happens to be basketball or hockey or football.
And so, since today is March 17th – St. Patrick’s Day – it feels to me like it would be appropriate to end this updated blog with an Irish toast that celebrates friendship. A final thought to cap off these rambling thoughts. A bit of concise Irish Wisdom instead of the long-winded ponderings of a guy trying to put into words what can so easily be said and has been said for generations.
***
“There are good ships and there are wood ships, the ships that sail the sea. But the best ships are friendships and may they always be.”
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Last year I started my theatre season by seeing a production of Misery at Vertigo Theatre starring Anna Cummer as Annie Wilkes and Haysam Kadri as Paul Sheldon. The production was directed by Jamie Dunsdon and it was so good I saw it twice. And this year I had a chance to start my theatre season with another Stephen King story by sitting in on the dress rehearsal for the Front Row Centre Players production of Carrie: The Musical.
Stephen King – Photo by Shane Leonard
Stephen King’s writing career or as I like to call it – his Decades-Long Reign of Terror – could conceivably be traced back to the publication of his first novel Carrie in 1974. That novel changed King’s life. In fact, he threw his first few pages of Carrie into the garbage and wasn’t going to spend any more time working on the story until – his wife Tabatha fished it out of the garbage and read it and said it was good and he should finish it.
So, he did. And when the publisher sold the paperback rights for $400,000 half of which went to King, he was able to quit his teaching job and begin writing full time. And I suppose there is an alternate universe where he threw away the story and his wife tossed it out with the garbage and Stephen King remained a teacher of high school students and retired after 40 years of public service and at the age of sixty-five moved to Florida where he enjoys lawn bowling and dining out at the all you can eat Crazy Buffet. Now there’s a horror story. If you want to hear King tell the story of how Carrie came to be check out the link at the bottom of this post where he tells the story in his own words.
Carrie started as a novel in 1974 and became a successful movie in 1976 that starred Sissy Spacek, Amy Irving, Piper Laurie, and Nancy Allen. In 1988 Carrie was slated for a Broadway run as a musical. And why not? There are plenty of successful horror musicals such as The Rocky Horror Picture Show, Evil Dead The Musical, and Little Shop of Horrors. Carrie with its supernatural elements and high school drama seems like the perfect story to adapt into a musical. Unfortunately, the original Broadway Production shut down after only 16 previews and five performances and a loss of seven million dollars, but it was far from dead.
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
There was an Off-Broadway revival in 2012 where the score and book were revised by the original composers Michael Gore and Dean Pitchford, and writer Lawrence D. Cohen and several of the original songs were replaced with new compositions. Our own Calgary connection to the story is that the current artistic director of Theatre Calgary Stafford Armia was involved in the readings and workshops that lead to the 2012 revival. This led to an Off-West End production in 2015 that opened to mostly positive reviews.* And when I checked Concord Theatricals which controls the performance rights for the show they had over 50 scheduled productions listed. So, I’d say Carrie has finally found its audience.
And that’s partly because one of the things that makes King such a successful writer is that he writes sympathetic and relatable characters that find themselves in unusual or supernatural circumstances. Life is often cruel and unfair in his stories and that’s one of the reasons we find them so compelling. – who doesn’t like to cheer for the underdog? In The Shining Jack Torrence isn’t simply a mallet-wielding psychopath. No, he’s a man trying to stay sober and be a good father while fighting the supernatural forces that are leading him toward a murderous path. And in The Shawshank Redemption who doesn’t cheer for the innocent Andy Dufresne wrongly convicted for the murder of his wife and sent to prison where his efforts to prove his innocence are thwarted by a corrupt warden and prison system? And who doesn’t travel back to their own long summer days of childhood while watching Stand by Me because it’s a story about friendship, doing the right thing, and being a kid on summer vacation.
Deidra Michel as Carrie White, Becky Salmond as Miss Gardner and Willow Martens as Chris Hargensen in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Alexa Jobs as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Lyndsey Paterson as Margaret White & Alexa Jobs as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Lyndsey Paterson as Margaret White & Deidra Michel as Carrie White in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Russell Bishop as Mr. Stephens and Alexa Jobs as Carrie in the FRC Production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Kianna King as Sue Snell in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Kianna King as Sue Snell and Nolan Brown as Tommy Ross in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Willow Martens as Chris Hargensen in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie White and Becky Salmond as Miss Gardner in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie White and Selwyn Halabi as Billy Nolan in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Willow Martens as Chris Hargensen in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Dwaigne Quierra as Freddy in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Becky Salmond as Miss Gardner, Deidra Michel as Carrie White, and Nolan Brown as Tommy Ross in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Nolan Brown as Tommy Ross & Alexa Jobs as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Lyndsey Paterson as Margaret White & Alexa Jobs as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Alexa Jobs as Carrie and Kianna King as Sue Snell in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Alexa Jobs as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
In Carrie, the plot follows Carrie White a shy girl who lives on the edge of the high school community and when not fading into the background at school she spends her time at home with her fanatical Christian mother Margaret White who practices a particularly toxic religious faith. Margaret has kept Carrie in the dark about the facts of life and so when her daughter experiences her first period in the girl’s locker room shower, Carrie reacts with horror and panic. Rather than helping Carrie the rest of the class, being typical high school kids, make her an object of ridicule as they taunt and bully her. It isn’t until the gym teacher, Miss Gardner, steps in that the girls back off and are asked to apologize. When Chris Hargensen refuses to apologize and instead tells Carrie to “eat sh*t” Rita bans Chris from attending the prom.
