Exhilarating! A do-not-miss theatre experience!
Back-room Board of Directors’ nepotism and greed appear daring and bold in Crow’s latest production, now playing at the Guloien Theatre. Inspired by Alexandra Posadzki’s Rogers v. Rogers: The Battle for Control of Canada’s Telecom Empire, actor and playwright Michael Healey’s sharp, ongoing satire on the costly nature of corporate ambition and its fallout when family ties become strained takes center stage. Rogers v. Rogers provides a striking look at irrestible stakes so high that the damage to family bonds might never be repaired.
At the top of the show and in the programme, the audience is reminded that the play is a satire. Fictional conversations have been invented; real events have been altered for theatrical purposes to tell a story, sometimes with bristling humour. Some moments in the play are downright laugh-out-loud funny.
Director Chris Abraham’s refined staging of Healey’s razor-sharp commentary on corporate greed, set in the play’s Rogers-Shaw Communications merger, remains a compelling journey for the audience. Rogers v. Rogers is indeed top-notch theatre. It’s the reason why we must continue to attend. Healey’s play engages right from the top of the show. I didn’t want to write any notes in my book in case I missed anything.
Visually, the production offers a sleek, often cold and detached portrayal of the high-stakes business world of the twenty-first century. Imogen Wilson’s bright red lighting design prominently emphasizes Joshua Quinlan’s stylish, ultra-modern, rectangular eight-seat boardroom table. Nathan Bruce guides the audience’s eye across the striking video designs he creates. Watching a Zoom call unfold as the Board debates whether someone should be fired is quite a visual treat. Thomas Ryder Payne’s sound design is meticulously crafted, down to details like hearing one of the characters slurp from a McDonald’s soda cup.
Tom Rooney remains the reason to catch the show before it closes in January.
Rogers v. Rogers becomes a master class in acting, not only for the professional artists watching, but also for the audience to witness one of our country’s own become one with the material.
Rooney delivers a superlative and highly engaging performance by playing all the characters. He moves and dashes around the boardroom table with precise purpose and reason when the context demands it. If I’m exhausted just watching him move, I can’t even begin to imagine how tired he feels at the end of the performance.
Throughout the performance, Rooney assumes the characters’ voices, physical stances and mannerisms in seconds. Sometimes, he might remove his blazer and place it on the back of one of the boardroom chairs. Another time, he sits, bends forward, and in a matter of a few seconds, becomes another character. Later, he stands atop the boardroom table, wearing sunglasses and basking in the glow of the moment.
What I find myself not wanting to miss is Rooney’s portrayal of Rogers’ son, Edward, and the chain-smoking, whisky-gravelled voice of his mother, Loretta.
It’s at this point that Tom delivers a nearly flawless performance, showcasing nuance and depth of character. Before his death, Ted made it abundantly clear that he did not want Edward to become the company’s CEO. Edward will not heed that wish. There are some wonderful comic moments watching the revolving door of CEOs come and go. During the board meeting, Rooney (playing Edward’s mother) asks board members to sign off while she speaks to her son privately. The tone of the pre-recorded Rooney (speaking as Ted’s wife and Edward’s mother), with a definitive, strongly admonishing maternal presence, remains theatre gold to watch, to hear, and to listen.
The enduring strength of Healey’s script lies in the potential harm the Rogers family may have inflicted on themselves through backroom and boardroom nepotism and infighting. Although the script is satirical and fictional with altered events, one still cannot help but think about how sadly unfortunate the public events surrounding this family are.
I’m intrigued by the last line of Chris Abraham and Crow’s Executive Director Sherrie Johnson write in the programme note. They would love to know which Canadian sagas are quietly waiting their turn to worry Canadians. Abraham and Johnson provide an email address for patrons to contact.
I like that and respect highly what the two of them wish. Abraham and Johnson want theatre that speaks to its audiences.
On a personal note, Rogers v. Rogers speaks to me. It’s more than just a play. It is a critical case to which all Canadians should pay attention, especially regarding the rising costs of private mobile and internet plans.
Please see Rogers v. Rogers.
Running time: approximately 90 minutes with no intermission.
The production runs to January 17, 2026, in the Guloien Theatre at Crow’s Theatre, 345 Carlaw Avenue, Toronto. For tickets: crowstheatre.com, call (647) 341-7390 or email: boxoffice@crowstheatre.com
CROWS THEATRE presents the World Premiere
Rogers v. Rogers, adapted for the stage by Michael Healey
Based on Rogers v. Rogers: The Battle for Control of Canada’s Telecom Empire by Alexandra Posadzki
Directed by Chris Abraham
Assistant Director: Bryn Kennedy
Set Designer: Joshua Quinlan
Lighting Designer: Imogen Wilson
Sound Designer: Thomas Ryder Payne
Video Designer: Nathan Bruce
Costume Coordinator: Elaine May
Dialect Coach: Chloe Dirksen
Stage Manager: Melissa Rood
Performer: Tom Rooney
