Lenard Stanga as Hugh and Cadence Rush Quibell as Shiloh in Realwheels Theatre’s Disability Tour Bus podcast, which will be released July 17. (photo by Rashi Sethi)
On July 17, Realwheels Theatre releases its new production, Disability Tour Bus, as a radio play podcast available for streaming at realwheels.ca.
Written for podcast platforms by Amy Amantea and Jewish community member Rena Cohen, Disability Tour Bus follows Shiloh, a young wheelchair-user, as they navigate their first day as a guide for Funcouver Bus Tours. Working alongside longtime employee and relentless dad-joker Hugh, Shiloh struggles to stick to the Funcouver script when so much of “Canada’s most wheelchair-accessible city” is still so inaccessible. People and politics collide until a new passenger, Tess, comes aboard and offers common ground. The tour must go on! Because there’s someone special waiting for Tess at the end. At least she hopes there is.
The role of Hugh is played by Lenard Stanga, Jewish community member Cadence Rush Quibell plays Shiloh, and co-writer Amantea is Tess. The cast is rounded out by Mack Gordon, Caitlyn Bairstow, Ian Hanlin and Lauren Jackson playing multiple parts.
“As a wheelchair-user, I’ve heard that whole ‘most accessible city’ line a lot,” said Realwheels co-artistic director Adam Grant Warren. “It’s a big part of the reason I moved to Vancouver from the other side of the country. I’ve been here for 16 years now. After hundreds of busted elevators, torn-up sidewalks and too-full buses, I know Vancouver has a lot of work to do. Access-wise it means well, but it’s a mess sometimes. For me, that’s one of the most interesting tensions in this project: the attempt to create access when no one thought to ask what those of us who are looking for it actually need.”
The ensemble of Theatre Under the Stars’ The Prom has energy and talent. Jewish community member Cadence Rush Quibell is third from the right. (Emily Cooper Photography)
This summer, Theatre Under the Stars (TUTS) has brought two stories of individuality and bravery to Stanley Park – The Prom, which opened July 11, and Roald Dahl’s Matilda: The Musical, which opened the following night. Both opening night shows began with a welcome chant from members of the Coast Salish people, who explained the Indigenous history of the park.
At the opening of Matilda, there was hardly an empty seat.
“My mummy says I’m a miracle,” sang the chorus of bright-eyed children as the curtains rose. It is soon revealed that the parents of the show’s heroine – gifted 5-year-old Matilda – do not share this feeling. Matilda’s mother even calls the day of her child’s birth the worst day of her life.
The story follows Matilda’s struggle to embrace her intelligence and natural courage, despite her crude, TV-obsessed parents, who constantly put her down. She begins to find her place at her school, whose motto is “children are maggots,” pushing past the frightening Miss Trunchbull and towards her personal solace of literature and imaginative storytelling.
Matilda seamlessly conveys its titular character’s frustration and joy. Notably, the set consisting of huge books is a clever signal of the constant comfort Matilda finds in books, and how storytelling is what ultimately leads her to a happy ending.
The show’s energetic ensemble executes intricate choreography and vocals with ease. The ensemble is united and contains an array of younger and older performers, which comes in handy to tell the story of “When I Grow Up.”
Siggi Kaldestad brings talent beyond her years to the role of Matilda, providing a solid and confident backbone for the entire production. Kaldestad is a triple threat, and her sweet yet dynamic performance of “Naughty” offers the proof. Paula Higgins, playing the angel-esque teacher, Miss Honey, brought lovely vocals to the character’s journey of self-confidence and connection. Another standout was Jyla Robinson playing Miss Trunchbull – her physical comedy and terrifying demeanour served well in bringing the famously nasty character to life.
While the narrative of Matilda largely centres around its main character, it truly was an ensemble production, where many supporting characters shone. This was also true for TUTS’s production of The Prom.
The Prom opens on the failing careers of four eccentric, selfish Broadway actors – Dee Dee Allen (Caitriona Murphy), Barry Glickman (Greg Armstrong-Morris), Angie Dickinson (Amanda Lourenco) and Trent Oliver (Matthew Valinho). Seeking a cause that will allow them to regain relevance, they choose to help Emma, a lesbian student in Edgewater, Ind., take her girlfriend to prom, despite the parent-teacher association having canceled prom to prevent that from happening. Emma is under scrutiny in her town of apparent homophobes – the worst being the unsuspecting mother of her girlfriend – and the crew of Broadway has-beens is determined to spread tolerance to people they view as closed-minded hicks and come out as heroes. Chaos follows, yet so do lessons of acceptance and generosity.
