Royal City Musical Theatre

Drama teacher back on stage

People of a certain age will have seen the iconic 1980 comedy 9 to 5, starring Jane Fonda, Dolly Parton, Lily Tomlin and Dabney Coleman. Even more will know the eminently singable title song of the movie, written by Parton, which remains popular today, 45 years later. Those of us who enjoyed the story and like (love!) the song will be happy to know that Royal City Musical Theatre (RCMT) is presenting 9 to 5 The Musical – the score of which Parton wrote – April 25 to May 11 at New Westminster’s Massey Theatre.

“Set in 1979, 9 to 5 The Musical follows three co-workers – Violet, Doralee and Judy – as they endure their mundane and demoralizing office jobs at Consolidated Industries, under the thumb of their sexist and egotistical boss, Franklin Hart Jr.,” reads the press release for the production, which is co-directed by Valerie Easton and Chris Adams. “When the women are suddenly given the chance to turn their wildest revenge fantasies into reality, they hatch a plan to kidnap their nasty boss and step into their full potential – ultimately taking control of the company.”

Keri Smith is in Royal City Musical Theatre’s 9 to 5 The Musical, which runs April 25-May 11 at Massey Theatre. (photo from Royal City Musical Theatre)

The RCMT production stars Irene Karas Loeper as Violet, Maia Beresford as Doralee, Madeleine Suddaby as Judy and Dustin Freeland as Franklin Hart Jr. Jewish community member Keri Smith plays Margaret, a secretary in Hart’s office, who drinks a bit, and she is the understudy for Violet.

RCMT’s 9 to 5 The Musical marks a return to the stage for Smith – who trained at the American Musical and Dramatic Academy in New York City – after a long hiatus, during which time she has taught grades 1-7 at Vancouver Talmud Torah.

The Jewish Independent interviewed Smith in advance of the musical’s opening.

JI: Can you tell me a bit about your general background, how you got into education and theatre, when and why you came to Vancouver? Or did you just study in New York?

KS: After completing my studies at theatre school and spending several years working in New York, my visa expired, prompting my return to Vancouver. Upon arriving, I quickly recognized the challenges of pursuing a full-time acting career in the city. As a result, I sought a position that would allow me to continue engaging with theatre while securing a steady income. I found a role as an early childhood educator at Vancouver Talmud Torah, the elementary school I had attended as a child.

Two years into my position, when an opening for a drama instructor became available, I approached the principal and shared my theatrical background … [and] she entrusted me with the role. I quickly developed a deep passion for teaching and decided to pursue a teaching certification to further my commitment to education.

Over the past 19 years at Vancouver Talmud Torah, I’ve had the privilege of helping to establish a vibrant musical theatre program for students aged 10 to 13. I am immensely grateful to be in a position where I can combine my love for theatre with the joy of teaching every day.

JI: What role, if any, does Judaism and/or Jewish community play in your life?

KS: Judaism and the Jewish community hold a deeply cherished place in my life, shaping both my personal journey and my work as an actor and educator. In my daily life, Jewish values of compassion, justice and the importance of education are guiding principles.

In my role as an educator, I am reminded every day of the power of knowledge and the responsibility we bear in passing on these values to future generations. Judaism has a long tradition of asking questions, seeking understanding and fostering growth through learning, which resonates deeply in my approach to teaching.

As an actor, I find that storytelling in the Jewish tradition has influenced my perspective, as narratives in Judaism often revolve around struggles, resilience and the pursuit of justice – ideas that transcend time and place. Whether in a classroom or on stage, I strive to embody the deep sense of connection and responsibility that Judaism fosters, with gratitude for the wisdom that has been passed down through generations.

The Jewish community, with its strength, support and shared commitment to growth, reminds me that we are all part of something much larger than ourselves and that, together, we can bring light into the world.

JI: What attracts you to acting?

KS: What I love most about acting is the profound escape it offers – an opportunity to leave behind my own world and immerse myself fully in someone else’s reality. The process of stepping into a character’s shoes, seeing the world through their eyes, and experiencing their emotions and struggles is not just thrilling; it’s transformative. It’s an addicting experience because each new role is a journey of discovery – of understanding, empathy and expression that goes beyond my own personal experiences.

JI: What’s your favourite part of teaching?

KS: What truly deepens my love for acting is the opportunity to teach it. Teaching drama allows me to share that same transformative experience with others, especially young people. Watching students experience the same magic of stepping into a character’s shoes for the first time is incredibly rewarding. There’s something truly special about guiding them through the process of self-expression, helping them find their voice and watching them take risks on stage. Drama gives students a unique platform to explore their own identities and develop their confidence, creativity and empathy – all essential skills not just for acting, but for life.

JI: What motivated you to audition for 9 to 5 The Musical? What was that process?

KS: I felt it was the perfect time to step out of my comfort zone and challenge myself, so when I saw the opportunity, I didn’t hesitate to audition. The process was incredibly enjoyable! I was given a song and a scene to prepare, and I went in with the goal of giving it my all. Afterward, I felt confident and proud of my performance.

