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