Carolyn Fe in “Grave Songs”, Photo courtesy of Fe
I’ve been vaguely aware of Carolyn Fe’s history as a vocalist, though I’d never heard her sing until now. Over the past few years, she’s distinguished herself as an understated, quietly powerful presence in acting roles that place her as a wise, grounded elder. Her portrayal of the loyal nurse Marina in Crow’s Theatre’s sumptuous, emotive production of Uncle Vanya comes to mind. Grave Songs: A Concert to Thin the Veil, presented in collaboration with Eldritch Theatre, allows us an opportunity to experience other dimensions of this richly talented woman.
Pulling mostly lesser-performed numbers from the musical theatre canon (adding a few from her own albums) and enlisting accomplished collaborators, she’s curated a spooky little cabaret. The songs themselves aren’t especially creepy, but the decór at the intimate Red Sandcastle Theatre is serving Eldritch™ vibes with a motley collection of ghastly puppets from shows past. Piano accompanist Juo Kim Feliz, page-turner Lorelei Adama-Chung and guest performer Louisa Burgess-Corbett are all playing up the campy ghoulishness. Fe has also framed this venture as a symbolic rising from the dead—the pandemic having nearly put her musical career into the grave.
Fe’s first getup is an elegantly flamboyant take on the classic French nobleman—her habit à la française makes quite an impression, especially when paired with the highly stylized, theatrical gesturing she employs during some of her more emphatic numbers. This performance style did, at first, throw me a bit, but as I warmed to it, I grew very fond of her formal intentionality. Her interpretation of Jacques Brel’s “Ne Me Quitte Pas” is a deeply felt highlight. She doesn’t employ this baroque aesthetic for everything though. Her more naturalistically heartwrenching cover of Radiohead’s “Creep” is a surprising change of pace and a very affecting finale. Her sonorous, gravelly voice always finds its mark.
Burgess-Corbett brings to the performance a more conventional—though undeniably her own—musical theatre diva energy. She opens with Ursula’s juicy villain song from The Little Mermaid, “Poor Unfortunate Souls.” My favourites from her are the hilariously naughty “Bring on the Men” from Jekyll and Hyde and the equally bawdy “When You’re Good to Mama” from Chicago. If there is one weakness in the selection here, it would be her rendition of the lovely “Not While I’m Around” from Sweeney Todd. I don’t think its naive gumption quite works unless delivered by—or as—a child.
The classical interludes performed by Feliz add significantly to the elegant gestalt of the show. Placing an angled mirror above and behind the keyboard was a clever choice, allowing the audience a view of his dextrous fingers on the keys.
Restrained, thoughtful showmanship makes Grave Songs a playfully classy affair all around. I do hope Fe keeps her voice well above ground for a good while to come.
Grave Songs: A Concert to Thin the Veil
running March 28 to 30, 2025
Red Sandcastle Theatre (922 Queen Street East)
running time: 90 minutes (no intermission)
Lorelei Adama-Chung, Juo Kim Feliz and Louisa Burgess-Corbett and the set for “Grave Songs”, Photo courtesy of Carolyn Fe