JI: How often do you perform, and approximately for how long have you been a performer?

KS: I first discovered my passion for performing as a Grade 7 student at VTT, where I played Hodel in Fiddler on the Roof. That role was my introduction to acting, and I’ve been hooked ever since. While I “perform” daily in my role as a teacher, engaging with my students, I haven’t had the chance to take the stage in over 10 years. This production marks my return to acting, and it feels incredible to be back!

For tickets to 9 to 5 The Musical, visit royalcitymusicaltheatre.com.

Cohen dusts off tap shoes

Andrew Cohen takes on the lead role of Don Lockwood in Royal City Musical Theatre’s Singin’ in the Rain, which runs April 4-20. (photo by David Cooper)

“I’m excited for audiences to see Singin’ in the Rain. The film is a classic, and I hope we’re able to bring that same charm and excitement to the Massey Stage,” Michael Wilkinson told the Independent. “It is on the older side of the musical theatre canon, but I think our production – especially Andrew Cohen as Don Lockwood and Tessa Trach as Kathy Selden – do such a beautiful job at bringing these characters to life in 2019, while still keeping the familiarity and charm of the characters and story.”

Royal City Musical Theatre presents Singin’ in the Rain at the Massey Theatre in New Westminster April 4-20. For those unfamiliar with the story, Don Lockwood and Lina Lamont are silent film stars, dashing and beautiful, but their stars will fade unless they can make the transition to talkies, the new technology of the time. The studio decides to change the couple’s latest silent film into a musical but, the problem is, Lamont has a horrible voice – even listening to her talk is painful. The solution? Have her voice dubbed by aspiring actress Kathy Selden.

Filled with humour, eminently singable and memorable music – “Good Mornin’,” “Make ’em Laugh,” and, of course, “Singin’ in the Rain,” to name a few – and incredible choreography, Singin’ in the Rain is one of the most popular musicals of all time, while also being an insightful commentary on the film industry, the impacts of technology and the nature of fame.

Cohen said he was asked to audition for the role of Lockwood last fall, while he was away doing Fiddler on the Roof in Saskatchewan.

“Gene Kelly made this role, this music, famous. He is in every neuron of this show. But I am no Gene Kelly (though I sure do wish I had his moves),” Cohen told the Independent about making such a famous character his own. “I think any actor preparing to take on an iconic role like Don Lockwood needs to find where the character lives within themselves rather than trying to mimic the character’s originator.”

And Cohen has more than the chops necessary to step into Kelly’s shoes. Since the Jewish Independent featured Cohen and his wife, Anna Kuman, in 2017, when they premièred Circle Game: Reimagining the Music of Joni Mitchell – which they co-created and co-directed – the couple has been working on different projects around the world.

“We were on the mass choreography team for the Fifth Asian Indoor and Martial Arts Games opening ceremony in Ashgabat, Turkmenistan, that had us work with a cast of 8,000, not to mention aerialists, horses, dogs, camels,” said Cohen. “It was a crazy experience! I then joined the stage management teams for the Gold Coast Commonwealth Games and the Sydney Invictus Games opening and closing ceremonies, getting to work at the Sydney Opera House and along the stunning shores of the Gold Coast.”

Cohen also premièred the new musical Les Filles Du Roi, for which he had to sing in English, French and Kanienké:ha (Mohawk). “Last winter,” he said, “I reconnected to my ancestral roots in the shmatta trade by playing Motel Kamzoil the Tailor in Fiddler on the Roof at Persephone Theatre in Saskatoon. Also, being the show’s music director, this production boasted a cast full of actor/musicians and was extended four times due to popular demand.”

While he’s very excited to return home and “dust off” his tap shoes for Singin’ in the Rain, Cohen won’t be in town long. He’s “heading to Toronto, Tel Aviv and Europe this spring for a tour of the new Canadian show Charlotte: A Tri-Coloured Play with Music that chronicles the life of renowned Jewish painter Charlotte Salomon.”

Singin’ in the Rain marks Cohen’s debut with Royal City Musical Theatre.

“Both my wife and my brother have worked with them before,” he said, “but this is my first time with RCMT, so it’s lovely to get to join the club, especially since RCMT is a theatrical institution for large-scale classic musicals. Seldom do audiences (and actors alike) get to revel in the grandeur of the art form in this town than at the Massey Theatre every April.”

Cohen’s fellow Jewish community member, Wilkinson, certainly enjoys this annual tradition.

“It’s the community that keeps me coming back,” he said. “Obviously performing is very fun, but I’ve also made some great friendships through RCMT. It has become something to look forward to in April, and it’s the people that make it such a wonderful environment.”

Wilkinson is in his final year of studies at the University of British Columbia’s Institute for Gender, Race, Sexuality and Social Justice, so he’s not sure how long he’ll be able to continue performing with RCMT, but he feels “very fortunate to have been a part of five productions over the last few years.” As part of the ensemble in Singin’ in the Rain, he has more than one role.

