Starwalker
Corey Payette
2025, 116 mins.
The Family Drag
Here’s a refreshing queer musical that works on many planes: memorable tunes and lyrics (also from Payette), a convincing mix of a First Nation character (frequently stealing the limelight from and with a covey of comparative “newcomers” to Canada), eye-catching costumes for a queen, along with invigorating choreography courtesy of Ralph Escamillan. And, as with countless other musicals, don’t worry too much about the plot (at times cheesy, weepy and too predictable), just enjoy the show and savour the performances.
At the centre of it all is multi-talented Ojibwe Dillan Chiblow in the title role. Working through the fear of institutions (notably past experiences with hospitals), the young man-in-search-of-self, literally stumbles his way into “queendom” while looking for a cash-paying trick late at night in the woods. Chiblow is ideally cast, bringing just a hint of Nathan Lane’s delivery, even as some of the inevitable (so many scenes shot outdoors), errant lip syncing that belies his dulcet tones. Sudden fellow, what’s-on-offer “bushmate”, Levi (Jeffrey Michael Follis is readily the Queen of the Night with looks that speak volumes, songs that convince and a “5, 6, 7, 8” that seamlessly leads the pack in the group production numbers) becomes both the narrative and emotional glue that binds Payette’s tale of acceptance and loss into a convincing, glamourous whole (with the emphasis on amorous).
Ruling the roost in Club Borealis is She-Who-Must-Be-Obeyed Mother. None better than Stewart Adam McKensy to lead his devoted following on both sides of the footlights, even as life’s inevitable challenges yield a life-altering change to the seemingly steadfast “motherarchy”!
Rounding out the makeup-‘R’-us, and “I never met a set of sequins I didn’t like” main troupe are Jesse Alvarez, Connor Parnell, and Jason Sakaki who collectively bring alluring sassiness, wee bits of drama and a whole new meaning to “beard” as the production effortlessly moves from song to song-and-dance as newcomer Star quickly learns the stylish ropes, while falling, out (and back again) in love.
Sure, not everything works dramatically (walking away in defiance, only to suddenly return; will he/she won’t she/he overcome the fear of “The MAN” and venture into the ICU?), but like Whose Line Is it Anyway?, don’t worry—the plot points don’t matter.
Instead, enjoy the songs notably “Strut that Ass Honey” and “Loved You Since the Day I Was Born” and then make your own statements about the joy of drag even as Pride Month 2025 begins! JWR
Sew Torn
Freddy Macdonald
2024, 100 mins.
Writing on by a thread
As is said frequently, “Choices, choices, choices”.
I am sure all of us have come upon a few instances in our lives where, if offered the chance, we would do things differently.
In the smalltown Swiss world of reluctant seamstress Barbara (Eve Connolly heroically carries the fanciful film without missing a stitch) is confronted with a drug deal that went decidedly bad and then must decide just what path to follow.
It won’t take viewers too long to understand what narrative technique is afoot (no spoilers here, but rest assured the family sewing box—replete with mother/daughter audibles—is constantly available to thread the storyline’s needle.
Perhaps much more importantly, the underlying theme of simmering ….family relationships takes precedence over who—if anyone—will end up with the proceeds of crime.
Beyond Eve and her long-gone mom (voiced by Tetra Wright), there’s a decidedly crooked father (John Lynch readily personifying evil incarnate) and his neophyte criminal-in-training son (even with copious amounts of blood, Calum Worthy manages an acceptably boyish—perhaps possible, if unlikely, love interest take on deep confusion as both crook and daddy’s boy with a gun).
Valiantly trying to glue the disparate scenes together is Caroline Goodall as the long-in-the-tooth about-to-be bride desperately in search of one last button. Trying to keep the peace and simultaneously serving as justice of the canton (guess who’s she’s trying to assist taking her vows) is wily veteran K Callan.
And a special mention to composer Jacob Tardien who artfully weaves together the sound of a sewing machine in full flight into the original score.
It’s a production well worth a view if only to kindle the thoughts of anyone who’s ever wished for a do-over once a difficult decision has been made. JWR