‘It’s a Good Life If You Don’t Weaken’ is a Soaring Ode to Kingston
How often is it that Canadian audiences get to witness their city celebrated in nearly every possible way, in the form of a new musical? Presented by Thousand Islands Playhouse in partnership with Theatre Aquarius, It’s a Good Life If You Don’t Weaken tells the story of Waleed (Ali Momen), an exiled journalist who arrives in Kingston from Baghdad, Iraq, and finds himself swept into a romance with Kate (Talia Schlanger), co-owner of a local music shop. As unexpected hardships are thrown their way, the pair must navigate both their new romance and their individual relationships with the city and people they love most. The jukebox musical features songs by Kingston’s own iconic, 17-time JUNO award-winning rock band, The Tragically Hip, with updated orchestrations by Bob Foster and additional orchestration by Richard Evans.
Following a sold out run in Hamilton at Theatre Aquarius, I had high expectations for It’s a Good Life’s Kingston debut, and was curious to see how the creative team would construct an original narrative that honoured The Hip’s legacy. Often, jukebox musicals have a reputation for being shallow or underdeveloped, as they lack original music written specifically to advance the script. I am thrilled to report that It’s a Good Life is not your average jukebox musical.
Written by Ahmed Moneka and Jesse LaVercombe, this story tackles themes of cultural identity and displacement through Waleed’s story, as he grapples with reconciling his life at home in Baghdad with the world he begins to build for himself in Kingston. Each of the characters in the company are fleshed out with their own distinct arcs and histories beyond the current happenings of the story; in particular, the complex connection between Jonathan (Brandon McGibbon), Kate’s often irresponsible brother, and Didi (Tahirih Vejdani) is one of my favourites to witness. Both performers portray them in a way that makes them feel like a neighbour you’d pass on the street. While there are certainly tear-jerking moments throughout, Moneka and LaVercombe weave comedy and inexplicable warmth into the fabric of the narrative. The finale soars as a theatrical homecoming that will likely linger in the hearts of audiences long after they leave the theatre.
The band, led by music director Richard Evans, is a crucial part of It’s a Good Life, and they are a standout. Scott Penner’s set places them on an upper level on the stage, giving the audience full view of the musicians rocking out throughout the performance. Large ensemble numbers feel as if we’ve been briefly transported to a rock concert. The show’s music is bolstered by Foster and Evans’ gentler orchestrations in the more tender moments of the show; one of my favourites is when Momen and Schlanger sing “Bobcaygeon” together, a stunning duet with beautiful harmonies and stringed accompaniment that especially highlights violinist Adam Diderrich and cellist Debrochna Zubek. The addition of these instruments and the exceptional performances from actors and musicians alike round out the show. Audiences are given the opportunity to hear a new interpretation of the iconic band’s music, while honouring the original sound fans know and love.
Beyond the principal pairs, the show’s company members burst into action from the first moments they are onstage, bringing Marc Kimelman’s choreography to life with seemingly unlimited energy. Their vocal prowess is also something to behold, with most actors given several vocal solos throughout the show. The cast rises to the occasion with pitch-perfect high notes and strong vocal choices that lean into the gritty, rock feel of the show.
The show’s only whiff are certain inconsistencies in the timing of actors’ microphones being turned on and off. Often, performers begin singing solos which go half unheard, since the technical team seems unsure who is singing when. Although this was a minor issue, it continued to happen throughout the performance I saw, briefly taking us out of the magic as the audience leaned in to hear performers try to amplify their voices in the large space.
However, performers remain one with the moment throughout the show. Karim Butt is charming as our ubiquitous narrator, Sam, whose easygoing demeanor draws the audience in from the beginning. One of my favourite moments in the performance I attended occurred just before “Bobcaygeon,” when a moment of silence during one of his monologues was—unsurprisingly—interrupted by a siren on the real Princess Street outside the theatre, causing the audience to erupt into a frenzy of cheers when he shared a knowing look with theatre-goers.
Momen and Schlanger share wonderful chemistry as Waleed and Kate, and I commend director Mary Francis Moore for her ability to make us root for these characters and their connection, even at their lowest. Both performers shine individually, with Momen’s many solo moments across the musical demonstrating his dynamic range. I was particularly struck by his emotional vocalizations which open the titular song, showcasing his immense vocal agility even as the story reaches its somberest. Schlanger’s iteration of “Cordelia” is another unforgettable display of vocal range and emotional power, with the lighting and orchestrations heightening Kate’s well-earned powerhouse solo.
As a lover of intricate, detailed design, It’s a Good Life did not disappoint. Jason Hand’s lighting is utterly spectacular, featuring a vibrant array of colours and haze effects which cast beams of light dancing onstage alongside the cast. They also serve to draw audience eyes to important moments of dialogue and to hide certain characters, particularly Sam, from view– even while he remains on stage, presiding over the story.
The set (Scott Penner) features tall beams covered in graffiti-inspired scrawls of both Hip lyrics and Arabic phrases to convey the show’s dual locations, allowing the lighting to play with shadow to distinguish which scenes take place in Baghdad versus Kingston. The pair’s designs result in a visual shine for the entire story.
With incredible performances, stunning creative design choices, and always iconic music, this show is a love letter to Kingston. Between a subplot revolving around Waleed publishing articles in The Kingston Whig Standard—if you are reading this in The Whig, know the irony is not lost on me—mentions of Queen’s and Waleed’s unexpected Commerce (“Commie”) student roommate, Lucas (Kevin McLachlan), and the references to specific street names, this story is made complete by its care for the community that it now calls home.
Being surrounded by Kingstonians grinning ear to ear, giggling each time Waleed pointed out our city’s quirks, was one of my favourite experiences as an audience member to date. I may have said this before, but this time, I really mean it: with only a few performances left, Kingston audiences cannot miss It’s a Good Life If You Don’t Weaken.
‘It’s a Good Life If You Don’t Weaken’ is presented by Thousand Islands Playhouse and Theatre Aquarius, and is playing at the Kingston Grand Theatre until November 8th, 2026. Tickets and more information can be found here.