Murphy and Armstrong-Morris are masterful performers with powerful stage presences who ably transform their characters from self-absorbed and out-of-touch to caring and relatable. Armstrong-Morris’s “Barry is Going to Prom” reveals intriguing dimensions to the well-established spunk of his character, and Murphy’s “It’s Not About Me” is a true showstopper. The power duo is joined by Lourenco’s Angie, who is classy and entertaining to watch, as well as Valinho’s hilarious and cheeky Trent Oliver.
These eccentric personalities are well-balanced by Anna Pontin’s earnest and mature portrayal of Emma. Pontin brings a warm vocal tone and a comfortable stage presence to this emotionally complex role. Emma’s love interest, Alyssa Greene, is brought to life with an equally beautiful voice and authenticity from Brianna Clark. Whether it’s Valihno’s standing back flip in “Love Thy Neighbour,” or Murphy’s soulful belt in “The Lady is Improving,” this cast truly shines.
Anna Pontin, right, plays Emma, and Brianna Clark is Emma’s love interest, Alyssa, in Theatre Under the Stars’ production of The Prom. (Emily Cooper Photography)
The Prom’s ensemble has solid energy and talent, while sometimes wavering in transitions between scenes. It was wonderful to see Jewish community member Cadence Rush Quibell among them (jewishindependent.ca/finding-their-place-in-theatre). The choreography is upbeat and sincere, especially in the show’s finale, “It’s Time to Dance.” The script is hilarious, and its message is uplifting and heartwarming; it is clear that The Prom preaches inclusion for the LGBTQ+ community and beyond, welcoming anyone who seeks the courage to be themselves – similar to the messages of Matilda.
This season of TUTS allows young, local talents to shine, featuring many children and adolescent-age performers between the two productions. They should all be commended for the dedication and professionalism that is often clear in TUTS productions.
Both Matilda and The Prom drive the classic musical theatre message that no one is alone, even when the world appears to have turned its back. While Matilda is ignored by her parents, she connects with Miss Honey; while Emma is shunned by her town and family, she is embraced by the Broadway performers.
Further, both productions inspire embracing individuality in the face of judgment or constraints, whether it be ridiculous parents or the outdated beliefs of an entire community. The message that you can control your own story is entrenched in both productions. When the students revolt against Miss Trunchbull in the glorious “Revolting Children,” it is loud-and-proud self-determination. When Emma stands up for herself, it is a more subdued demonstration, yet no less genuine. Her intimate, acoustic guitar performance of “Unruly Heart” proves equally effective in allowing its heroine to regain control over her narrative.
Don’t miss The Prom and Matilda this summer. Visit tuts.ca for showtimes and tickets.
Alisa Bressler is a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.
Cadence Rush Quibell has their debut at Theatre Under the Stars this summer. (photo by Veronica Bonderud / The Portrait Sessions)
Cadence Rush Quibell makes their debut with Theatre Under the Stars (TUTS) this summer in The Prom, which alternates with Matilda, until Aug. 26 at the Malkin Bowl in Stanley Park.
Growing up in Port Coquitlam, Rush Quibell was homeschooled from Grade 2 to Grade 10. As a young person, they took up musical theatre, joining a junior, amateur-level production company.
“It was the only thing to do,” they told the Independent. “It was what all the homeschool kids did at the time.”
Musical theatre felt comfortable and aligned with their strong sense of creativity. “It was totally up my alley,” they said, and it was not long until they fell in love with the art form. When they moved to a public school for grades 11 and 12, Rush Quibell upheld this passion, participating in their school’s annual productions.
Rush Quibell stopped performing after they graduated. They would regularly tell their wife Jenn how much they missed theatre but, as a wheelchair user, they felt certain that the world of theatre had no space for them. As a kid, Rush Quibell did not use a wheelchair or identify as a person with disabilities.
In the summer of 2021, Rush Quibell chanced upon a Facebook advertisement for Realwheels Theatre, which, its website explains, “creates and produces performances that deepen understanding of the disability experience. We tell stories in which disability itself is not the focus of conflict, but rather forms the landscape upon which universal issues are debated onstage.”
