Program

The Bees Knees Logo

About the Play

The Bee’s Knees is a two-act drama with songs. It’s set in the early 1920s when for the first time ever women could run for parliament. The story is centred around two sisters, Bernie, a rebellious young flapper and her older, responsible sister, Dolores. Bernie convinces Dolores to run for office against the local male incumbent.

For a woman of her time, this is a scandalous, dangerous decision. The sisters must deal with smear campaigns, a catatonic mother, the betrayal of female colleagues, and Dolores falling in love, all while running a campaign.

With a large, diverse cast and original jazz-era music, The Bee’s Knees is entertaining and hopeful. It takes you back to the Roaring Twenties, but shines a lens on the 2020s, forcing the audience to examine the landscape of modern leadership.

Playwright / Director / Lyricist

Judy Reynolds

(she / her)

Judy received her BA in Theatre from York University where she studied playwrighting under Carol Bolt. After this, she was selected for the Soulpepper Training Company with a focus on acting for classical theatre.

As an arts professional, Judy has acted, danced, choreographed and written for theatre, television and film. She has performed in English, French and American Sign Language (ASL). Judy founded a dance academy and served as Artistic Director for two performing arts companies. One of Judy’s greatest honours as a performer was belly dancing for Canada’s last WWI veteran.

A lifelong meditator, Judy became one of Deepak Chopra’s certified meditation instructors. She has taught everywhere from suburban living rooms to federal penitentiaries. Judy also developed a unique children’s meditation program for the Toronto District School Board. In addition to The Bee’s Knees, Judy is working on Pilgrimage, a sci-fi novel that takes place in 2134.

Judy is the proud Mom of two amazing daughters. She lives in Toronto with her husband Dave, their blended family and Cleo the border collie.

Judy Reynolds

Director's Notes

Read the Director's Notes


The Journey of The Bee's Knees

Read the Journey


Land Acknowledgement

We acknowledge that we are on the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples and is now home to many diverse First Nations, Inuit and Métis peoples.

Read our full land acknowledgement

Cast

(in alphabetical order)

Françoise Balthazar*

(she / her)

Yvonne / Miss Madge / Frances McKay

Most recently, Françoise reprised her role as the notorious Lucrezia Borgia in Bella Donna at the Tarragon Theatre, a role she originated in the original version of David Copelin’s award-winning play. Previous to this, she played the role of Felicity in the acclaimed Colleen Wagner genocide play The Living at the Theatre Centre and the classic David Mamet role of Dave Moss in an all-female production of Glengarry Glen Ross at the Red Sandcastle Theatre.

Other notable highlights include the lead role of Alcandre in The Illusion (Stratford Festival); Cassius in Julius Caeser (Red Sandcastle Theatre); The Nurse in Romeo and Juliet (Minack Theatre, England); La Marquise de Merteuil in Dangerous Liaisons (Alumnae Theatre) and the title role of Richard III in an all-female production of the play. (George Ignatieff Theatre).

Françoise Balthazar
Françoise is also a Voice-Over Artist and Accent Reduction Specialist.

Rachel Nkoto Belinga

(she /her)

Kitty / Tillie

Rachel Nkoto is a French multidisciplinary performer with expertise in theater, film, and music. Trained at Art’aire Studio in Paris and the Second City Toronto Conservatory. She grew up surrounded by music and has a background as a gospel singer, having performed across France. As founding member of the Low Bar Comedy Troupe, she has been featured in productions like How Low Can We Go?. Rachel is also a dedicated advocate for gender equality.

Rachel Nkoto Belinga

Jason De Angelis

(he / him)

Lad / Photographer

Jason joins the behind-the-scenes team of The Bee’s Knees as the Production Manager.

With a professional background in business management and an amateur background in musical theatre, Jason is a bridge between the creative and technical development of the show. Working on both sides of creative projects has given him a unique skillset.

A lover of music, Jason plays flute, guitar and piano. He is excited to support the actors and contribute to the artistic vision of the show.

Jason was corralled into playing as one of the Lads and Photographer.

