Entertainment for kids these days is often tied to merchandising and what’s on TV. But, there are companies out there offering elevated fare for classy kids with artistry, live music, and a sense of imagination.
Toronto’s youngest theatre and opera audience members were treated to two entertaining and enlightening productions this past weekend that prove you don’t need a cartoon tie-in to sell tickets: Story Of A Day courtesy of the Bealtaine Theatre Festival, and Tapestry Opera’s Sanctuary Song.
Story Of A Day
Branar Theatre Company: Story Of A Day. Mary Murphy, writer & illustrator; Marc Mac Lochlainn, director; Eoin O’Dubhghaill, performer, Tom Lane, composer & unknown piano quintet and conductor. May 17, 2025, Helen Gardiner Phelan Playhouse, Toronto. Part of the Bealtaine Theatre Festival, which continues May 24 & 25 with The Libravian; Tickets here.
Story Of A Day is precisely that. It follows the character of a child through an ordinary day of getting up, eating breakfast, going to school… a day that’s imbued with the lively imagination and sincere sense of wonder that a young mind brings to the world. The show by Ireland’s Branar Theatre Company is intended for children ages four and up.
Performer Eoin O’Dubhghaill’s monologue begins in bed as he wakes up, and asking questions is a recurring theme.
I’m awake… I think. But what was it that woke me? The tap, tap on the window? A sliver of sunlight on the wall? My cold foot? Or… was it my dream?
One of the delightful things about shows for the youngest of audiences is the chaotic element that’s introduced by their nature as spontaneous, uncontrollable beings who will not be shushed into submission.
As Eoin spoke the words, several young members of the audience pointed to the live piano quintet and conductor who took up part of the stage.
“It’s the music,” one offered helpfully.
It set the mood for a whimsical and imaginative performance, accompanied by live original music, and charming hand drawn projections (by Mary Murphy) that fleshed out the story. The kids laughed, they talked back, and enjoyed the story about a day at school with a new kid the young protagonist was eager to get to know.
Small children love the familiar — it’s the age when a trip to the grocery store is a great adventure — and the story included details of breakfast, familiar landmarks on the way to school, playing at recess, and other bits that connected with both younger and older members of the audience.
The unidentified piano quintet acquitted themselves admirably with a score of contemporary music that was atmospheric and melodic, with the conductor adding acting bits like taking the protagonist’s half eaten apple off his hands.
It was a sweet story, and just the right short format that ended just as the younger set was beginning to show signs of restlessness.
Sanctuary Song
Tapestry Opera: Sanctuary Song. Composed by Abigail Richardson-Schulte; Libretto by Marjorie Chan 陳以珏; Directed by Michael Hidetoshi Mori; Music Direction by Gregory Oh; Midori Marsh (Sydney); Alvin Crawford (James); Courtenay Stevens (Hunter, Circus Owner, Zoo Worker); Elvina Raharja (Penny, Girl). May 17, 2025, Nancy & Ed Jackman Performance Centre. Continues to May 25; tickets here.
Tapestry Opera’s production of Abigail Richardson-Schulte and Marjorie Chan’s Sanctuary Song tells the sometimes harrowing, and emotional story of the elephant Sydney, from her capture at the hands of a hunter in an Asian forest to the circus, then years at a Louisiana zoo. It’s based on a true story.
As the story opens, she’s being shipped off somewhere else — to a sanctuary in Tennessee where she’ll spend her final days. But, she’s confused at first, and the narrative backs up to relate the moments that brought her here.
Sanctuary Song is billed as an “opera for all ages”, but I’d venture to say its stronger themes and emotions would go over better with a slightly older group, perhaps age six or seven and up. The audience skewed about two-thirds adult to one third children.
Musicians included Aysel Tahgi-Zada on violin, pianist Talisa Blackman, and percussionist Ryan Scott, with Music Director Gregory Oh off to the side of the stage where they performed in the coloured lights and shadows created by lighting designer Bonnie Beecher.
With a relatively small stage space, via lights that changed from the pattern of light and shade of a forest overhang to the glare of the circus performance and more, and simple silhouettes that indicated elephants and the hunter (ostensibly) off-stage, the set was transformed into the various scenes of Sydney’s life.
The four performers were uniformly strong, and well suited to their roles. Midori Marsh’s clear and affecting soprano was the perfect Sydney, able to impart the emotions at the heart of the story through her delivery and some nice physical acting chops. The elephants, including Midori’s Sydney and Elvina Raharja as her friend Penny, used one arm as their trunk — a bit of directorial genius that, along with a loose costume and floppy ear-like hat, nicely conveyed the essence of the charismatic beasts.
There was a convincing and warm chemistry between Marsh and Alvin Crawford, who played her Louisiana zookeeper James, the person who was giving her up after 22 years so she could live her last days in the freedom of a dedicated elephant sanctuary. His rich bass was a foil to Marsh’s expressive soprano.
Courtenay Stevens was the chameleon of the production, going from the bombastic circus ringmaster to the evil hunter to an anonymous zookeeper with aplomb, and adding colourful detail as well as villainous gravitas to the story.
It’s an emotional journey that you become invested in as it progresses, from the lighter hearted moments of its opening to the more serious scenes and back again to a happy ending. There was laughter, with a few tears along the way.
Final Thoughts
Contemporary classical music, even opera, for kids? Absolutely.
Both shows prove that the music doesn’t have to be dumbed down and made saccharine to connect with young audience members, who lapped up both shows enthusiastically. Together with animated performances, it made for a winning combination in both very different productions.
When the music is expressive and atmospheric, it hits the right notes with all ages.
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