“The Quartet,” he explained, “is a part of the number ‘Beautiful Girl,’ which is a big showgirl number that is the first ‘talkie’ by Monumental Pictures (the film production studio in the show). Typically, the number only has the tenor soloist and the female ensemble, but our director and choreographer, Valerie Easton, has added four of the male ensemble to create a quartet and have some fun partnering moments in the number. It’s really just a quick snippet of the show, and many of us in the ensemble jump around playing multiple parts. I’m also playing Rod, who is the head of the publicity department at Monumental Pictures, which has been a fun bit role.”

Wilkinson’s favourite scene, he said, “would have to be the number ‘Broadway Rhythm,’ which happens about halfway through Act 2. It’s around eight minutes long, and there is some amazing dancing and singing throughout the number. I think the audience will really enjoy it, especially once we have rehearsed it to perfection!”

For Cohen, the biggest challenge so far with the role of Lockwood has been “the sheer amount of material to learn. Don sings and dances a lot. In Act 1, he barely leaves the stage,” said Cohen. “Prepping for this show has been like training to do a marathon – every day a little further, more lines down, going over and over songs and dance breaks. That said, I grew up tap dancing but haven’t had the chance to tap professionally in a long time. It’s a real privilege getting to tap with some of the amazing tappers in this company.”

Cohen said, “It’s very exciting, seeing it all come together with the sets and the lights and the orchestra. How often do you get to sing with a real 18-piece orchestra?!”

For tickets to RCMT’s Singin’ in the Rain, visit ticketsnw.ca or call 604-521-5050.

My Fair Lady fantastic

Tracy Neff (Eliza Doolittle) and Warren Kimmel (Henry Higgins) before the phonetics lessons start. (photo by Tim Matheson)

It was hard not to sing along. In fact, the couple in the row behind me couldn’t stop themselves on more than one occasion. So wonderfully witty and familiar are all of the songs in My Fair Lady, which is playing at Massey Theatre until April 26.

Directed by Max Reimer, the Royal City Musical Theatre production is well worth the trip to New Westminster. If you’re like me, the proposition is daunting. I made an afternoon and evening of it, heading out from Vancouver before rush hour, enjoying a walk along the quay and dinner with friends before heading to the theatre for the 7:30 p.m. show. While it took almost an hour to get to New West, I made it back in about 25 minutes. Granted, that’s about 15 minutes longer than if I had been coming from downtown, but the parking was plentiful and free – and I had longer to sing in the car on the way home, which made the drive seem that must faster.

I had forgotten just how funny are the book and lyrics by Alan Jay Lerner – even 50ish years after they premièred on Broadway! With the stellar cast enunciating brilliantly, nary a word was lost, and the 22-piece live orchestra and 30-plus cast also gave justice to Frederick Loewe’s music.

Of course, the musical’s origins go back further, more than 100 years, to George Bernard Shaw’s play Pygmalion. Phonetics professor Henry Higgins bets phonetics enthusiast Colonel Pickering that he can take Eliza Doolittle, a street seller of flowers, and transform her: “You see this creature with her curbstone English that’ll keep her in the gutter till the end of her days? In six months, I could pass her off as a duchess at an embassy ball. I could even get her a job as a lady’s maid or a shop assistant, which requires better English.” (In Shaw’s version, the bet is three months to “pass that girl off as a duchess at an ambassador’s garden party.”)

photo - Jewish community members Kathryn Palmer and Jonathan Boudin in the ensemble of Royal City Musical Theatre's My Fair Lady. — Jewish community members Kathryn Palmer and Jonathan Boudin in the ensemble of Royal City Musical Theatre’s My Fair Lady. (photo by David Cooper)

Led by Warren Kimmel as Prof. Higgins and Tracy Neff as Eliza, there are many standouts in the Royal City production, including John Payne as the charming scoundrel Alfred P. Doolittle, Eliza’s father, and tenor Thomas Lamont as Freddy Eynsford-Hill, who falls for Eliza at the Ascot (her test run as a lady) when she cheers on the horse Dover to win, hollering, “Come on, Dover! Move your bloomin’ arse!” In addition to Kimmel, other Jewish community members involved in the show are Jonathan Boudin and Kathryn Palmer in the ensemble. Both do very well, but Palmer is particularly expressive, standing out as both a flower seller and a maid, very much at ease on stage.

The entire cast seemed to be having a great time on the preview night I attended, good-humoredly negotiating through a couple of technical glitches, including a tough-to-light candle. And the main two sets, which go from being two sides of a London street corner to Higgins’ study when they are turned around and pushed together, are fabulously detailed and necessarily sturdy (the actors must travel to a balcony on one side, a landing on the other), but they must be quite heavy – every time the halves of it slowly came together to form the study, I released a small sigh of relief.

None of this detracted from the performance. In fact, these instances made it seem more intimate, and reminded me of one of the reasons live theatre is so fun to watch. It was a great show. I got lost in the words, music, sets, costumes (gorgeous!). The cast, crew and musicians all deserve kudos – as Pickering says to Higgins after the ball, “Absolutely fantastic.… You did it!”

For tickets ($26-$47) to My Fair Lady at Massey Theatre through April 26, visit masseytheatre.com or call 604-521-5050.