By Laura Fernandez – Contributor

“I hate theatre”. These were the first words uttered in the entire musical by a man in the middle of the audience. Most people hearing this were confused as to what this show would be about, myself included, especially with a title like The Drowsy Chaperone. Little did I know that this musical would be one of the most exciting, astonishing and rewarding experiences I have had working on productions throughout my time at Bishop’s University. 

As a plus-size woman, most directors would never look to give someone like me a leading role in anything, let alone a musical, unless it was our token plus-size female lead in musical theatre, Tracy from Hairspray. My director, Art Babayants, gave me the role of Man in the Chair. This was an opportunity for most directors to look past my size or gender, a role that was not only emotionally challenging but that took a large amount of time to perfect. 

The casting for our production was not the most conventional which helped us build a show that was memorable for many individuals. In the theatre industry, it is hard to break the casting stereotypes. Roles seem to be almost written exactly for specific individuals, leading to repetitive casting. It is becoming more common to see people being cast who do not necessarily fit the stereotypes of the role. For example, the 2022 Cabaret is playing in London this summer and has won seven Olivier awards (given by the Society of London Theatre).  

The casting is very different from previous productions, which the current audience can relate to, and it also opens the door for many talented actors. If shows today could expand casting in a way that is more inclusive to individuals who are most often shoved to the side, then we can create a theatre for everyone, including those who have never seen themselves on stage before. Why be the fat funny comedic relief when I can play the strong outgoing female/male lead? 

It was on closing night when an older lady came up to me and said that we took her back to her childhood. This message stuck with me. The Drowsy Chaperone has an intoxicating nostalgia about it that the Man in the Chair carries through the whole show, allowing the audience to fall in love with the character. The Man in the Chair reveals so much about himself through the show; his failed marriage and his sexuality. It’s through his love of theatre that we see everything about him come to life because he feels safe; when we feel safe we can become vulnerable. 

The message from the woman stuck with me mainly because that is the beauty of theatre, bringing people joy and transporting them to another world, as well as reminding them of things they may have long forgotten. Theatre gives individuals a sense of community and family. Not only was this an amazing production, but it also highlighted so much of the talent we have here at Bishop’s. From wonderfully talented graduates to individuals who were just experiencing their first musical at Bishop’s, we were all so diverse with varying experience, which meant that we could help each other with the many challenges that presented themselves. 

No matter how much we stumbled, bumbled and fumbled, I think that this show was an incredible experience for everyone involved and anyone who had the privilege to travel with us back to the 1920s.