REVIEW: Frog Song at Here for Now Theatre
Opera can be tricky. Often mired in stereotypes and preconceived expectations around everything from length to audience etiquette, it frequently comes with higher barriers to entry than other forms of theatre. Frog Song, directed by Liza Balkan in its world premiere production at Here for Now Theatre, confronts these barriers, taking on the challenge of creating a children’s opera which is not only true to the genre, but also meaningful to audiences of all ages.
The one-act show (book by Taylor Marie Graham) follows Navdeep (Priya Khatri) and Wyatt (Ben Skipper), two pre-teens paired together for a summer camp’s fairytale-themed singing competition. With the encouragement of the dramatic but insightful counsellor Jay (Derek Kwan), the unlikely duo must learn to work together, however, this collaboration isn’t all smooth sailing.
Navdeep’s pride and desire to succeed conflict with Wyatt’s prickly reticence (deftly portrayed in a standout performance by Skipper), and to make matters worse, both kids are haunted by strange dreams of ominous frogs (roles assumed by chorus members Megan Dart, Michael Neale, and Luci Sanci, with the help of incredibly effective choreography by movement director Patrice Bowler).
As the two slowly overcome their differences, the piece tackles themes like grief, empathy, and acceptance, drawing the audience in with its whimsical premise while exploring experiences I expect will ring true across all age groups.
Graham’s book is set to music by composer William Rowson, who also serves as the principal conductor and music director of the Stratford Symphony Orchestra (co-producer of Frog Song in a first-time collaboration with Here For Now). Rowson’s score doesn’t shy away from operatic idioms (think lush harmonies and soaring soprano notes), and as a result Frog Song provides an accurate yet kid-friendly introduction to the genre for young people experiencing opera for the first time.
The occasional lines of spoken dialogue throughout help to break up some of the density that can come with a sung-through story, and often lend themselves well to moments of humour. Narratively, the incorporation of fairy tales (Jack and the Beanstalk and East of the Sun and West of the Moon make notable appearances, alongside shades of The Frog Prince) also provide a fun and familiar twist on the tradition of basing operas on well known fables and myths.
Here For Now’s venue also lends a certain magic to the performance. Set outdoors in a small, three-sided tent behind the Stratford Perth Museum, the fictional world of the story blends seamlessly with this natural environment. It’s easy to imagine the tent and the field beyond it being part of a summer camp, and the natural sounds of birdsong and cicadas add to the atmosphere. Frog Song isn’t necessarily site-specific (it was workshopped indoors at MT Space’s 2019 IMPACT Theatre Festival), but the physical space that Here For Now’s production inhabits makes the experience all the more immersive.
Balkan’s direction heightens this immersion, as she makes use of the space not only on the small stage inside the tent, but also beyond it. While the main action happens on the stage, chorus members can often be seen outside, chatting or playing games, and on a few memorable occasions appear in gaps in the tent walls, surrounding the audience on three sides.
Inside the tent itself, projections by Beth Kates help to differentiate between the summer camp and the more fantastical, frog-inhabited dreamworld, and Bonnie Deakin’s set and costume design, with its bright colours and rich textures, adds to the playfulness of the space. With the audience only feet from the performers, it’s easy to pick up on the details and nuances of their acting. The only downside to this small, intimate venue is that the actors’ powerful voices occasionally feel a bit too big for it, with the force and intensity of the singing more than filling the space.
In her program note, Here For Now’s artistic director Fiona Mongillo writes that “we are all in the muck of our humanity and doing the best we can with the tools that we have.” Frog Song asserts that this is as true for young people as it is for adults, recognizing both the complexity of their life experiences, and their capacity for appreciating story. And while Frog Song doesn’t shy away from being an opera, it does provide an addition to the genre which is a bit more open and accessible to both kids and adults alike.
Frog Song runs at Here for Now Theatre Company until August 12. Tickets are available here.
