‘Who is Esther?’ Offers More Questions Than Answers
Content Warning: ‘Who is Esther?’ deals with mentions of racism and sexual harassment. Although this review does not discuss these topics in depth, they are general themes in the performance.
Premiering at the Theatre Kingston Fringe Festival 2026, Who is Esther? is an almost-entirely sung-through musical, with both book and music written by Randall Craig. After receiving encouragement from her Uncle Mo (Brice Leunkeu), Esther (Zalyzza Govia) enters a singing contest for the position of Vice President at a major company. What follows is a present-day retelling of the biblical story of Esther, satirizing the racism and misogyny pervasive in corporate environments.
The show’s standout performance is Govia, playing the titular Esther; she has a smooth, sweet voice that draws audiences in, and is certainly an experienced actress, demonstrating proficient dance and acting skills during the show’s nineteen songs. Tommy Amoroso also gives a great performance as Ham, Mr. Verius’ (Mitchell Lauer) racist advisor, showcasing his tenor range with clear high notes in each of his solos. The expressive four-person chorus each has their own solo feature during the performance, and shine here and in their comedic moments. The choreography, while unpolished, is performed with gusto by all parties.
The lighting design (Rian Tran) also remained mostly uncomplicated, but I particularly enjoyed how it mixed with the choreography in “The Gallows,” where the ensemble are fitted with a variety of small lights on their hands to cast interesting shadows when paired with the stage lights. The costumes (Temima Rocklin) utilize simple pieces to create a variety of looks for the ensemble, where Mr. Verius and Ham rock stern office attire, and Esther and Uncle Mo are visually coordinated with pink shirts, indicating their familial connection.
Craig’s music is campy and catchy, but often repetitive, sometimes lacking in climatic build as the show reaches its most emotional and essential moments. I appreciated the silly rhymes—“Mr. Verius, oh so serious, you’re our CEO” has been stuck in my head since first hearing it. However, the lyricism sometimes turns overly simplistic, making listeners wonder about the type of audience this story is intended for. I found the lack of a “button” or final note at the end of many songs caused the audience to applaud based on blackout cues, more of a mechanical reaction than a natural show of appreciation for the music, which is typically indicated when hearing a “final” note.
My primary critique of Who is Esther? concerns the plot: the characters are caricatures of common harmful tropes. For example, the only two Black characters in the show are from “the hood,” a detail mentioned in a synopsis projected on the wall during the pre-show. After learning this musical retells the biblical story of Esther, the inclination toward character archetypes makes sense. However, since there was no mention of this within the program or on the marketing materials at the show, those unfamiliar with the story may find these characters offensive for their reliance on stereotypes. Moreover, the catalyst for the plot of the story is Vashti (Michelle Kettrick), Verius’ former VP, quitting, after refusing to sleep with her boss to maintain her status in the workplace, another feature of the story of Esther.
While the musical reintroduces the complicated race and gender dynamics that are critiqued in the biblical story in a contemporary way, it treats them more as plot devices than nuanced issues worth discussing at length. For example, there is no mention of Esther and Uncle Mo ever finding out the reason Vashti left the company, and the pair eventually get along well with Verious, a known abuser of power for sexual favour. It is even implied that the “talent” demonstrated by Esther in the singing competition is a euphemism for sexual performance, as Verius and Ham search for a replacement VP who can compare to Vashti. Again, Verius never faces consequences for his actions.
In contrast, the tone of the musical is very uplifting and comedic, which lightens heavy topics but also toes the line of being in poor taste. When retelling a story like Esther’s for modern audiences, particularly one that addresses socio-political issues, changes to the story should reimagine it as an improvement upon centuries-old expectations. A retelling like Who is Esther? where characters like Verius are flattened into anti-heroes and characters like Esther and Uncle Mo lean into racial stereotypes does not execute this.
My concerns with the content of this show prompt me to consider the potential implications of the lottery system at Fringe, with a curiosity for how shows are examined after they are chosen: if we are aware of these potential concerns prior to the staging of the festival, at what point do we prioritize artistic expression over the perpetuation of harmful ideas, whether intentional or not? There is a wide range of audience members who may come to experience these performances; shows presented should be crafted in a way that honours the complexity of their subject material, and the lived experiences of audience members watching them.
Who is Esther? left me with a few more questions than answers about activism, but features a collection of talented performers and creatives who have put their hearts into their work. Be mindful of the subjects it discusses, and if you feel comfortable, consider supporting its debut this Fringe season.
‘Who is Esther?’ runs until August 16th at the Tett Centre as part of the 2026 TK Fringe Festival. For tickets and more information, click here.
