REVIEW: Extraordinary new show does poetic justice to The Tragically Hip

World premiere of It’s a Good Life If You Don’t Weaken at Theatre Aquarius celebrates the music of Canada’s band, woven into a new and original story. It’s everything musical theatre should be and should not to be missed. 

It’s A Good Life If You Don’t Weaken is everything that musical theatre should be: multi-layered, emotional, joyful, expansive, groundbreaking, and a celebration of the power of music. 

Theatre Aquarius’s season-ending production is the world premiere of what has all the ingredients to be a new Canadian hit musical: A strong and spirited narrative, a ridiculously talented cast, compelling choreography, an impressive set, and most of all, masterful reimaginings of the beloved music of The Tragically Hip. 

This is a special production in every sense of the word.

But understand this isn’t a musical about the quintet from Kingston, nor is the show’s narrative built to fit their songs. Unlike a conventional musical, the songs aren’t used to advance the storytelling. It’s all much less literal than that. The use of the music is atmospheric and creates the story’s emotional foundation and its thematic grounding.

The Hip’s music is poetic, after all, and that’s just how it’s used here.

Using iconic hits, along with lesser-known cuts of The Hip as its soundtrack, It’s a Good Life If You Don’t Weaken tells a story of resilience, hope, longing, and belonging that is centred around Waleed (Ali Momen), a journalist who’s had to flee Iraq after angering the oppressive regime in 2002. 

He is accepted to Canada as a refugee and assigned to settle in Kingston. He works hard to build a new life, even though he’s hopeful that his exile will be temporary and that he can return to his ailing mother once the government falls. 

It’s not easy for Waleed. He struggles to find a job and a place to live, and to find real connections in his new hometown. He eventually finds that with Kate (Talia Schlanger), who runs a record store founded by her mother while contending with her irresponsible brother. 

At its essence, Waleed is a man in two places. Momen poignantly portrays that conflict and the heartbreaking toll of missing where you come from. Can we move forward while looking back?

Duality is so effectively and seamlessly depicted here. This show takes place at two ends of the world, and Waleed lives a daytime reality while battling dreams and imaginings of the home he didn’t choose to leave. 

Kate and Waleed are both tormented in their own ways. He is consumed by guilt for leaving his mother behind just before Baghdad is engulfed in war. Kate, in wonderful hands with Schlanger, is also filled with regret for not returning home in time to have quality moments with her mother before her death.

It’s a Good Life explores how we let each other down and how we come to forgive ourselves.

While there are heavy themes, there are moments of great levity, too. Waleed’s lesson in the rules of baseball is hilarious, as are his insights into the obsession Canadians have with the weather. Sam (Karim Butt) is a light-hearted and loveable narrator.

Expect full-on rock musical numbers, alongside quiet, beautiful acoustic treatments. Goosebump-worthy moments are Rebecca Auerbach’s (Abigail) performance of “Wheat Kings,” Schlanger and Brandon McGibbon (Jonathan) duetting on “Grace, Too,” and Schlanger and Momen taking on “Bobcaygeon” while snow falls on the stage.

READ OUR STORY WITH ALI MOMEN AND TALIA SCHLANGER!

There are far too many musical highlights to list here. This cast is one great voice after another and in their hands, under the direction of the acclaimed Bob Foster and his talented team, these expanded orchestrations allow this music to take on new directions.  

The repertoire of The Hip – late vocalist Gord Downie, guitarist Paul Langlois, guitarist Rob Baker, bassist Gord Sinclair, and drummer Johnny Fay – is made to suit the full range of emotions, from joy to heartache.

I found myself battling tears more than once and I was far from the only one. I truly don’t know if it was the themes of regret, longing, and loss so wonderfully crafted in the story or the ever-present absence of the songwriting genius of Downie, who died of brain cancer in 2017.

It’s hard to accept that we’ll never see his likes again.

There are strong nods to the Hip in the script, including the name of the record store (Cordelia’s), but the band is never directly mentioned. Be sure to watch for plenty of peeks of Canadiana in the set designed by Hamilton-based Scott Penner. 

He has created an onstage world that is both imposing and warm. With massive and graffiti-filled concrete-like pillars and the soaring windows of an industrial warehouse framing the stage, Penner’s rolling set pieces create scenes in Baghdad, and in Kingston, a cozy living room, the packed confines of a record store, and a bustling coffee shop where Waleed finds a job. 

HERE WE TALK WITH THE DIRECTOR, MUSIC SUPERVISOR AND PLAYWRIGHTS!

There are beautiful touches of warm uplighting and Middle Eastern-inspired light fixtures that make this set something to marvel at. The seven musicians – a rock band setup with the addition of a violin and cello – sit atop a four-step riser that plays a role in the action-packed, heavily hip-hop-inspired choreography of this show. 

There is a pervasive edgy aggressiveness to this show, evident in its pacing and physical movement. There is an undercurrent of Canadian pride too, that never crosses into slogans or flag-waving, as it so easily could.

This show feels so timely, coming when there is more war in the Middle East, when our country is honouring that which defines us an independent nation, and when too many among us resort to racism and othering any time matters of immigration are discussed. But there is also a charming and comforting nostalgia here, with a show set during a time when The Hip were releasing albums every couple of years, and when record stores and newspapers were still central to small-city life. 

This show has a powerhouse team behind it, including director Mary Francis Moore, Foster as music supervisor, choreographer Marc Kimelman, and playwrights Ahmed Moneka and Jesse LaVercombe. It was the brain child of producer Michael Rubinoff, who was the founding producer of the runaway hit Come From Away. The show is also produced with the permission of David and Hannah Mirvish.

Strong early ticket sales means the run has already been extended by a week and is now closing in Hamilton on May 24. From here, it will shift to Thousand Islands Playhouse in Kingston. 

Thankfully, this show ends as it should, with a full-on sing-along of “Ahead by a Century” that reminds us that we still have Gord Downie in this shared Canadian soundtrack that draws us together in a collective understanding of our humanity that crosses all cultures and nationalities.

And isn’t that the ideal of taking people in from around the world? Canada is a more loving, complete, and compassionate place when we welcome newcomers and allow them to take root with a foot in two places.

Even if you aren’t a fan of The Tragically Hip (who am I to judge?), this show is not to be missed. And if you are a fan, you just might want to go more than once. 

NEED TO KNOW

It's a Good Life If You Don't Weaken
Theatre Aquarius
Until May 24
190 King William St., Hamilton
Tickets here
Run time: 130 minutes, including intermission

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