Making ‘Life More Sweet’ in Kingston
With soft, calming classical music drifting through the venue, your eyes are drawn to a single tent pitched at the center of the stage. At first, nothing happens, then a single sock pokes out from the slightly opened zipper. Then another sock pops out, tied to the first, followed by a folded lawn chair. Suddenly a tennis ball flies out of the tent, then a crumpled newspaper right after it, each object reflecting a fragmented life. Finally, the zipper is tugged halfway open and a head bobs into view. This is our introduction to Peter, played by William Anderson. Once a struggling actor in Los Angeles, Peter’s life was upended by the devastating wildfires. Upon finding himself unhoused, he returns to his hometown in hopes of reclaiming the house his grandmother left him in her will, only to discover the building was demolished without his knowledge.
At its core, Life More Sweet is a story about empathy, identity, and belonging. Written by Martha Bailey and now playing as part of the TK Fringe, the play follows Peter as he comes across two characters: Ros, an empathetic lawyer played by Abby Wolfe who fights for the rights of the unhoused to pitch their tents; and Freddie, a stern landlord played by Brayah Pickard who is firm in her belief that the tents of the unhoused have no place in the city. The conflict between these characters reflects very real discussions, but what makes the narrative hit closer to home is that it’s about our city of Kingston, and the ways community and land ownership play out in our own backyards.
The acting in the show portrays its heavy themes with a good balance of realism and humor to diffuse the tension. In one memorable scene, Ros and Freddie are in a heated dispute over the city’s tent-pitching laws in the local park. However, rather than remaining fixed on stage and reciting their lines back and forth, the two channeled their frustration physically. What started as a small verbal disagreement escalated into a fight scene choreographed by Bjorn Bols. Each time one character gained the upper hand in wrestling, it became their moment to speak; when the tables turned, it was the other’s chance to rebut. This physical manifestation of the argument easily conveyed the catharsis of their conflict.
The choice to include an unhoused character onstage grounds the audience and reminds us who exactly we are advocating for during discussions about Kingston’s housing crisis. The play reminds us simply to be mindful and kind to our neighbours even if they live in tents, while simultaneously advocating for change. Through the perspectives of someone who has been through it, someone who is advocating for better resources, and a skeptic who struggles to see life through a different lens, the play tackles a myriad of topics: poor living conditions, exploitative landlords, steeply rising rent rates, and even the lack of available and affordable housing options for post-secondary students. Though these topics might be uncomfortable to confront, they are necessary discussions to be made and heard. After all, the first steps to advocacy is awareness, empathy, and willingness to help make change.
In the end, the play’s blend of empathy and humor turns its heavy subject matter into one that is more tangible and human than it can often feel. It invites the audience to laugh, reflect, and see their city through a new lens. Leaving the venue, it was hard not to think about its themes of empathy, identity, and belonging while stepping back into the same city I just saw depicted on stage.
‘Life More Sweet’ runs until August 17, 2025, at Confederation Place in TK Fringe as part of The Kick & Push Festival. More information about the program and tickets can be found here.