Sue Snell one of the popular girls who participated in the taunting feels particularly guilty about her treatment of Carrie and convinces her boyfriend Tommy Ross to take Carrie to the prom instead of her. At first reluctant he finally agrees to ask Carrie to the prom, and she accepts. Meanwhile outraged over missing the prom and blaming Carrie for her troubles Chris along with her boyfriend Billy Noland plot their revenge. While all this is going on Carrie discovers that she has telekinetic powers and in the days leading up to the prom she practices her abilities at home by moving and levitating objects. Needless to say, while the prom goes well initially for Carrie this is Stephen King and you know things aren’t going to end well.
Nolan Brown as Tommy Ross & Deidra Michel as Carrie in the FRC production of Carrie: The Musical. Photo Brittany Doucet-Lewis
Director Kristine Astop has assembled a talented group of young actors with the lead role being split between Deidra Michel and Alexa Jobs who play Carrie on alternating performances. On the night I saw the show Deidra Michel was playing Carrie and gave a heartfelt performance as Carrie navigates her dismal existence between her life as an outcast at school and her abusive life at home with her mother. Lyndsey Paterson as Carrie’s salvation-obsessed mother can be loving but also savage and terrifying in her zeal to wage war against the world and rid it of sin. Kianna King does a terrific job of playing the guilt-ridden Sue Snell who only wants to make amends for how she treated Carrie. Nolan Brown gives a sympathetic performance as Sue’s boyfriend Tommy Ross the jock with a poet’s heart. Willow Martens is perfect as the self-absorbed and popular mean girl Chris Hargenson who takes things too far, and Selwyn Halabi has the right mix of cocky smart-ass attitude to play Billy Nolan, Chris’ boyfriend, and partner in crime.
The set designed by Jamie Eastgaard-Ross features a multi-leveled platform across the back of the stage that effectively creates different acting spaces that represent the school, Carrie’s home, and the gym on prom night. There’s also live music which is always a bonus when it comes to musicals. A live band can respond to the subtle differences that happen during a performance from night to night and add to the energy of the production.
As far as the actual music goes it sets the scene and moves the narrative along with the most powerful numbers being given to Carrie’s mother Margaret. And perhaps that’s because she’s the most extreme character. She’s the one who is going to save her daughter from damnation and will do anything in order to achieve that. But what I think Carrie: The Musical seems to be missing is a few hit songs – songs that go beyond the stage and make their way into pop culture. Songs like “The Time Warp” from The Rocky Horror Picture Show or “The Music of the Night” from The Phantom of the Opera – songs that a lot of people know even if they haven’t seen the musical.
Even so, I enjoyed the show and I think what makes Carrie work today is the fact that all the behaviour we see on stage is certainly reflected in the worst aspects of social media and how we treat each other online. In fact, you could simply argue that social media is just a tool for behaviours that have already been a part of our tribal repertoire for generations. And that undercurrent of hate and anger and mob behaviour creates a sinister feeling to the events that unfold on stage and that’s the perfect subject matter for a musical, don’t you think?
FURTHER READING
How Carrie changed Stephen King’s life and began a generation of horror: Writers and readers recall the shock of reading the debut novel about a high-school outcast who discovers paranormal powers and reflects on its huge influence. by Alison Flood. The Guardian. April 4, 2014
* Carrie: The Musical: Originally premiering in the U.K. in 1988, Carrie opened on Broadway at the Virginia Theatre the same year, but closed after 16 previews and five regular performances.
Talking Volumes: Stephen King on “Carrie” Author Stephen King talks about his first published novel, “Carrie,” during the Talking Volumes series at the Fitzgerald Theater in St. Paul, Minnesota. Kerri Miller hosted the live event on November 18, 2009. He tells the story about how his wife Tabatha fished Carrie out of the trash after King had thrown the first few pages away and decided not to finish it.