Another musical is making its world premiere here in Toronto! Kelly v. Kelly, expertly directed and choreographed by Tracey Flye, takes us all the way back to New York City in 1915 to talk about the real-life scandal that rocked the Big Apple’s elite. With the book written by Sara Farb and music and lyrics by Britta Johnson, this dynamic duo has created an incredible musical fit for the Great White Way. You most definitely won’t want to miss Kelly v. Kelly.

The story of Kelly v. Kelly is truly stranger than fiction: Helen Kelly, a wealthy New York socialite, has her daughter Eugenia arrested because Eugenia has been out at all hours and has been seen cavorting with a Tango dancer from a club downtown. We watch as the court proceedings occur, learning more about both women’s stories as the plot progresses. At its heart, Kelly v. Kelly is about the relationships between mothers and daughters, women’s rights, and what happens during moments of great societal change.

The design of Kelly v. Kelly is stunning, everything from the simple set to the beautifully detailed costumes is picture perfect. Lorenzo Savoini and Alex Amini have created a beautiful world for us to delve into. Aiding in this ambiance is the on-stage band consisting of Jonathan Corkal-Astoria, Sasha Boychouk, Jessica Deutsch, Anna Atkinson, and Erik Larson. Having the band visible on stage is totally fitting for a story which partially takes place in a dance club. The header of the play calls it “an intoxicating new Canadian musical” and it couldn’t be more accurate; every element comes together to envelop us in the world of the play.

The cast is helmed by Jessica Sherman and Eva Foote as Helen and Eugenia Kelly. Their chemistry is dynamic and we instantly get an understanding of their relationship. I loved that we get to see incredible growth from both characters as we learn more of their histories; it allows both actors to show the breadth of their talent and provides a beautiful story line with a satisfying resolution. Joel Cumber gives a stand out performance as Helen Kelly’s lawyer; his haughtiness draws loads of laughs and Cumber does an impressive job bringing him to life. Mike Jackson also provides a great performance as the Judge; his decided frustration at the folly of these socialites is expressed perfectly. Jeremy Walmsley’s Al Davis, the dancer with whom Eugenia becomes entangled, is delightfully despicable; he gives us just enough hope in his character to make us root for him, even if it’s only for a short while. The ensemble, comprised of Dave Ball, Peter Fernandez, Julia McLellan, Margaret Thompson and Kelsey Verzotti were all expertly cast and give phenomenal performances giving the show such vivacity through their voices and dancing.

Seeing the world premiere of any play is exhilarating, as you know that very few have ever laid their eyes on the completed work. What’s even more exciting to me is to see the potential in front of you; you never know when you’re witnessing the next Come From Away, Kim’s Convenience, or ‘Da Kink in My Hair. Kelly v. Kelly is certainly one I hope I’ll be hearing about long after its initial run here with the Musical Stage Company and Canadian Stage. You simply must get your tickets while you still can! The production closes June 18th. For more information and tickets, visit: https://www.canadianstage.com/show/kelly-v-kelly

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Pictured (L to R): Eva Foote, Jeremy Walmsley, Margaret Thompson, Kelsey Verzotti, Dave Ball, Mike Jackson, Joel Cumber, Julia McLellan, Peter Fernandes; Set & Lighting Design by Lorenzo Savoini, Costume Design by Alex Amini; Photo by Dahlia Katz.