Fiona Sauder is well-known for her dynamic, kinetic contributions to the Canadian theatre scene as an actor, director, and writer. With a passion for creative storytelling and a keen eye for detail, she has carved a distinct niche with work that spans different genres and styles. Since way back in 2017, when our SesayArts team was captivated by her adaptation of Peter Pan (produced by her company Bad Hats Theatre at Soulpepper Theatre), we have deemed her projects to be unmissable. And we were thrilled to discover that her latest project is A Year with Frog and Toad, which is the season-launching production of the Capitol Theatre Port Hope, and is the theatrical production that my university-age children most fondly recall from their now-distant childhoods.
Sauder’s career has been marked by her ability to breathe unexpected life – and find new depth – in this kind of story, both on stage and behind the scenes. And Sauder’s approach to directing is characterized by a collaborative spirit and ability to draw out nuanced performances from her actors. A Year with Frog and Toad is a charming musical, based on the beloved books by Arnold Lobel, with Music by Robert Reale, and Book and Lyrics by Willie Reale. It follows the simple, whimsical adventures of best friends Frog and Toad. Sauder’s direction infuses the production with warmth, humour, and heart, capturing the essence of Lobel’s timeless stories and highlighting the themes of love, friendship and simple pleasures. And as with her previous works Peter Pan and Alice in Wonderland, A Year with Frog and Toad is a nuanced experience that resonates with intergenerational audiences.
By way of explaining the source of these capabilities, Sauder describes herself as a person who was immersed in a hazy wonderland of performance and creativity from a very young age: “I think an argument could be made that my well-worn VHS tape of Cats was an early, pivotal influence . . . but I can’t quite recall how it all took off.” Her childhood home was filled with music, creativity, and “things being built from other things. At some point, my sister screaming down the hallway about how I’m ‘not allowed to listen to the Wicked soundtrack anymore’ became a frequent event.” Along the way, she discovered a love for classical theatre and eventually moved to Toronto to train and start a theatre company with her friends. “The rest”, she smiles, “is history.”
Sauder’s involvement in A Year with Frog and Toad began with an invitation from the Capitol Theatre Port Hope. Though she had not previously encountered the show, she quickly understood why others had suggested she direct it: “Like much of my work, this show for all ages has a real hybrid of tomfoolery and sincerity: the kind of thing that makes you laugh and cry in the same breath.” (And, she notes, the rehearsals have delivered on this duality).
The show touches on the profound truth that friendships are among the most important and formative relationships we can have – and this rings true for Sauder: “Especially working in the arts, my small army of chums is the reason I get by, that I’m able to grow, and that I feel safe to be the person I am.” She describes A Year with Frog and Toad as a show about the “meaning of togetherness over time,” and hails its “nods to the value of crafting our own communities. It feels like a love letter to the people who make us feel like ourselves. The ones who will always be there.” Additionally, she stresses that the music by Robert Reale is “incredible” – something my children will still attest to.
In terms of casting, Sauder had a clear vision from the start. She and Rob Kempson, the Artistic Director at The Capitol, immediately thought of the same performers for the lead roles: Joel Cumber and Haneul Yi. She calls them “outstandingly talented” – and having known both actors for several years, she saw that they perfectly embodied the characters of Frog and Toad, both on- and off-stage. And Sauder likewise praises the ensemble cast of Yunike Soedarmasto, Taylor Lovelace and Ben Page for their equally impressive “knock-your-socks-off talent”.
To make the production enjoyable for both children and adults, Sauder uses a simple recipe: joy. “In order to create something palatable for children, we need to play the way children play: with abandon, specificity, rigour, and freedom,” she explains. This philosophy has guided the rehearsals – with the goal of unlocking the magical thinking of childhood and reminding the adults (on stage and in the audience) that they, too, have permission to engage fully in the act of play.
Especially given the show’s universal themes, she hopes the production will resonate with diverse audiences. “It’s a love story,” she affirms simply. But what kind of love story is up to you: “If you decide that story is about romantic partners, you’d be right. If you decide it’s about two best friends, you’d be right. If you decide there’s no difference, you’d also be right. Ultimately, Sauder hopes audiences leave the theatre wanting to reach out to the people who matter to them – whatever they look like and whatever the relationship – and express their care.
Looking ahead to her year, Sauder is excited about a range of upcoming projects. Her company Bad Hats Theatre continues to develop new multidisciplinary works, and she encourages everyone interested in family-friendly programming to stay in touch through @badhatstheatre or join their mailing list at badhatstheatre.com. And her next directing project is Every Brilliant Thing at the Orillia Opera House, a solo show starring her friend and frequent artistic collaborator Matt Pilipiak.
And as a final note, Sauder warmly invites absolutely everyone to visit the charming Capitol Theatre by June 2: “Come see Frog and Toad! I promise it’s not just for your children.”
A Year with Frog and Toad is on stage at the Cameco Capitol Arts Centre in Port Hope, Ontario until June 2, 2024. Visit capitoltheatre.com to reserve tickets.
© Arpita Ghosal, SesayArts Magazine, 2024
