Charlie Petch in ‘No One’s Special at the Hot Dog Cart’, Photo by Nika Belianina
Of the many gritty, familiar details in Joel Richardson’s set, a beat-up old NOW Magazine vending box hit with a nostalgic punch that left me particularly achy. This is Toronto of the early 90s. Between two iconic corners: Yonge and Dundas, Church and Gerrard—surrounded by trash cans, milk crates and the discarded remnants of our bustling city; a lonely hot dog cart is a comforting focal point. The sign promises a series of tasty options (for those inclined towards street meat), though what Charlie Petch is really offering is considerably more valuable—more valuable, even, than the intensely sought-after corn relish.
This disabled, queer, transmasculine artist is a true Renaissance man with eclectic an range of talents—from poetry to lighting design. Having worked as a 911 operator and emergency room attendant, he credits his teenage exploits as a hot dog vender in early 90s Toronto as providing the most essential knowledge base for effective emergency response. No One’s Special at the Hot Dog Cart, presented by Theatre Passe Muraille, is a dramatic rendering of these formative experiences.
A little rough around the edges, what this lacks in precision and polish, it makes up for in authenticity and an atmosphere of purposeful empathy. A scrappy musician, Petch employs an assortment of instruments both conventional and quirky to lay tracks in real time, featuring offbeat combinations like a ukulele with a saw, a pop can pull-top, and fragments of dialogue. The storytelling is punctuated with his spoken word poetry, which is rife with evocative, insightful musings.
Before fully adjusting to a transmasculine identity, he reflects fondly upon his time as the local “hot dog girl!” Amidst fellow queer people, homeless confidantes and feisty sex workers, his collection of episodic encounters paint a vivid and deeply affectionate portrait of community. Fraught with their own complicated internal dynamics, they offer a united front when one of their number is threatened by “outsiders.”
Petch and dramaturg Donna-Michelle St. Bernard give narrative dimension to his set of de-escalation tips (collected on a trusty card and available on his website). Respond to anxiety with compassion, Actively listen without judgement, Let them rant, Recognize and validate, Manage your own response—he offers up colourful scenarios that illustrate these tenets.
While they have served him well, he does confess to occasional failure to employ them properly. And, even when he follows his own advice, it doesn’t always work out well. Life and people are not perfect—a truism dishearteningly conveyed in the eventually-disastrous relationship with a homeless man named Frank. Holding onto his rage and resentment for an ex-wife and series of exploitative landlords, Petch’s open and compassionate presence lead to stalking and an ugly final showdown.
Frank is represented on-stage with a discarded neck-tie. Similarly, another local man, who becomes a sort of laughter-filled protector, is present as a pair of turquoise sneakers. These prop stand-ins for people from his past are one of many charming theatrical flourishes. Petch and director Autumn Smith craft a compelling mise-en-scene by infusing tangible, mundane objects with emotional resonance. Steph Raposo’s subtle lighting design, shifting between warm and cool modes, fills the space with supporting mood and atmosphere.
Above all, Petch is a genuinely calm and tender presence and his gentle call to action—to build and maintain community—is heartfelt and uplifting.
No One’s Special at the Hot Dog Cart
running March 14 to 23, 2024
Theatre Passe Muraille, Mainspace (16 Ryerson Avenue)
running time: 65 minutes
Charlie Petch in ‘No One’s Special at the Hot Dog Cart’, Photo by Nika Belianina