Theatre review: Anne of Green Gables—The Musical soars on strong performances, energized dance, and PEI charm
Kyra Leroux brings just the right touches of insecurity and comic appeal to classic Canadian character
Photo by David Cooper
Anne of Green Gables is at the Gateway Theatre to December 31
THE STAGE LIGHTS are shining again at Richmond’s Gateway Theatre, where a full-scale holiday musical is back after a two-year pandemic pause. It’s therefore fitting that this year’s show is Anne of Green Gables, the onstage version of iconic Canadian author L.M. Montgomery’s treasured novel. Gateway’s production radiates with warmth and heart, featuring wonderful local talent both on and offstage. The show is headlined by the talented Kyra Leroux, who brings the role of Anne Shirley to life with sincerity and charming personality.
In this two-act musical, we see young orphan Anne arrive at the fictional community of Avonlea on Prince Edward Island near the turn of the 19th century. Anne isn’t welcomed with open arms, as her adopters (aging brother and sister pair Matthew and Marilla Cuthbert) were expecting a boy to help with the farm work. Furthermore, the gossipy, judgmental community doesn’t take kindly to Anne’s quirkiness. Regardless, Anne’s feisty yet kind spirit remains unmarred. As she grows up in Avonlea, we see her thrive while inspiring those around her.
Leroux, whom local audiences may have seen in numerous stage productions across the Lower Mainland throughout her childhood, as well as on TV in shows such as Riverdale and Schmigadoon!, breathes fresh new life into the title character, glowing with likability. At the start of the show, Leroux’s hyper behaviour and nonstop talking is driven by insecurity and eagerness to be liked. We see a character who is flawed—overly emotional and temperamental, prone to reactionary outbursts such as when she lashes out at the ill-mannered Mrs. Lynde.
Thanks to Leroux’s great energy and comedic timing, Anne’s flare-ups are incredibly entertaining to watch. The triple-threat talent’s singing and dancing is also outstanding. One highlight is “The Facts”, where Leroux’s strong musical-theatre-style belt is a joy to hear, while she brilliantly performs Nicol Spinola’s choreography packed with references to pirates, matadors, and waltzing. There’s even a beautiful jeté thrown in for good measure. Another highlight is “Oh Mrs. Lynde!” an over-the-top apology, where Leroux’s soprano voice soars. Beneath it all, Leroux shows us Anne’s vulnerability and desire for acceptance while always standing her ground. Leroux makes us root for this relatable Anne, and throughout the show, we see her truly mature and make a place for herself.
Anthony Santiago’s Matthew is gentle and loveable, and his connection with Anne is wonderfully sweet, including the adorable “Humble Pie”, where he teaches Anne some important life lessons while the two perform soft-shoe choreography. Katey Wright’s stern Marilla offers a sharp contrast, which makes her performance of “The Words” reprise all the more touching, when we finally see her character’s vulnerability.
Scotia Browner is effervescent as Anne’s bestie, Diana, lighting up the stage with her luminous smile and embodying Diana with a sweet, ebullient energy. There’s also a believable bond between Browner and Leroux onstage; the pair’s performance of “Kindred Spirits” is a delight, and near the end of the show, there’s a beautiful moment between the two as their characters realize they’re moving into a new life stage, but will always keep their friendship.
The town folk are a ton of fun to watch, too. The adults are as nosy and gossipy as can be, whether they’re spying on each other’s activities, or getting right into Matthew’s business while he’s shopping in “General Store”. This makes Katie-Rose Connors’ performance as Anne’s teacher, Miss Stacy, even more impactful when she steps in to sing “Open the Window”, offering a breath of fresh air as one of few positive role models in town.
As for Anne’s school friends, they perform with fantastic energy and fun characterization, led by Marija Danyluk as the town’s resident “mean girl”, Josie Pye. It’s entertaining to watch her take pleasure in manipulating the adults in “Did You Hear?”. Danyluk is also a great dancer. Not only does she shine in the dance numbers, but she skillfully embodies Josie in all her physical movements. You always know she has a plan hatching just by watching her strut across the stage.
The entire youth ensemble is a pleasure to watch, encapsulating the innocence and bliss of childhood in their dance numbers. Two standouts are "Back to School", where Spinola's choreography features the kids playing Leap Frog, Red Rover, and other classic childhood activities, and “Summer”, which finishes with a flourish of athletic tumbling.
Director Barbara Tomasic has used some inventive ideas to allow the performers to multitask, with some of the cast doubling up as the show’s band, either picking up an instrument while still acting onstage, or stepping in to beef up the band. Large-scale musicals are a challenge to put on, and Tomasic has found ways to get the most of the talented artists in this show.
Jessica Oostergo’s set, which features a picturesque backdrop of Avonlea and a two-level home for the Cuthbert family, also proves to be efficiently multifunctional. The quick hanging-up of a laundry line by cast members or the rolling on of the school blackboard efficiently takes us from place to place. Donnie Tejani’s period-appropriate costumes complete the Avonlea vision.
While this vision of Avonlea is pretty and quaint, it also suggests that life wasn’t necessarily more simple back then. The themes—insecurity, longing for acceptance, and staying true to oneself—are as timeless as the story of Anne of Green Gables itself. The artists involved in this show allow these messages to soar. Inspirational, thoughtful, and fun, Anne of Green Gables is an excellent holiday show for audiences of all ages.
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