Frenchy’s: A solid hit of fun, energy and even a bit of drama

A musical about Frenchy’s, the famed Maritime Used-Clothing chain, seems like an unlikely subject. In the hands of the Ships Company and the Eastern Front Theatres, it has turned out to be a solid hit, full of fun, energy and even a bit of drama.

Original musicals are no stranger to the East Coast, since one of Canada’s Greatest musical theatre composers—John Gray—grew up in Truro, Nova Scotia. Gray gave the Canadian theatrical musical scene the enduring Billy Bishop Goes to War (with Eric Peterson) and a clutch of other hits, including 18 Wheels and Rock and Roll, proving there might be something in the water down here, musical-wise.

While Lyricist and Book writer David S. Craig hails from Ontario, Frenchy’s composer, JohnRoby, is from Windsor, Nova Scotia. If his name sounds familiar, he worked on three of Thom Fitzgerald’s early feature films (one being the acclaimed The Hanging Garden, which represented Canada at the prestigious Berlin Film Festival). Roby and Craig have concocted a musical that balances a light tone with darker shades, creating a surprisingly substantial story that’s both effective and satisfying.

The narrative follows four women on a wintertime family reunion trip to Frenchy’s, a sprawling used-clothes store (and chain) known for finding pricey attire at rock-bottom prices. Three generations are represented: two middle-aged, relatively unfulfilled sisters, Gail and Marjorie, who don’t get along; Tessa, a teenage granddaughter who is seemingly unhappy about everything; and the grandmother, Sally, who sets the whole story in motion with some pressing news that is presumed to be some kind of catastrophe.

The catastrophe turns out to be the maritime weather, making the trip to Frenchy’s hazardous and forcing major changes to the women’s plans. This turn away from melodrama, however, lets the story take some very nice and unexpected narrative twists, as each of the four women explores their backstories while uncovering unexpected possibilities.

Along the way are some marvellous songs, built from short melodic lines and punched up with catchy choruses. While the program didn’t list the songs, I remember some of the titles vividly: ‘A Swift Kick in the Pants’, ‘Big Mouthed Babe’ and ‘Thrift Shop Fashionista’, all immediately memorable and, for the most part, bouncy, infectious fun.

Musical Director (and accordianist/kazoo player) Allen Cole—squeezed into the ‘Cash Out’ section of the set with three other accomplished players—utilizes a unique sonic palette for the show. Ukuleles and accordions anchor the sound, with bass and percussion, emphasizing the treble nature of the four women, whose voices blend beautifully in unison and two-part harmonies. The three other musicians, Lukas Pearse on bass, Angeles Dwyer on ukulele, and Mark Adam on percussion, played with precision and verve; some songs ranged in genre from plain country to sizzling Latin styles to torch songs; the players made the most of each one.

There is also some wonderful stylized dancing, with three women often backing up whoever is delivering the song. The movement is a bit like seeing the Supremes from the ‘60s in the shadow of someone like Diana Ross, with the glamour dialled down a bit.

The discovery of a Versace Suit—priced at nine Canadian Dollars—causes the Women to ‘lose it’ in the most delightful way possible, bringing glamour back to the narrative. The lurking feminism behind the show melts away as the possibilities brought about by a genuine high fashion item—‘it might lead to a promotion or even a whole new life’ exclaims somebody on stage— is both hilarious and touching, revealing that Women’s Liberation has not actually progressed all that far.

Martha Irving, as Sally, lends the production gravitas as the Grandmother. Her positive, questioning outlook balances the competitive nature of the two daughters, played by Julie Martell as Gail (whose marriage has just melted down) and Melanie Leblanc as Marjorie (who suffers most from the others’ expectations). Mara Teare plays the granddaughter, Tessa, with a nice mix of naiveté and alienation, often articulating the feminist point of view as forcefully as possible. She’s also surprisingly funny, with a turn in a cowboy suit towards the end of the show that reveals a much more fully developed character.

The rudimentary set by Zach Faye—who also served as Production Manager—was a bit of a challenge, as the real Frenchy’s chain would not be in danger of winning any awards for interior design. Nondescript bins hold piles of unsorted clothing; the whole point of a Frenchy’s ‘Find’ is that you have to work your way through the piles to make the ‘Find’.

The Eastern Front’s Alderney Gate Theatre can occasionally be a bit awkward as a dramatic space. It’s basically a large box with movable seats that resembles something like a Basketball court. The technical team, however, managed a good, strong, and clear mix, balancing the four women’s mics against the four-person band.

Orion Gokiert’s lighting also kept things clear, with the vocal and song sections nicely illuminated to emphasize the individual actors.

A warm, funny blend of domestic reconciliation and retail-therapy adventure, Frenchy’s—The Thrift Musical is about as crowd-pleasing as original Nova Scotian Theatre can get.

Highly Recommended

Running until November 1 at the Alderney Gate Theatre, Dartmouth, Nova Scotia

For tickets: easternfronttheatre.com or call (902) 466-2769

THE EASTERN FRONT THEATRE and THE SHIP’S COMPANY THEATRE present

Frenchy’s – The Thrift Musical

Book and Lyrics by David S. Craig, Music by John Roby

Directed by Patricia Vanstone

Cast

Martha Irving-Sally

Julie Martell-Gail

Melanie Leblanc-Marjorie

Mara Teare-Tessa