Grey Spaces

This time-skewered musical drama borrows plot points from SLIDING DOORS, GROUNDHOG DAY, & BEETLEJUICE. Witty lyrics & A+ singing from the on stage trio (plus Taryn Wichenko's comedic timing) make it work, though it could shave 10-15 min off its running time. (I saw their last performance, so the volume issues noted by other reviewers here seemed mostly resolved.)

great set , great blocking, great premise. the musicians were tooooo LOUD and on extremeley loud- with no quiet dynamics at all and played the entire time, really detracted form the show. i took out my hearing aids and still thought it was too loud. some audience left because if it.

Really really good. The lyrics were clever throughout and the singing was phenomenal from everyone. The live music accompaniment was consistently beautiful. I don't think there was a single song I didn't like or a single joke that was a miss. Went on the third day of Fringe and then went again on closing day. It only got better the second time. As a scifi lover, maybe the time-loop logic wasn't perfect, but it was well developed enough for me to follow easily. Funny and sentimental in the best way.

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I went to see the show on the 5th. The story's plot twists were so cleverly unpredictable that I was completely captivated until the very end. The sound was a little difficult to hear at first until I got used to the microphones, but it became clear once I did.

The live music, the three singers' incredibly skillful performances, and the well-placed humor made it a musical I personally enjoyed. I also loved how it made the most of the stage's unique characteristics.

I don't usually like overly unrealistic stories, but this one skillfully blended a fantastical story with a realistic one, drawing me in completely.

Interesting idea, and started out pretty well. However, the ending was a bit lacking. Also, a big problem was the music was so loud that I often had a hard time hearing the dialogue. The actors did a good job with what they were given, and I thought the show made good use of the stage.

The story seems good, sadly the musicians are way too loud. So loud in fact making it impossible to hear 99% of the dialog as they never stop. I also could hardly hear much of the lyrics of the songs over the loud musicians too bad that they didn't work this out already. Three people left, I was hoping that someone would make the correction but nope. Unless this is what they want to do, cover up dialog and thr musical numbers?. Wish i could have heard it is all i can say. Also at least 10 to 15 minutes too long.

EMPTY SPACES  Book by Brittany Miranda, Music and lyrics by Fynn Cuthbert  Directed by Saphire Demitrio  Presented by MC Productions 

This clever and engaging three-hander musical reminded me a great deal of the film SLIDING DOORS, while blending in metaphysical questions about fate, second chances, and the nature of the afterlife. It is an ambitious concept, but one that is handled with warmth, humour, and genuine emotional sincerity.

At the centre of the story is Rowan Gray, played with considerable charm by Justin Myers Chapman. Rowan finds himself caught between two women whose presence ultimately shapes the course of his life, and perhaps his death. The first is the woman of his dreams, portrayed by Michelle Chu, whom he meets during a chance encounter on the TTC. Their brief connection is full of possibility, but Rowan's awkwardness prevents him from taking advantage of the opportunity. Even so, it is immediately apparent that he has fallen for her.

Before he has any chance to change that, Rowan dies in an accident and awakens in the afterlife, arriving in a processing area known as the "Gray Space," a playful reference to both his surname and the uncertain place between life and whatever comes next. There he meets Minn, an afterlife guide portrayed with confidence and warmth by Taryn Wichenko. Minn explains that Rowan has two choices. He can move forward into eternity, or, if he believes he has unfinished business, he can return and live his life over again. The catch is that he is supposed to have no memory of his previous life.

Driven by his regret over the woman he met on the subway, Rowan chooses to return in the hope of finding her again and building the relationship that never had the chance to begin. In one of the story's more intriguing twists, however, he somehow retains his memories. This transforms the musical into something resembling GROUNDHOG DAY, with Rowan repeatedly reliving his life, making different choices, and slowly discovering that every decision creates unexpected consequences.

As the timeline shifts and events begin to change, Rowan's pursuit of his dream relationship gradually gives way to an entirely different possibility. The earthly version of Minn, who just happens to live upstairs from his apartment, becomes an increasingly important part of his life. The plot asks whether destiny is something we pursue, or something we discover only after letting go of our original expectations.

On paper, the premise sounds wonderfully improbable, yet the production makes it work through strong storytelling, appealing performances, and an excellent musical score. Fynn Cuthbert's songs are consistently memorable, balancing heartfelt ballads with lighter comic moments. Cuthbert also performs on keyboards, accompanied by an intimate ensemble featuring violin and cello. The result is one of the strongest and most distinctive musical accompaniments among this year's productions in the venue devoted to musical theatre.

Justin Myers Chapman gives Rowan an appealing vulnerability, Michelle Chu brings warmth and sincerity to the mysterious young woman, and Taryn Wichenko is particularly impressive as Minn, grounding the show's supernatural elements with humour and compassion.

The performance I attended played to a near-capacity audience, and it was easy to understand why. Positive word of mouth had already begun to spread, and even at its first performance the production displayed remarkable confidence and polish.

The influence of Jean-Paul Sartre's NO EXIT also seemed apparent, at least to this reviewer. Like Sartre's classic work, EMPTY SPACES explores choice, regret, and the possibility that eternity may simply be another opportunity to confront ourselves. Fortunately, it does so with considerably more music, considerably more hope, and a great deal more heart.

Brian Morton The Hammer Monthly

This has the potential to be a great musical! The story is marvelous, the quality of the lyrics are inspiring and clever (almost on par with Sondheim!), and the performances of the actors are strong and enthusiastic.

Unfortunately, at the first performance, the musicians were far too loud. Granted, it was like a "preview performance" so perhaps there wasn't enough time for a proper sound check. It was difficult to hear the lyrics.

However, I presume subsequent performances will correct this technical oversight and I wish all the performers a successful run at the Fringe!

Great concept, excellent cast and music. Unfortunately couldn’t hear parts as music was so loud so missed some of the story.

A really interesting take on life and death. Very funny but poignant. Cast was phenomenal especially the actress playing Min. She was fantastic!!