“Further text editing is necessary for ‘The Bee’s Knees,’ please. There’s an important story to be told here, but more work must be done.”

It’s the 1920s in Canada. For the first time, women can run for the Canadian Parliament.

Bernie ‘Bernice’ McKay (Madeline Elliott Kennedy) convinces her reluctant older sister, Dolores Cole (Shannon Pitre), to run for Parliament against the local entrenched male incumbent Jerry Fields (Michael Pollard). A decision like this would have had tumultuous social repercussions for Dolores. It would have been scandalous.

Despite the odds against the two ladies, Dolores runs for office. However, trouble lies ahead for her. There are smear campaigns to discredit her as Jerry tries to find elements of Dolores’ personal life that can be used against her.

Personal troubles and insecurities mark Dolores’ life. She and Bernie have a catatonic mother named Frances (Françoise Balthazar, who takes on several roles in the production.) Dolores’ first husband was killed overseas during World War I. Later, she meets someone new, Dr. Edwin Becker, played by Kenzie Delo. Jerry is determined to use Dolores’ new relationship with Becker against her. Jerry is determined to uncover her past secrets, which he does as the story unfolds.

Nevertheless, Jerry Fields is no saint either. He’s a savvy politician and knows people, but his personal life could also cause problems if his constituents knew about his relationship with Rita Blue (Jamillah Ross).

The era of the 1920s has always fascinated me. When I taught high school English, I always liked to introduce ‘The Great Gatsby’ to students. So, with this preconceived idea that the Roaring Twenties was an exciting, adventuresome time, off I went to Toronto’s Theatre Centre to see how playwright and director Judy Reynolds would capture this extraordinary era.

‘The Bee’s Knees’ needed to get up and play in front of an audience. For that reason alone, this is an essential step in the next part of the journey. I hope the creative team and cast will take some of this feedback and continue working on the story’s genesis. Remember, this is only one person’s perspective.

Some of the hits and misses in this production can be looked at again with fresh eyes.

Paul and Mathew Gyulay’s set design of three playing spaces nicely becomes various locales. On stage left, pianists Elizabeth Acker and Jesse Whiteley set the tone of the Roaring Twenties with their piano melodies reminiscent of Scott Joplin's music. As I entered the Franco Boni Theatre, a woman dressed in period clothing danced a bit of the Charleston, clearly enjoying herself. I later learned that this was the playwright and director Judy Reynolds. What if she can’t attend every performance? Are there others who could assist in setting the mood?

Arianna Lilith Moodie’s character wardrobe effectively captures the 20s era. A couple of minute elements in shoes weren’t from the era, but this choice did not distract my attention away from the story’s plot. Jordan Paluck’s sound design is solid, and I can hear spoken dialogue. However, there were moments when Jamillah Ross sang, and I couldn’t listen to the lyrics because the piano overpowered her. A bit of sound balance is required here.

I have a few concerns regarding Kit Norman's lighting design. The subdued effects during the pre-show effectively transport the audience to a historical period nearly 100 years ago. However, there are moments when the characters are shrouded in shadows. This occurred in the radio interview Miss Madge (Balthazar) conducts with Dolores and Jerry. I found myself blinking, unsure if the issue was my eyesight or a lack of focus. Unfortunately, it was the latter. The actors shouldn’t have to move quickly to find their light, and the audience shouldn’t struggle to see who is on stage.

‘The Bee’s Knees’ is billed as a drama with songs. While I like the 20s sound underscoring the scene changes, Rita Blue's songs don’t add much to the developing plot, save for the last she sings in the show. At times, the scene changes plod and grind the story’s pacing and rhythm to a halt. Listening to the music does help while pieces are wheeled in and out. I get that safety must come first when the bed is brought out; however, be aware that there is a lot of waiting time.

Judy Reynolds certainly has her work cut out for her as both the playwright and director of this production. Managing both roles is a significant challenge on its own and combining them adds to the workload. On www.thebeeskneesplay.com, she discusses the fascinating origins of the play, which makes for an interesting read.

While the origin of ‘The Bee’s Knees’ is commendable, the play feels overly lengthy, particularly the second act, which is longer than the first. I also found that I didn’t learn much historically from the performance that I didn't already know. While it highlighted how women were treated as second-class citizens in terms of their rights to run for Parliament and vote, this was information I was already aware of. What other insights should I take away from this performance?

Several performances throughout are commendable, although there are moments that could be trimmed for better pacing. Shannon Pitre delivers a steadfast portrayal of Dolores Cole, who is determined to win the election. Madeline Elliott Kennedy's feisty character, Bernie, conceals the personal turmoil she faces due to her mother's illness. Birgitte Solem is a nosy and frustrating Aunt Virginia to Bernie and Dolores. Kenzie Delo plays a robust Dr. Becker, who develops a genuine affection for Dolores. Delo's Becker shows true care for his new wife and is concerned about the potential social ramifications of her losing her standing in society as she continues to run for a seat in Parliament.

Michael Pollard’s character, Jerry Fields, is both cunning and perceptive, though he holds a somewhat misogynistic view of women. (Spoiler alert) His secret love affair with Rita Blue (sultry on-stage work by Jamillah Ross) amps up Fields’ hypocrisy that I kept hoping would be somehow used against him by Dolores’ team.

A Final Thought: As the script and structural revisions progress in the next phase, could playwright Reynolds concentrate on making specific changes to the text? It might be beneficial to invite an outside director or dramaturg to focus exclusively on the play's staging. Additionally, bringing in actors again for feedback could enhance the development process.

There's a strong story here that deserves further exploration, and I look forward to seeing the adaptations and changes made in the future.

Running time: approximately two hours and 30 minutes with one interval/intermission.

‘The Bee’s Knees’ runs until November 24 at The Theatre Centre, 1115 Queen Street West, Toronto. For tickets: https://theatrecentre.org/whats-on/ or call the Box Office (416) 538-0988.

To learn more about the production, visit www.thebeesknees.com. I recommend that future audiences peruse the website before seeing the production.

THE BEE’S KNEES by Judy Reynolds
Directed by Judy Reynolds
Set Design: Paul & Mathew Gyulay
Head of Wardrobe: Arianna Lilith Moodie
Composer: Mboya Nicholson
Lighting Designer: Kit Norman
Sound Designer: Jordan Paluck
Head of Props: Jensen Pollard
Wig Maker: Erica Croft
Stage Manager: Florian Montague
Production Manager: Jason De Angelis
Pianist: Elizabeth Acker
Pianist: Jesse Whiteley
Additional pre-show music: Michael Pollard

Performers: Birgitte Solem, Madeline Elliott Kennedy, Shannon Pitre, Rachel Nkots Belings, Françoise Balthazar, Brandon Knox, Kenzie Delo, Jamillah Ross, Michael Pollard, Marlo Surkis, Jason De Angelis