Jason De Angelis

Kenzie Delo*

(he / him)

Dr. Edwin Becker

Kenzie is a Nova Scotian actor, singer, and writer who has worked in theatre, film, television, and voiceover. Kenzie has, among other roles, played Pozzo in Waiting for Godot and Jorgen Tesman in Hedda Gabler (Atlantic Repertory Company), Mister Darcy in both Miss Bennet & The Wickhams: Christmas at Pemberley (Theatre New Brunswick), and he has performed as far away as the Werkstatt Theatre in Konstanz, Germany and the Canadian Embassy in Paris, France.

A graduate of both the National Theatre School of Canada and the Fountain School of Performing Arts, Kenzie also has a strong passion for collaborating on new work development as an actor and writer. He can currently be seen on television as Constable Tucker in CBC / UKTV's Murdoch Mysteries.

Kenzie Delo

Madeline Elliott Kennedy

(she / her)

Bernie McKay

Madeline Elliott Kennedy is a Niagara made, Toronto-based artist with focused training in Suzuki, Viewpoints and site specific devising. Madeline is so honoured to be a part of The Bee's Knees history from its very first read through. She finds deep honour in this craft because it means portraying another human's story, and this time one that is so very topical.

She enjoys riddles, critter friendships and eating kimchi right out of the jar. Previous works include Wren in 5 Lesbians Eating a Quiche (Unit 6 Collective), Slalo in SAMCA (Spindle Collective / Riot King Art Market) and Little Stone in Eurydice (Pazzo Theatre Collective).

Madeline Elliott Kennedy

Brandon Knox*

(he / him)

Drew Chapman / Debate Moderator / Swimsuit Bylaw Officer / Denny

Brandon Knox was born and raised in Scarborough, ON.

Selected theatre credits: Stinky Cheese Man, Princess and The Pea and Cinderella (TYT Theatre) The Cage & The Laughter (Minmar Gaslight Productions), The Inch of your Life Trilogy (The Theatre Circuit), Coriolanus & Moral Deficit (Skipping Stones Theatre), She Kills Monsters (Orphaned Egret Productions), The Winter’s Tale (Dauntless City Theatre), Guerrilla Ruffians (Shakespeare in the Ruff) and As You Like It (Rarely Pure Theatre).

Selected Film/TV credits: Scary Stories to tell in Dark (Lionsgate), Don’t Mess With Grandma (Tubi), Murdoch Mysteries (CBC) and Fellow Travelers (Showtime).

Brandon Knox

Shannon Pitre

(she / her)

Dolores Cole

Shannon is an interdisciplinary actor / creator and a graduate of the University of Windsor's BFA in Acting Program (2019). Her passions include new play development, devised and contact-based theatre, reimagining of classical works, and arts education.

Recent works include: The Complete Works of William Shakespeare (Abridged) (Revised) (Again) (Theatre on the Ridge), Presenter in Migraaaants (Two Thousand Feet Up Theatre Company), and Procne in If We Were Birds (Alumnae).

Shannon is forever inspired by the vast amount of talent, curiosity, and love found within her creative circles. She is grateful to be creating community and inciting important conversations with such wonderful and inspired artists in this project.

Shannon Pitre

Michael Pollard*

(he / him)

Jerry Fields

Michael has written, directed, performed and even stage-managed plays across Canada for over 30 years. Jazz and theatre are two of his passions and when writer-director Judy Reynolds came a calling he couldn't say yes fast enough.

Last summer Michael performed in The Real McCoy at The Blyth Festival. Most recent TV and film include: Murdoch Mysteries as Dirk Datchery in the What the Dickens episode, and the short film he wrote and starred in Danny May which won multiple awards on the world wide festival circuit.

Michael Pollard

Jamillah Ross*

(she / her)

Rita Blue

Past credits include: Stage: Reagan Bibeau in Les Belles Soeurs, Mattie in Wedding Band and First Watchman / Attendant in Much Ado About Nothing (Stratford Festival), Cinnamon in Rumspringa Break (NextStage), The Sour Kangaroo in Seussical (Lorraine Kimsa Theatre).

