Get ready to step back into 1982, when leg warmers were hot, love bombing was part of the wellness routine, and a retreat for the “depressed and downtrodden” might seem like a good and helpful idea.
Toronto’s Small but Mighty Productions invites audiences to the world premiere of Not A Cult: The Musical, a campy, retro thrill ride blending 80s aesthetics, slasher horror, and dark comedy. Premiering at Alumnae Theatre’s Mainspace, this musical dives headfirst into the absurdity and dangers of self-help culture and cult-like devotion – all set to a nostalgic pop soundtrack.
Founded by Caitlin Turner and Melly Magrath, Small but Mighty Productions is dedicated to creating new Canadian works that provide a platform for underrepresented voices. Known for exploring dark comedy through a queer feminist lens, their productions often feature boundary-pushing narratives that challenge traditional norms. Featuring the talents of José Andrés Bordas, Bebe Brunjes, Jim Kelly, Caitlyn Lopez-Howie, Jamie Rice, Maraunda Nunes, April Rebecca, Bartu Suer, Azaria Shams, and Turner, Not A Cult continues this tradition, bringing together a diverse cast and creative team to explore themes of identity, wellness, and the complexities of belonging.
Written by Melly Magrath — with lyrics by Magrath, Quinton Naughton, and Turner, and featuring Naughton’s music — Not A Cult follows a cast of misfits at ReJoyce Camp Retreat, which promises joy and transformation to those feeling depressed, lonely, or in need of a reset. Led by Joy, a former gymnast turned motivational guru, the camp offers a unique, if slightly questionable, path to wellness. Into its cult-like environment, campers bring hidden pasts, secrets, and hopes . . . all while facing questions of love, identity, and survival. “Will they conform? Will they fall in love? Will they die an untimely death?” asks the production team with a wink. And with everything from comedy, aerobics, and slasher horror to a “crazy mystery woman,” the show promises a strange brew of camp and caution.
Turner readily grants the oddity of this mélange: “It’s such a funny combination when you put all those aspects together!” she laughs. “Our niche at SBM is definitely the dark comedy realm. We’re a bunch of queer artists, so naturally the Halloween/horror vibe often shows up in our work. Setting the story in the 80s creates a time capsule of queer culture in that era—a way to tell stories that highlight both the struggles and the joys of queer identity.” Getting up a head of steam, she adds, “And who doesn’t love a good (bad) 80s horror flick? One thing I can say for sure is it’s so fun to be living my best 80s life!”
To the role of Joy, a character who could easily be dismissed as a caricature of the 80s self-help guru, Bebe Brunjes brings both depth and complexity: “I love to think of Joy as a ‘Frankenstein’s monster’ type of character,” they explain. “Because the show is still in the creation process, we’re lucky to have a team in the room who have individually spent time developing this role at some point. And ultimately we all came to the conclusion that Joy is complex and layered in a way that you can really dig into. You can build stories around her that resonate on a personal level.” Brunjes also sees Joy as an opportunity to explore some of the deeper conflicts inherent in identity: “As a non-binary individual, I oftentimes feel there’s a disconnect when trying to relate to someone outside of a cisgender norm. So I . . . embrace both the power and vulnerability that comes with Joy. This is a character you can build a two-way street with – in terms of exploring those feelings and bringing something new to the stage.”
In terms of the infamous retreat, however, Brunjes is less certain: “I used to think I’d survive the ReJoyce Camp Retreat! I was really optimistic at first about making it through. But I’ve been watching Outlast on Netflix, and now I’m not too sure. Although I’ve surprised—and scared—myself before, so you never really know!”
For her part, Turner’s multiple roles in the show give her a unique perspective on its evolution — which she describes as both rewarding and challenging. “We’re such a small company that I’ve always struggled with finding the balance of wearing multiple hats without getting overwhelmed,” she admits. “I directed the show last year, have a hand in the lyrics, and even acted in an earlier version of this show in 2017! So my challenge is knowing which hat I’m wearing, and when.” There’s a balance to be struck “between listening to Mallary and Quinton in the rehearsal room as only a cast member, and then stepping into my producer role when it comes to budget, marketing, and everything else that comes with production.” Happily, she notes, “we’re lucky—Not A Cult has a very strong creative team with excellent communication, and a very unique and special cast.… I’m a bit spoiled, because I get to hang out with everyone!”
The musical tackles self-help culture with dark humour and social commentary, probing the fine line between wellness and cult-like extremism. And Turner sincerely hopes that audiences come away with a new sensitivity to that boundary. “I am a firm believer that everything should be done in moderation,” she reflects thoughtfully. “It’s so easy to cross the line into extremism and make any passion dangerous. We see this all the time in the world—wellness, religion, politics, dieting, and even my personal favourite cult: reality television.” The entire production team hope that “the audience gets the point that no person is a god, following anything or anyone blindly is unhealthy, and that critical thinking should never take a backseat to mob mentality. It’s a theme we’re eager to explore,” she adds, “because it feels so relevant right now.”
As the show’s opening night looms, Turner is most excited for audiences to experience the unique chemistry and energy that the cast brings to the stage. “This group of people have been so encouraging, fun, funny, and dedicated,” she enthuses. “They’ve created a rehearsal room energy that is safe to play in. They are all so talented and unique, and so committed to the project.” Bottom line? “I really don’t think anyone is ready for this zany group of artists to hit the stage! They’re definitely worth the price of admission.”
So for those looking for laughs, thrills, and maybe even chills, Not A Cult: The Musical promises an unforgettable night of 80s pop, horror, and cautionary tales – all wrapped up in a sleeve of dark comedy. Whether you are drawn to slasher films, nostalgic aerobics, or the intersection of wellness and fanaticism, this show has something for you . . . something which includes a reminder that not all paths to joy are quite what they seem. So pack your (metaphorical) bags, and head to Alumnae Theatre’s Mainspace for Not A Cult for your darkly fabulous – and possibly self-helpful — escape.
Not A Cult: The Musical runs from November 6 to November 10, 2024, at Alumnae Theatre’s Mainspace. Reserve tickets through eventbrite.ca.
© Arpita Ghosal, Sesaya Arts Magazine, 2024
