In The Media
‘Sharing is Caring’ dives into queer identity and friendship | Queen’s Journal
By: Cloey Aconley
Each character deals with different challenges, including depression, addiction, domestic abuse, transphobia, as well as general loneliness and feeling like a bad friend. These dynamics are further explored as the audience learns more about the characters and their motivations, understanding the group’s dynamics on a deeper level after every confessional.
Callie, one of the main characters, played by Bas O’Brien, comes across as the most emotionally intelligent, but the audience could see them listening in during the confessions. When this is revealed, you wonder what they have left to offer the group, and if they’ll be able to forgive them.
Delamere expressed how they wanted to portray the complexity of friendship.
What Does It Take to Be A Producer? Grace Delamere Talks ‘Sharing Is Caring’ | Kingston Theatre Alliance
By: Haley Sarfeld
Sharing Is Caring, which follows a queer friend group on Hallowe’en, examines the limits of closeness in relationships. “What’s the difference between thinking you know everything about someone because you spend all your time with them, and actually knowing that person? Is there such a thing as saying too much when it comes to your closest friends, and sometimes partners or lovers?”
The choice to write a story about gender-diverse characters was a natural one. “It’s really special to me because it’s something that I’ve lived—having an almost fully queer friend group—and it’s beautiful and awesome, and also sometimes hard, because life is hard. And I’ve never seen that experience reflected onstage. And I’m not saying my experience is everyone’s, but it’s at least a little taste of what it’s like.”
Elsa McKnight Gets Experimental | Kingston Theatre Alliance
By: Haley Sarfeld
Shaped around the premise of a psychological experiment, EXPERIMENT 1a takes its audience—or participants, as McKnight calls them—on a journey through the Spire. When asked for details about the performance, she’s evasive. “The whole thing is a bit on the down low,” says McKnight. “You don’t know what the experiment’s really going to entail when you walk into the space… but it involves being in a space and taking part in some fun activities and games.” Pressed further, she offers three words to describe the show’s vibes: “Confusion, playfulness, and competition.”
Of the Sea Productions presents Experiment 1a | YourTv Kingston
An interview with Grace Delamere and Sam MacLeod
Little Red Riding Hood Bares her Teeth in ‘The Cape as Red as Blood’ | Kingston Theatre Alliance
By: Alyce Soulodre
“This play shows that Red Riding Hood, and even remakes of Red Riding Hood, aren’t blasé or overdone. There’s still rich content to work out from the tale, especially with the added environmental message in this case. In particular, younger generations (hey, Gen Z) can adapt the story in innovative ways (with really catchy music), while using folk inspiration and traditional devices like puppetry. The show has overall feel-good vibes, and more than that, its innovation made me feel hopeful about the future in general (not an easy feat!).”
TK Fringe brings strong mélange of shows to Kingston | Intermission
By: Haley Sarfeld
“From a generation of students who cut their teeth amid a global pandemic and looming environmental catastrophe, The Cape As Red As Blood is both an outlet for despair and a call to rise from the ashes and take action for a world we love. I admire the show’s ability to show the deep rage that comes with being a woman in a misogynistic society without depicting violence against women outright — a deeply Gen Z sensibility, and one that makes it feel safe to sit in the shadows and open up to the story. Creepy, satisfyingly dense harmonies and energetic performances make the show worth attending a second time, and I truly can’t wait to watch it develop further in the coming years. If, from time to time, the team bites off more than they can chew, it’s a voracious, mouth-watering bite that leaves me eager to see them take the next one.”
Review: TK Fringe breaks fourth wall across the board | Kingston This Week
By: Skylar Soroka
“The highlight of the show for me was the blank white sheet hung centre-stage, which served as a point of the plot to always revert my eyes back to. It was also a canvas for shadow depictions of the story, bringing scenes to life, such as Little Red venturing into the woods or Crow marking their portrayal as the Big Bad Wolf.
Another key element was the symbolism of the wind, or nature, guiding the characters’ destinies. The wind pushes Little Red away from home and towards the village, emphasizing the theme of environmental preservation where tension of opposing views on deforestation take place. The difference between Crow, engulfed in a world of darkness, and Phoenix, painted with child-like wonder and naivety, champion a stark contrast adding depth to this classic folktale.”
‘Violets Bloom in April and Marigolds in Autumn’ reminded me of the times I sobbed on my bedroom floor | Queen’s Journal
The play incorporates LGBTQ+ love stories in a real and raw manner
By: Paige La Fraugh
“I walked into this show not knowing what to expect. I walked out with tears in my eyes and the cathartic feeling of getting to see myself represented on stage as a non-binary student.”
“Mevis delivered a performance that reminded me of nights spent sobbing on my bedroom floor and uprooted memories of the first time I fell in love with a woman and didn’t know how to act because I didn’t understand who I was.
Violets is a show that reflects real struggles—not what society thinks struggle looks like for Gen Z.
The acting in Violets was arguably some of the best acting I’ve seen at Queen’s. The discipline, mannerisms, and vulnerability of each character made it feel like these were real people on stage and not characters curated from Delamere’s mind.”