Film / TV: Gladys Kravitz in CHUCKY, Agent Orange in Slumberland, Ida Clark in Murdoch Mysteries, and many characters in Baroness Von Sketch. Jamillah lives with the sweetest cat in the world, can juggle three small objects and is an alum of The Second City Toronto MainStage.

Jamillah Ross

Birgitte Solem*

(she / her)

Aunt Virginia

Birgitte began her professional acting career as a teenager at The National Arts Centre in her hometown of Ottawa and after studying theatre in both Canada and the U.K., co-founded Hope and Hell Theatre Co. touring fringe festivals across the country.

She has performed at Odyssey Theatre, Magnus Theatre, The Great Canadian Theatre Co., Theatre Passe Muraille and more. She has spent several seasons over the last twenty years at The Blyth Festival, including performing and co-creating The Pigeon King and as a playwright, debuting her first full length mystery Resort to Murder, top seller of the 50th anniversary season. She also starred in the Toronto premiere of Ayad Akbar’s Disgraced which was performed twice as part of the Off-Mirvish season and toured to The Citadel Theatre.

With over 30 film and television credits, Birgitte was a series regular on Malory Towers for CBBC, appeared in the recent TIFF award winning short Motherland and for two years was the voice of Volvo Canada.

Birgitte Solem

Marlo Surkis

(she / her)

Lad / Reporter

Marlo is thrilled to make her debut in this production! She is a passionate lover of musical theatre and brings with her a background in local children’s theatre productions, including Inside Out, Legally Blonde, and Grease, she is excited to share this journey with the cast and audience.

Marlo Surkis

* The participation of these Artists is arranged by permission of Canadian Actors’ Equity Association under the provisions of the Dance Opera Theatre Policy (DOT).

Creative Team

(in alphabetical order)

ELIZABETH ACKER

(she / her)

Pianist

Elizabeth Acker earned a BFA from York University. Adept in classical, contemporary, jazz and musical theatre, Elizabeth enjoys a varied career as accompanist, chamber musician, orchestral pianist, teacher, adjudicator and coach.

Credits include: Phantom of the Opera, Asst. MD for Broadway cast of Those Were the Days, the Niagara Symphony, Esprit Orchestra, collaborative pianist for VOCA choir, pianist for Solidaridad Tango Orquesta, recording for film, TV and radio. Is a coach for music students in all genres and is an adjudicator for the Sudbury Music Festival.

Liz coaches at the Vermont Music and Arts Centre and the performing chamber music repertoire with the Green Mountain Trio. She is the pianist for The Accolade Trio composed of faculty from York University’s Music Department.

Currently, Liz teaches privately and has also taught yoga and tai chi, bringing those disciplines into her teaching.

Elizabeth Acker

Paul & Matthew Gyulay

Set Design

Paul and Matthew Gyulay have been devising sets and props for numerous productions for the past 10 years. Having worked on productions of The Addams Family, Beauty and the Beast, Fiddler on the Roof, The Sound of Music and Oklahoma, amongst many others, they are grateful and delighted to lend their talents to this, the premiere of The Bees Knees. As always they would like to thank their family and friends for all their continued support.

Paul Gyulay
Paul Gyulay

FLORIAN MONTAGUE

(they / them)

Assistant Director / Stage Manager

Florian is a multidisciplinary artist who enjoys participating in all aspects of theatre, both on and off stage. They participated in multiple theatrical college productions as an actor, a singer, a stage manager and assistant director.

They most recently contributed to TYTs ‘Peter Rabbit’ as a creative consultant. In their downtime, they enjoy writing, playing piano, painting and reading fantasy novels.

Florian Montague

Arianna Lilith Moodie

(she / her)

Head of Wardrobe

Arianna Lilith Moodie is a Costume and Fashion Designer based in Toronto after finishing her degree in Fashion Design at the Fashion Institute of Technology in New York.