Intermission reviews are independent and unrelated to Intermission’s partnered content. Learn more about Intermission’s partnership model here.
Charlotte Lilley
Charlotte Lilley (she/her) is based in London, Ontario where she is finishing her undergraduate degree at Western University in theatre, music, and writing. Outside of her studies, she works as Co-Editor of Nota Bene: Canadian Undergraduate Journal of Musicology, published annually through the Don Wright Faculty of Music. In her free time, Charlotte can often be found searching for new secondhand bookstores to explore or playing tabletop games.
LEARN MORE
iPhoto caption: Photo by Ian Jackson
REVIEW: In Ronnie Burkett’s darkly intelligent Wonderful Joe, gentrification hits like a meteor
When Siminovitch-winning puppet virtuoso Ronnie Burkett chose the focus of his latest play, was he thinking of TO Live’s $421-million plan to redevelop its St. Lawrence Centre for the Arts?
iPhoto caption: 13 Plays About ADHD All At The Same Time graphic courtesy of Circlesnake Productions.
REVIEW: 13 Plays About ADHD All At The Same Time is true to its title
While the play’s structure may occasionally leave you feeling as scattered as its protagonists, its heart, humour, and raw honesty will keep your thoughts churning well into the night.
iPhoto caption: Goblin:Macbeth production still by Jae Yang.
REVIEW: Goblin:Macbeth might just leave you gobsmacked
While most of the entertainment comes from the goblins’ antics whenever the Shakespearean text is paused or subverted for comic effect, the secret sauce to this whole endeavour is that it really is an honest-to-goodness staging of that text, designed to showcase the performers’ near-virtuosic mastery of the material.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: The Thanksgiving Play wriggles in performative wokeness
In 2024, is there a way to produce an engaging, culturally sensitive play about the first American Thanksgiving for elementary schoolers? The Thanksgiving Play, penned by Native American playwright Larissa FastHorse and now playing at Mirvish’s CAA Theatre, poses that question in its first five minutes, then throws the query out with the cranberry sauce in its madcap exploration of a devised theatre piece at an unnamed primary school.
iPhoto caption: The Anger in Ernest and Ernestine production still by Curtis Perry.
REVIEW: The Anger in Ernest and Ernestine simmers just below the surface
While the show certainly induces laughter, some of its strong design elements paint the actors into a corner, at times making the comedy feel a touch manufactured.
iPhoto caption: Samca production still by Barry McCluskey.
REVIEW: Samca is a disturbing, unique production that explores folklore and womanhood
The feminist folklore play, written by and starring Natalia Bushnik and Kathleen Welch, is an engrossing and sometimes frightening experience, perfect to kick off the scary season.
REVIEW: The Fox at Here for Now Theatre challenges first impressions
At its core, The Fox questions what it means to have autonomy, and shows that labeling any one person as an antagonist is often a more complex proposition than it seems.
REVIEW: Life Without at Here for Now Theatre
In broad strokes, Life Without tells the story of three family members as they confront their experiences with loss, and question their own responsibilities, successes, and failures.
REVIEW: A Wrinkle in Time at the Stratford Festival
A Wrinkle in Time is an imaginative, heartfelt adaptation, which creates a visual spectacle while maintaining the emotional and thematic centre of L’Engle’s story.
REVIEW: East Coast Kitchen Party at the London Grand/Neptune Theatre
East Coast Kitchen Party brings something fresh and unexpected into the theatre, not so much breaking the fourth wall as removing it entirely, and creating an atmosphere that is vibrant, social, and celebratory.
iPhoto caption: Photo by Dahlia Katz
REVIEW: Rubaboo at Grand Theatre/Arts Club Vancouver
Rubaboo is a wonderful combination of ingredients that is complex, communal, and warm.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Controlled Damage at the Grand Theatre
Engaging, compelling, and unafraid of exploring difficult questions and truths, Controlled Damage at the Grand is a poignant look at a vital piece of Canadian history.
Comments