For Emily Richardson, stepping into the role of Merry in The Unauthorized Hallmark(ish) Parody Musical is less about inhabiting a holiday archetype than leaning into what makes those archetypes so ripe for satire. The new Broadway-style holiday spoof, written by Tony Award winner Bonnie Milligan and Off-Broadway creator Tim Drucker, with music by Joel Waggoner, runs at The Royal Theatre in Toronto through January 4, 2026 before embarking on a North American tour.
The show arrives with a clear premise: take the predictably familiar, feel-good, happily-ever-after Hallmark holiday template … and send it winkingly and decisively off the rails. Directed by Drucker and choreographed by Brooke Engen, the world premiere pairs high-octane pop showtunes with recognizable(ish) ingredients like small-town romance, corporate meddling, a cookie-contest scandal – and a runaway moose, for good measure.
At the centre of the story is Holly, a big-city executive who (of course) returns home to help save the family business and (of course) inadvertently rekindles an old flame. Richardson describes Merry, who is part of the town’s ensemble of heightened holiday personalities, as “your typical TV Christmas movie small-town mom cranked up to extremes. She loves her daughter, runs twelve businesses (the stress is literally making her heart stop), and preaches the Hallmarkish idea that women can’t have it all: they must choose between Small Town Love and Big City Career”.
The blend of familiarity and exaggeration attracted her to the project: “First off, the jokes are great – both the lyrics and the dialogue. Fast and funny. I also like how our show isn’t afraid to skewer sexist TV movie tropes,” she notes. The show is playful, irreverent, and deliberately outsized – which aligns well with Richardson’s background as a writer and comedian: “The humour is right up my alley”, she nods. And one aspect of the role lines up neatly with a personal milestone: “This is actually my first onstage acting role since I had my first baby 18 months ago. So obviously, I was really excited (and nervous). But it’s been such a positive experience. I get to make jokes, sing, be silly – and it’s cool that I’m playing a mom! I feel very lucky.”
Richardson’s extensive professional experience—which spans from The Second City and The Sketchersons to Family Feud Canada—has honed a collaborative approach: “Writing sketch comedy made me a better team player. I try to choose my moments as a comedic performer, and not hog all the jokes or ‘moments’. Comedy works better when the whole ensemble shines,” she notes. And in a show built around ensemble rhythm and rapid-fire holiday humour, that perspective becomes an asset. The cast around her reflects a similar balance of comedic instinct and musical skill: Alexandra Clementi stars as Holly, joined by Sean Meldrum as [her love interest Mark. Heidi Michelle Thomas plays Cookie, Luke Witt is Cody, and the swings are Alyssa Lyn and Levi Stepp.
Under Drucker and Engen’s direction, the entire creative team leans into genre conventions, pushing them – hard – toward their most theatrical extremes. Just how hard may surprise some audiences: “I think our show’s a little edgier than audiences will expect. Sex, drugs, dead wives, T-shirts that say ‘Gay for Cookie’… it really doesn’t hold back,” Richardson smiles. But she also stresses how the humour is paired with strong musical writing: “I want people to walk away from the show singing our ridiculously catchy songs. Joel Waggoner’s music is genuinely amazing.”
While the musical plays with well-worn holiday tropes, its ultimate appeal lies in how knowingly – and affectionately – it subverts them. The tone isn’t mocking, so much as observant: recognizing what audiences enjoy about these stories, while inviting them to laugh at the formula itself. Likewise, for Richardson, Merry offers the chance to step into the sweet spot between tradition and satire. The character is exaggerated, of course. But her comic performance is grounded in the familiar and ultimately comforting earnestness – and optimism – of holiday films.
As holiday productions arrive across the city, The Unauthorized Hallmark(ish) Parody Musical distinguishes itself by leaning on buoyant music, quick wit, and the strong comedic instincts of its cast to walk this line between homage and critique. With Richardson’s Merry anchoring some of the show’s most heightened moments, the production offers a welcome seasonal escape … with a sharper edge.
The Unauthorized Hallmark(ish) Parody Musical, produced by Paquin Exhibitions & Theatrical, continues until January 4, 2026 at The Royal Theatre. Tickets are available at hallmarkish.com.
© Arpita Ghosal, Sesaya Arts Magazine 2025