Her theatre work includes Assistant Costume Designer on One Man, Two Guvnors and The House That Will Not Stand (Shaw Festival, 2024), Costume Designing Art of Ideas: Baldwin v Buckley (Shaw Festival, 2024) and the newest installment of Esie Mensah’s dance project ZAYO (Dance Immersion, 2024). She also works in film and television having Costume Designed Music Videos for the band Housewife including Life of the Party (2024) and Matilda (Upcoming), the short films Astro and Azrael (2024) and Sam Fam (Upcoming) and has apprenticed in costume on CBC's Run the Burbs.

Outside of Costume Design Arianna enjoys creating art that marry her interest in storytelling, poetry and political activism with her textile background.

Arianna Moodie

MBOYA NICHOLSON

Composer

Mboya Nicholson is a jazz pianist and composer from Edmonton, Alberta, Canada. He has written string arrangements for conductor Colin Mendez Morris’s recording projects, and has performed for the Consul General of the Netherlands in Toronto; and internationally, in Japan, Italy and Guadeloupe.

Currently Mboya has a solo piano recording of compositions out, called “Melodic Faces”, released in 2023, and teaches at MacEwan University where he developed a jazz history course that teaches the history of jazz with cultural context as the integral part of the course, taking into account the African American origins as the main perspective of the course, as well as using historical context to show the impact society had on jazz, as well as how jazz affected various eras.

In 2017, Mboya was awarded the Clarence “Big Miller” Award for Music from the National Black Coalition of Canada.

Mboya performs with a quartet and with the Mboya Nicholson Jazz Orchestra (also known as the Shortkestra, because of it's abridged instrumentation). He presently produces and hosts a podcast about jazz called The Jazz Legacy Radio Podcast, and is working on new projects and shows for the online radio station he started, called Jazz Legacy Radio, which returns to the air soon.

Mboya Nicholson
Check out Mboya's album Melodic Faces

Kit Norman

(they / them)

Lightning Designer

Kit is a graduate of the Performance Production program at Toronto Metropolitan University. They work as both a lighting designer and technician for many theatres across Toronto.

As a technician, they have worked in various departments. Their work has mainly brought them to Buddies in Bad Times Theatre; working as their head technician on shows such as Angels in America, White Muscle Daddy, and Speaking of Sneaking.

As a lighting designer, their work has primarily focussed on children’s plays and musicals at TYT; including Thumbelina, The Stinky Cheese Man, Rapunzel, Peter Rabbit, Rainbow Fish, and others. They have also worked on musicals such as Fun Home (Bowtie Productions), and Leap of Faith (Spirit Express).

Kit Norman

Jordan Paluck

(she / her)

Sound Designer

Jordan Paluck is a musician, recordist, and mixer. She has dedicated her time into honing her craft, producing high quality audio for her and her clients. From podcasts, to commercials, albums, or live performances, Jordan’s life revolves around sound.

Jordan Paluck

Jensen Pollard

(they / them)

Head of Props and Wardrobe Assistant

Jensen Pollard recently received a BFA with Distinction in the Performance Production Program at Toronto Metropolitan University. While at school they focused on stage management and design. Outside of school, Jensen has worked as set designer, wardrobe assistant and production assistant for stage and film.

Jensen Pollard

Brendan Swanson

(he / him)

Composer

Brendan Swanson is a Juno and Polaris nominated pianist known for his work with YAMANTAKA//SONIC TITAN. His arrangement and performance work was featured on the Canadian Screen Award Winning film, Through Black Spruce (2018) and Canadian Videogame Award winning SEVERED, both for best Soundtrack.

Currently he is musical director of the Film Soundtrack Tribute band DRAGON SOUNDS, and Video Game Jazz tribute band The Suspicious .exe Files.

Brendan Swanson

Jesse Whiteley

(he / him)

Musician

Jesse Whiteley is a passionate and multi-talented pianist /keyboardist, singer, composer, arranger, and bandleader. Throughout his diverse musical life, Jesse has performed the gamut of musical genres from blues, jazz, swing, boogie woogie, rhythm and blues, to roots, and country.

