This year’s Canadian Children’s Opera Company main show is a new production of Alice Ho and Marjorie Chan’s The Monkiest King which the company previously performed in 2018.  This time it was at Harbourfront Centre Theatre which offered some additional opportunities and some challenges with its multi level configuration but also some sight line issues.

It’s a piece I really like with its playful plot; a sort of prequel to Journey to the West, and colourful East/West fusion score that’s well suited to young voices.  The new production, by William Yong, makes good use off the space; placing one of the choruses (there are several) at balcony level and using the highest gallery to good effect too.  Costuming is playful and effective.

There are really only three principal singing parts with two sets of singers for these roles.  I saw the 3pm Saturday show and this review reflects the singers in that performance.  The biggest role is, naturally, the Monkiest King, played by Olivia Pady.  This is clearly intended for an immature voice and that’s what we got.  Olivia’s singing was accurate and characterful though and she’s a terrific mover.  The more adult roles are the Jade Emperor and the goddess Kwanyin.  These parts were sung by the same pair of singers who impressed me as Aeneas and Dido a few weeks ago; Daniel Park and Daisy Cardich Soria.  Both have excellent stage presence and interesting developing voices, especially Daisy.

There was the expected enthusiasm and commitment from the various age graded groups who portrayed monkeys, villagers, soldiers, horses and even clouds.  It’s a credit to the director that all these groups were moved efficiently to and from where they needed to be with some interesting choreography.  The eleven piece orchestra combined western and Chinese instruments effectively and the whole thing was efficiently co-ordinated by Teri Dunn on the podium.  It’s a fun show that only lasts an hour.

Photographs taken by Sam Javanrouh of the CCOC’s The Monkiest King directed by William Yong