Cadence Rush Quibell has their debut at Theatre Under the Stars this summer. (photo by Veronica Bonderud / The Portrait Sessions)
Rush Quibell found a call for auditions and “it felt perfect,” they recalled. They remember bursting into tears at the “possibility of theatre being possible for me again.” It was their wife Jenn who encouraged them to audition, despite some of Rush Quibell’s health concerns and the logistical challenge of commuting from their home in Langley to Vancouver, where the program was located. “She was there to remind me of who I am,” they said of Jenn.
Rush Quibell’s experience at Realwheels “opened a lot of doors,” they said, not only reminding them of their love for theatre, but giving industry exposure that would lead to subsequent projects. They said it was great to learn from the Realwheels instructors and to be surrounded by Vancouver’s local theatre community. Such access to advice from seasoned professionals, as well as a close community of fellow actors, was “invaluable,” they said.
This period of self-discovery, as Rush Quibell called it, coincided with an exploration of their religious identity. They were curious about exploring Judaism, despite being raised in a Christian household and distancing themselves from religion during adolescence. Their fascination with Judaism formed through conversations with Jewish friends and from connecting with Jewish people on social media. “I didn’t realize you could convert,” they said. “It was a feeling of, ‘I think I found it,’ and ‘this feels right.’” They said the community at Temple Sholom made them feel welcome and comfortable enough to explore Judaism. Days before our interview, Rush Quibell’s conversion became official.
During their time at Realwheels, Rush Quibell learned about a musical theatre course offered by the Arts Club. Musical Theatre 101, led by Peter Jorgenson, provided an amateur setting that allowed them to gain confidence for professional auditions. With this new foundation, when Rush Quibell came across a Facebook post about TUTS auditions for The Prom, they seized the opportunity. Jorgenson and other Arts Club instructors helped them prepare an audition song and organize sheet music.
After securing a role in the show’s ensemble, Rush Quibell faced the challenge of navigating their wheelchair use. TUTS was very accommodating, they said, renting a lift for them to get on and off stage – which was, admittedly, “a little terrifying” to navigate at first.
TUTS continues to remain dedicated to improving accessibility, said Rush Quibell, noting that they are not the first disabled performer at TUTS, just the first wheelchair user. “It’s difficult being the first at anything, but it is also super-rewarding,” they acknowledged.
“This is a really neat experience,” they said, highlighting the importance of authentic and diverse representation on stage.
Reflecting on their own theatre journey, Rush Quibell shared, “If I went to a show and saw a wheelchair user on stage, perhaps I would have gone into theatre sooner.” They are hopeful that their work on The Prom can set a precedent for future disabled actors who aspire to join TUTS, or the theatre in general. “We’re showing the audience and everyone I’m working with that this is a totally viable and normal thing to do,” they said.
Authenticity and acceptance are core messages of The Prom. The production follows four Broadway stars who travel to small-town Indiana to support a local student, Emma, in challenging the rules and expectations of her community so she can take her girlfriend to the prom. Rush Quibell highlighted that, while the show explicitly addresses LGBTQ+ inclusion, its themes extend to anyone seeking meaningful representation and inclusion. “We are talking about literally everyone, not just gay and straight,” they said.
Participating in TUTS has been a great experience for Rush Quibell, and they were looking forward to opening night when the Independent interviewed them.
The cast has been kind and supportive, frequently sharing information on upcoming theatre projects and auditions, said Rush Quibell, adding that The Prom’s story resonates with many of their castmates.
Rush Quibell’s role in the show’s ensemble has been “a blast” – they get to balance singing, dancing and acting, doing so with energy and enthusiasm. In this show’s ensemble, “you do everything,” they said.
Our interview ended with Rush Quibell saying The Prom promises to be a heartwarming, comedic and vibrant production a story well worth sharing in 2023.
For tickets to the show, and to Matilda, visit tuts.ca.
Alisa Bressleris a fourth-year student at Queen’s University in Kingston, Ont. She is an avid reader and writer, and the online director of the arts and culture publication MUSE Magazine. Bressler is a member of the Vancouver Jewish community, and the inaugural Baila Lazarus Jewish Journalism Intern.