Born and raised in Toronto, Jesse began working professionally at age 17 with the Toronto All-Star Big Band. Throughout his years with the Big Band, he has worked as both a pianist and conductor and has shared the stage with such luminaries from the blues and jazz world as Clark Terry, Jackie Richardson, Oliver Jones, Cleo Laine and John Dankworth, and Doc Severinsen. Jesse conducted the band full-time from 2018 to 2022.

Another one of Jesse's projects is the jazz duo Blue Standard, featuring the vocal stylings of Maple Blues Award winner and acclaimed actor Raoul Bhaneja, accompanied by Jesse on piano. Their debut album A Good Thing was released worldwide in January of 2019.

From 2014 to 2017, Jesse toured and recorded as a member of The 24th Street Wailers, playing across Canada and The United States. He has also recorded and toured throughout Canada, The United States, and Europe with Ottawa’s JW-Jones. He has appeared on recordings with legendary blues musicians Curley Bridges, Little Charlie Baty, Hubert Sumlin, Charlie Musselwhite, dad Chris Whiteley and uncle Ken Whiteley.

Jesse can be seen performing under his own name and accompanying many different artists and groups around the Toronto music scene, and anywhere else the music takes him.

Jesse Whiteley

The Theatre Centre Staff / Front of House

Visit the Theatre Centre website

I enjoy writing and watching stories from different times, whether it be a period piece or a futuristic sci-fi. It’s fun to time travel, to dress up and pretend we are in a bygone era. And rest assured, you are coming to see a play set in the Roaring Twenties; there will be at least one swinging flapper scene.

But a play set in another time also allows us to step outside of ourselves and see the parallels to today. Parallels that do more than reflect, they magnify.

In 1921, the pace of technology was quickening with automobiles crowding the roads, the telephone, and the advent of radio. Plus, everyone was still reeling from a world war, the Spanish flu (last century’s Covid ) and a mysterious sleeping sickness. There was also Jazz, quantum physics, King Tut, evolving language and more patents in the 1920s than any other
decade in the 20th century.

And let’s not forget women voting, women wanting to help shape a nation.

The change was dizzying and for many it was too much. It’s easy to compare this to today where there is confusion and overwhelm over complex social mores and medias, and the big one, AI.

Everything continues to scale up. Yet as technology outpaces us, other things seem frozen in time. As if human nature makes us rebel against too much change and dig in our heels.

Over a hundred years ago women received the vote. Yet in the US and Canada we still have not seen a female president or elected a female prime minister. The comments and insults printed about women in a 1920s newspaper could be lifted from today’s X feed. As the saying goes…plus s change…the more they stay the same.

Luckily, there are always those brave voices that urge us to keep going, that shout out Move Your Heels.

You may wonder if I wrote these characters in response to the current political climate. I did not. The initial draft goes back many years, before these events unfolded.

How this work about the first women in politics happened onto the stage just two weeks after the US election is a coinciding of events. The synchronicities are beyond my control, but it makes me think perhaps the characters asserted themselves onto the page (and then the stage) because they want the story to be told. That it still needs to be told.

Which I have endeavoured to do to do with joy and impact. Please enjoy The Bee’s Knees.

- Judy Reynolds

I began writing The Bee’s Knees 10 years ago. At the time, I was a single parent with two young children, 5 and under. Due to these circumstances, I had to pause my work in the performing arts and close my dance company. This is a fact not a regret, as I loved this time with my daughters. But in addition to being a Mom, the one thing I could do was write. I would put my children in daycare twice a week and write. I would hire a babysitter to stay in the apartment while I wrote in the laundry room.

Does that sound hard? It really wasn’t, ah well single parenthood that was hard, but writing in the laundry room or when my children were in daycare not at all. Having limited time will cure you of writer’s block. When you only have a few hours you just get to it. Writing is easy, it’s just you and the page, there’s always time for re-writes, and no one has to see it…yet.

