TORONTO — A classic Russian poem and centuries-old opera have taken on a modern new shape on the Canadian stage — and indie rock is powering the soundtrack.
Following a lauded award-winning run in Vancouver last year, the Musical Stage Company is presenting the Toronto debut of homegrown musical "Onegin," which will head to Ottawa in the fall.
The story draws on the novel-in-verse "Eugene Onegin" by Alexander Pushkin, and musical compositions of Peter Tchaikovsky, but actress Hailey Gillis says the work is a marriage of classic and contemporary elements.
"It's incredible how much the indie rock draws out of the original text," said Gillis.
"These are characters that are so contemporary in their nature and connect so much with me and with the time now. And the indie-rock spectrum allows them to come out of their shell in front of an audience and sort of expose themselves.
"There's rock musicals, many of them jukebox — this is not that. It's human investigation through the rock music," added co-star Daren A. Herbert.
Gillis portrays Tatyana, a young girl in the countryside who falls for Onegin (Herbert), a self-obsessed transplanted city slicker who rejects her advances — yet the push-pull dynamic ensues.
"I love the idea that it doesn't have a tidy ending," said Veda Hille, who co-wrote "Onegin" with Amiel Gladstone, who directs the piece.
"I don't actually think of it as a tragic romance — maybe a realist romance."
Hille said she comes from an indie-rock, punk and folk background and wanted to bring those diverse musical elements to theatre.
"I feel like it lets the audience in to what we're trying to convey," said the Vancouver-born singer-songwriter, citing "Hedwig and the Angry Inch" and "The Rocky Horror Show" among her influences. I think it's riskier for the actors as well, which makes them more vulnerable, which I think is then only a strength in the show.
"They don't have their polished voices on — they can't hide. And I would prefer a voice that cracks and is available than one that is smooth and perfect so it forces them to be open and to be closer in status to the audience."
The task of offering a rawer vocal delivery balanced with more refined vocals was a challenge welcomed by the two leads.
"There's so much range involved," said Herbert. "For me, there's sounds going from back in my little choir boy days all the way up to now, like grinding out soul notes. Ami (Gladstone) would ask for it on purpose, (saying): 'That needs to hurt. Not necessarily vocally, but it needs to sound hurt. Pain. I don't want pretty notes right there.'
"You hear the whole scope of vocalizing, too, in this," added Gillis. "You do hear beautiful sounds, but then you do hear these gritty sounds.
"We were told so many times in rehearsal, 'Stop using vibrato! Just take it out!' so that the thoughts could be heard and the thoughts are clear.
"There's nothing wrong with a beautiful-sounding voice, but if the story isn't clear and the thoughts aren't clear, we're not doing our jobs. And this story is so special and requires that focus."
"Onegin" will be on stage until June 4 at the Berkeley Street Theatre Downstairs in Toronto, and is slated to run at Ottawa's National Arts Centre from Sept. 13 to 30.
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Lauren La Rose, The Canadian Press
