“The Flin Flon Cowboy begins as a fascinating personal tale of discovery and resilience, but quickly fizzles into a one-note narrative.”

Ken Harrower is an amazing man! Not only is he an award-winning film and theatre actor, but also his life as a disabled, gay man and passionate advocate for accessibility and equal rights and freedoms for those communities is incredibly inspirational.

‘The Flin Flon Cowboy’ is a new musical co-created and performed by Harrower. His life story is the nucleus of this cabaret-style production. Born in Flin Flon, Manitoba, Ken, with the help of a Narrator and helper character named STARLIGHT, takes us on a unique journey of enlightenment and perseverance. He navigates the mysteries of his own birth and parentage, growing up as a child with a disability in the Winnipeg foster care system and his understanding of his own sexuality.

Ken whisks us through his adventures in Toronto searching for connections in the gay community while trying to create a life as an artist. It’s a vulnerable and (overtly) frank tale told through songs and storytelling touching on issues of consent, sexuality, queerness, mental health, suicide, addiction, forgiveness and moving forward with accountability.

The problem - the narrative isn’t balanced and leans too heavily on the aforementioned issues. Ken doesn’t shy away from the darkness and difficulties that come with being a gay, disabled person navigating this world. We need to understand his hurdles. They’re shocking and important truths. But two-thirds of the show plays on this note repeatedly as Harrower, director Brandenburg and Spence omit details that might give Ken more fulsome dimension.

Within the context of the play, I wanted to know more about this man and the people and experiences that affected his early life. The first act starts out fine in this vein, introducing us to some of the characters in Ken’s life that empowered him to find his own way; nevertheless, too much is glossed over in favour of repeatedly reminding us of his foot fetish.

At the end of the first act, Ken and the The Narrator tell us about Ken’s new Social Worker, Ivan Lamb. Ken sings a song called “Ivan Lamb” and briefly describes him as the only social worker “that treated me like a person.” The song skims over who this man was with no specific examples of how he made such an impact on Ken.

In the second act, Ken tells us about his experience at the University of Waterloo in the history/political science programs and how he offered 11 men foot massages (foot fetish, again!) that would eventually put them to sleep. What we didn’t get was why he decided to go to university, how he did and whether he even graduated. An omission that, unfortunately, makes the second half less engaging.

The show is possibly the most accessible show I’ve ever attended and rightly so – blind friendly, descriptive actions, projected captions – The performance has given every consideration to those with physical and communication difficulties, learning disabilities, English as a second language and autism. They even offer a printed guide to help anyone access and understand the play. Kudos!

Set, costumes and props by designer Jung-Hye Kim are simple and functional. An elevated stage with a ramp enables Ken to enter and exit via his motorized wheelchair with ease. The centre of the stage functions as a neutral area, becoming many other locations including a living room, a bar, a church, a bathroom, a bedroom, a dorm room, the grounds of a university, and a street corner. The four-piece stage band plunked under a gazebo-like affair made them seem distant from the proceedings. Several scenes in that area seemed too cramped and crowded. A burgundy curtain is draped unevenly high above the stage. As it wasn’t used, I assumed it was a forgotten prop from the last production. However, the access guide proclaimed it’s supposed to be raised and lowered during the show? Okay.

In keeping with the cowboy theme, the rear wall is shaped as an A-frame-style house, barn, or church. It provides the surface for Laura Warren’s dazzling and era-specific projections. Costumes are western appropriate with cowboy hats, boots and vests bringing a Calgary Stampede feel to the proceedings. In the props department, however, the moustache, plastic gun, jug, glasses, and wigs screamed low budget.

Lighting design from Echo Zhou is decent overall with adequate coverage over the playing area and subtle illumination of the band during key musical numbers. However, performances on stage left, including “The Evil Anne Marie” are too dim and the colour of the Narrator’s stage right spotlight gives him a gaunt, cadaverous pallor.

Johnny Myrm Spence’s musical direction and original compositions have a familiar campy country twang but, with a few exceptions (“Italian Dave” and “On the Road Again (Again)”), the tunes and lyrics are generic, mundane and, throughout the second act, downright dreary. Despite fine solo vocals from band member Mara Nesrallah, harmonies and vocal blending from the group need a tweak.

As the lead performer, Ken Harrower is awe-inspiring. He’s engaging, authentic and utterly charming, a heartfelt singer and actor of refreshing authenticity. His visual art, showcased throughout the show, is testament to his multidisciplinary talents. You can’t help but cheer him on as he leaves the stage.

As The Narrator, Greg Campbell carries most of the storytelling weight. He’s terrific and hugely talented, portraying multiple characters via swift on-stage costume changes. He keeps the show grounded and the audience invested, though I would like to see him embellish his characterizations vocally and physically. Ensemble member and helper STARLIGHT is funny and engaging, oozing (and sparkling) confidence and sass to fun songs like “Freedom Dance”.

Director Brandenburg has staged a terrific show about a very special gay, disabled artist. The accessibility, the cowboy theme, use of projections on the barn back wall, simple props and on-stage band all create an excellent canvas for the story of Ken’s colourful, often tragic life. But this is a man who has risen above it all and defied the odds. He wasn’t expected to live past age 5, but now, at 63, he’s an artist, an inspiration, a man of honesty, integrity and grit. He’s a survivor, a marvel!

I just wanted to know him better on other levels.

Running time: Running time, approx. 2 hours with one 20-minute intermission.

The production runs until November 2 at Theatre Passe Muraille, 16 Ryerson Ave., Toronto. For tickets call the Box Office at 416-504-7529 or email www.theatrepassemuraille.ca/tickets

“The Flin Flon Cowboy”
A Flin Flon Cowboy Collective & Theatre Passe Muraille Co-Production in Association with Why Not Theatre

Co-created and performed by Ken Harrower
Co-created and directed by Erin Brandenburg
Co-creator, musical direction, composition and sound design by Johnny Myrm Spence
Set, costumes and properties designed by Jung-Hye Kim
Lighting designed by Echo Zhou
Projections designed by Laura Warren

Performers: Ken Harrower, Greg Campbell, STARLIGHT, with band members Johnny Myrm Spence, Mara Nesrallah, Steven Foster and Kate Palumbo.