In this issue, our crack musical theatre reporter, C. Andrew Courtice, ventures deep into the theatre district, and unearths the following:
We pick up where Zadie Smith’s The Autograph Man left off, which is to say where Lenny Bruce left off, which is to say chronicling that which is inherently Jewish and that which is goyish. For example, Lenny asserted that ‘pumpernickel is Jewish and, as you know, white bread is very goyish.” Inspired by the comedian, the titular character of Smith’s novel even makes the distinction between office supplies (Jewish: the stapler, the pen holder; goyish: the paper-clip, the mouse pad). To which we add that musical theatre is most certainly goyish, although the actual music from musical theatre is clearly Jewish (with the Bernstein and Sondheim and all). To wit, Mamma Mia! (Let’s not even get started on how goyish exclamation marks are.) The longest-running show in The Royal Alexandria’s history features an Easy-Bake plot with a nice-nice ending plus lots of pretty lights and moveable scenery – it’s like Christmas every night. Perfect to take your relatives visiting from Victoria or Calgary or other goyish cities. Thank Mirvish then for Blythe Wilson. In the lead role, Wilson delivers the pumpernickel, fleshing out a single working mother whose lost her mojo into a feminist character Streisand would be proud of. Honestly, her take on ABBA’s Money, Money, Money would not be out of place in Fiddler on the Roof. So oy, get to it. Or at least bookmark it.
– Torontoist is looking for more ‘new reports on old attractions.’ Drop us line if you have a musing on something that might classify as such.