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![]() large size Elizabeth Rotoff (L), Erin-Brie Warwick, David Watson Photo: Henry Kreindler |
![]() large size Adi Sara Kreindler, David Watson Photo: Henry Kreindler |
![]() large size Erin-Brie Warwick, David Watson Photo: Henry Kreindler All Photos |
PRESS RELEASE
REAL-LIFE ROMANCE
INSPIRES MYTH-BUSTING MUSICAL AT WINNIPEG FRINGE FESTIVAL
I Married the King of the
Underworld and My Mom Freaked
is based on the Greek myth of Persephone, the young goddess whose
elopement with Hades caused her mother to flip out on a cosmic scale.
But this contemporary take was born of a real-life May–December love
story between playwright/composer Adi Sara Kreindler and opera singer
David Watson. And her mom didn’t freak – in fact, she’s directing.
Sara and David first met in the choir of Grace Bible Church (hence the
company name, “Acts of Grace”). So when Sara first heard the voice
described as “earth-shaking...a force of nature” by
Opera Today, was she instantly
captivated? “Actually, I was terrified,” laughs Sara. “It was the
Hallelujah Chorus, and David was standing right behind me.” The 20-year
age gap dissolved as the relationship grew into love; and Sara, writer
of three earlier musicals, soon knew that she wanted to write a starring
role especially for him. Determined to showcase David’s “exceptionally
rich baritone” (Leader Post),
she thought immediately of Hades, god of the underworld, who makes
Persephone his bride. According to the myth, Persephone's grieving
mother, earth-goddess Demeter, plunges the earth into perpetual winter
until it is decreed that Persephone may alternate between the two
realms. But there was a problem.
"In the traditional
myth, Hades is a kidnapper and Demeter spends half the year
heartbroken," Kreindler explains. "I didn't want to write a story about
women as victims. Nor, for that matter, about men as villains." The
result: an "unauthorized" version in which the female characters set the
record straight.
Like Kreindler’s earlier musicals and solo cabarets, the show is radiant
with love for classic Broadway, blending comic show tunes ("had the
audience in fits of laughter...you'll be humming all the way home" –
Oxford Daily Information),
lyrical ballads ("depth and beauty...songs you'll want to listen to over
and over" – Jewish Post), and
sharp-witted satire ("it's impressive when a musician can make biofuels
funny" – CBC). Though opera is
Watson’s usual metier, he’s no stranger to musical theatre: in 1997, he
played Emile de Becque in Rainbow Stage's
South Pacific. Coincidentally, Sam Plett, who co-stars as a
blustering Zeus with an intriguing resemblance to a certain President,
played de Becque in Rainbow's 2017 production. Plett's magnificent voice
earned him fifth place in the 2016 World Karaoke Championships.
Alongside nationally known performers Watson, Plett, and Elizabeth
Rotoff (Demeter), the cast features rising stars Erin-Brie Warwick
(Persephone), Samantha Hutchings (Medusa), Angelica Reid (Aphrodite),
and Loralie Friesen (Hera).
Persephone's story resonated with Kreindler in more ways than one.
There's the theme of living in two worlds – in her case, the arts and
academia (she's a full-time Assistant Professor of Community Health
Sciences at the University of Manitoba). And the character of Demeter, a
protective single mom who finds her own strength, owes a lot to
Kreindler's mother, Reena. Reena's directorship of
I Married the King is the
latest chapter in a mother–daughter collaboration dating back to Sara's
teens: both were core members of the musical satire troupe Just Theatre,
whose revue The Phantom of the
Deficit was Sara's Fringe debut ("screamingly funny" – Winnipeg Free
Press). But while the tender, unbreakable Demeter–Persephone bond is
founded in fact, the Demeter–Hades enmity is not. Reena, though a mere
one year older than Watson, is delighted that he calls her Mom. "I can't
imagine a sweeter son-in-law."
Sweet? The King of the
Underworld? Just another discrepancy between myth and reality.
I Married the King... plays July 17-28, 2019, at Venue 1, the RMTC John Hirsch Theatre.
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