Sir John A Macdonald the Musical. Much to admire in the book, the music and Andrew Galligan’s fine performance in the title role.
“History has a voice.”
The line from the world premiere of Gord Carruth’s latest work, Sir John A. Macdonald, the Musical, is the core of the show that recounts key points in the life of Canada’s first prime minister in words and music.
The man — consistently ranked as one of the most successful prime ministers in Canadian history — is an ideal subject to mark the 150th anniversary of the country he was instrumental in founding, particularly given some recent negative comments about Macdonald’s policies. In his carefully researched and historically accurate musical, Carruth has chosen to present the man, his demons and some of his speeches, as recorded in Hansard, without judgment or analysis.
Enhanced by some lively and often catchy musical numbers, with musical director Theresa Clarke maximizing the appeal of Carruth’s score, the musical follows Sir John A’s progress over the 45 years from when the then young, successful lawyer was first elected to office until his death, following a massive stroke, in 1891.
The script is simple, linear and entertaining. While the structure of 25 short segments featuring key moments in Macdonald’s life tends to make the narrative choppy, director Dianna Renée Yorke has tried to keep scene changes fluid. In addition, the gaps between scenes are lessened by the use of projections on the giant flats (an interesting though not always successful set and visuals design from Andrew Galligan).
In the title role, Galligan delivers a rounded believable and often charming performance, Among other cast members, Richard Cliff is elegant and stylish (apart from his tan shoes) as George Étienne Cartier and Reba Sigler is in fine voice, as well as offering a sensitive portrayal of Macdonald’s second wife, Lady Agnes.
Some of the other actors do not serve the material as well. Among the least successful sections are the feeble attempts at poorly coordinated dance movements from the male chorus, underlining the fact that they are definitely not to be classed as triple threat. On opening night, there were also too many occasions when a performer would pause, take up position and then speak, often appearing to wait for a lighting cue that was slow in coming.
However, despite assorted issues with aspects of the production and some of the performance quality, there is much to admire in Carruth’s book, music and lyrics.
Sir John A. Macdonald, the Musical continues at Centrepointe to November
Reviewed by Iris Winson.
Director: Dianna Renée Yorke
Musical director: Theresa Clarke
Choreographer: Joan Scarcella
Set/visuals: Andrew Galligan
Lighting: Chris Amott
Sound: David Ing
Costumes: Janet Ellis
Cast:
John A. Macdonald………………………………….Andrew Galligan
Louis Lafontaine…………………………………….Tony Adams
Charles, the steward………………………………….Kevin Anderson
Robert Baldwin/Edward Blake………………………Dan Baran
Louis Riel…………………………………………….Ron Clarke
George Étienne Cartier……………………………….Richard Cliff
Justice Hugh Richardson……………………………..Walter Conrad
Eliza Grimason……………………………………….Susanna Doherty
Sandy Laird…………………………………………..Matt Easterbrook
Wilfrid Laurier……………………………………….Delaney Hinds
Paul Gagnon, the reporter…………………………….Paul Huneault
Thomas D’Arcy McGee………………………………Shawn Ladd
Joseph Howe………………………………………….Charles Moir
Alexander Galt………………………………………..Ryan Pederson
Lady Agnes Macdonald………………………………Reba Sigler
Margaret Greene………………………………………Simi Silver
Alexander Campbell…………………………………..Ian Stauffer
George Brown…………………………………………Doug Thicke
Orchestra
Conductor…………………………………………….Theresa Clarke
Accordian, bass guitar…………………………………Bob Doidge
Keyboards……………………………………………..Amy King
Electric guitar………………………………………….Carter Lancaster
Percussion……………………………………………..Dan Lockwood
Bagpipes………………………………………………Andrew McPhail
Piano…………………………………………………..Bart Nameth
Fiddle………………………………………………….Darrin Schott