My first attempt to get The Bee’s Knees out there was interrupted by a little something called Covid. We managed a reading but then obviously the play was put on hold. I hunkered down with my family, and worked on my sci-fi novel with the dull buzz of online learning filling our living room. When the Covid haze cleared, I surprisingly found myself in love, getting married, blending families and getting a border collie. Happy times to be sure but a transition, I might add that still required a lot of ‘ol Momma here.

Finally this year, the artist in me said enough, this is the year I have to start making it happen. There was an insistence in me, a stubborn siren call from my own soul. You have to do this. It’s time. Who knows why there are times in life where we just cannot ignore the call.

So I committed. I decided to throw my heart out in front and run to catch up with it.

I announced the play was happening to everyone I knew (including hundreds of members of a women’s playwrighting newsletter) and even declared it was happening in October. I had no idea how. Friends and colleagues asked, “What theatre?” I told them, “ I don’t yet but I’ll know by my birthday”. The day of my birthday I received a confirmation from The Theatre Centre that we were a go for November (close enough 😊). A few weeks later Kamala Harris announced she was running for office. Suddenly my play about women in politics couldn’t have better timing.

I ran to catch up (I even broke my foot while attending a theatre event, but that’s another story). Had to find 11 actors, musicians, designers, a production team, and a publicist. I watched as the budget bloated and oozed over its edges like a flooded riverbank.

But mostly I had to catch up on the image of myself.

I had to step into the me who was able to do all this. An ambitious leader with creative vision. I am a feminist, a confident woman who believes in my worth but I can still get infected by the thought viruses around me. The ones that tell you you are too old, or it’s too hard, or you’ve been out of the game too long. The ones that want to make you less than in some weird misguided attempt to keep you safe. The ones that say what has she done in the last 10 years, and don’t see taking care of children as a resume building skill. (I disagree btw the multitasking of a parent is directly applicable to running things.)

These thought viruses existed 100 years ago and they are still around today. I wish I could inoculate my daughters against them. Maybe this play written be a woman, about women who keep going will have an impact. Maybe by watching me do it (and not always perfectly) but with my whole self that is enough. My daughters are teens now, not much I can tell them, but I can perhaps inspire them and pave the way a little.

In the end it’s the play I hope you will enjoy, the story on stage. That’s the one I want you to keep in your heart, and carry with you out of the theatre. But I share with you my personal journey of getting it out there in case you too still have dreams you want to dust off. And if you ever hear the call, I encourage you to answer. I can guarantee you will expand, you will learn and grow, and for that alone it is worth it.

We acknowledge that we are on the traditional territory of many nations including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples and is now home to many diverse First Nations, Inuit and Métis peoples.

We acknowledge that before colonization, the First Nations had their own governing systems, many of which were based on consensus. It's important to note that the current system of bands and chiefs was imposed by the federal government, and does not fully represent traditional Indigenous governing, which included women’s voices.

On May 24, 1918, most of the women you see in this play were allowed to vote federally. This “privilege, not a right” as one early Prime Minister labelled it, did not extend to First Nations women.

If an Indigenous woman wanted to vote she had to give up her status and treaty rights. So the right to vote was not extended as a long overdue redress, but rather another aggressive tool in the colonial toolbox. It held the basic rights of Indigenous women (and men) hostage, the promise of their release incumbent only on becoming enfranchised, which meant giving up all their Indigenous rights.

Withholding basic rights, then dangling them at a high price, was a common government tactic designed with one intent, the eradication of all Indigenous culture and peoples.

Finally in 1960, all Indigenous men and women were granted the right to vote federally without giving up their status. (The Inuit were granted the right to vote in 1950, but as ballot boxes were not delivered until 1962, there was no way for them to exercise this.) And while Indigenous women may have received the right to vote in federal elections, there were provincial holdouts. It was not until 1969 that Indigenous women received voting rights in all provinces.

There is still a long way to go until this land’s diversity is reflected in our political representation. Neither Indigenous nor non-Indigenous women do well under the current patriarchal system of governance.

But I am always hopeful for a better world, so I would like to finish this acknowledgement with a recognition of the political achievements of Indigenous women, both as official representatives, and through their continued political activism and leadership. They are change-makers, and we all need them.