Spotlight on Eva Foote: Inside the world premiere of musical ‘Kelly v. Kelly”

Fresh off her acclaimed portrayal of Lily Piper in the theatrical production of Anne Marie MacDonald’s bestselling novel Fall on Your Knees, Eva Foote is about to make waves in another world premiere: Kelly v. Kelly, a new musical by Sara Farb and Britta Johnson that is produced by the Musical Stage Company, in association with Canadian Stage.

Set in 1915 New York amid the suffragette movement, the musical depicts a mother-daughter conflict driven by passion, wealth and generational difference. In the show, Foote plays 19-year-old heiress Eugenia, who is one of the titular Kellys. When she enters a forbidden relationship with a captivating tango dancer, her distressed mother Helen has her arrested. Yet despite the ensuing public scandal, Eugenia is willing to risk everything for love. Inspired by a nation-shaking court case, this battle between mother and daughter explores the evolving role of women on the brink of significant societal transformation in America. 

The production is directed and choreographed by the renowned Tracy Flye, with music supervision, orchestration and arrangements by Lynne Shankel, music direction by Jonathan Corkal-Astorga, set and lighting design by Lorenzo Savoini, sound design by Brian Kenny, and costume design by Alex Amini. The cast includes Jessica Sherman as Helen Kelly and Jeremy Walmsley as Al Davis. They are joined by Dave Ball, Joel Cumber, Peter Fernandes, Mike Jackson, Julia McLellan, Margaret Thompson, and Kelsey Verzotti. 

For Foote, her passion for the arts was a means of survival during her formative years. The creative realm enabled her to escape the anxieties of youth and discover a sense of focus and purpose. “It was an outlet where my sensitivity became an asset, rather than a hindrance,” she explains. “As I’ve gotten older, the outlet of creativity has turned into a determination to work in the arts because I believe it is a powerful way to bring people together, and not only transmit that feeling of solace, but also invite people into a place where empathy is paramount and can change perspective” Within the “hustle” and “go get ‘em” of the industry lies her genuine hope to add something of meaning, in the only way she knows how – “and to attempt to pay my bills in the process!” she smiles.

Although Foote avers that her experience in musical theatre is limited, she connects deeply with her character and believes that Farb and Johnson sensed her profound connection with Eugenia. “That’s the only way I can fathom being offered this role,” she remarks. Foote describes Eugenia as a witty, curious and brave young woman who finds herself at odds with her privileged and sheltered upbringing, as she hungers for a life off the beaten path. “I relate to Eugenia enormously,” she explains, “especially to her zeal and sensitivity and desire for independence.” Although not always sure-footed, Eugenia is honest and bold and bolstered by a changing zeitgeist, so she can defy many of the narratives her generation has inherited – even at a substantial personal cost. 

Foote names Eugenia’s gumption “badass”: “She makes me think of all the women throughout history who have bucked against societal constraints that kept them from their full human expression, and, through their own sacrifice and bravery, have shifted values and perspectives and policy over time. I’ve learned a great deal from her, and” – the ultimate endorsement of her character – “I would befriend her in an instant!”

As noted, Kelly v. Kelly marks the second time that Foote has performed in a world premiere this theatre season (Fall On Your Knees was the first). For Foote, the allure of working on a brand new show is the element of discovery. With no previous iterations to reference, the creative process becomes a journey of exploration, rather than a quest to depart from or conform to a version from years ago. “There’s no blueprint! And – the playwright (and in our case, composer) are typically in the room, feeding the script with a little water, a little soil, a little sun!” Foote beams. “The show really grows as it is nurtured. It’s changing. It’s wrapping around the new bodies in the room. The problems come into perspective, and the successes feel enormous, because they are happening for the FIRST time! It is exhilarating!”

While an accomplished singer and musician in her own right (she received the 2019 Shirley Banks Prize for Emerging Musical Theatre Artists), Foote acknowledges the demanding requirements of a full-scale musical production like Kelly v. Kelly. “I grew up playing music and singing, but have never quite done a MUSICAL musical like this,” she admits. “It is a spectacular challenge!” Her admiration for the ensemble is unequivocal: she compares them to elite athletes with endless heart – which is capped by their ability to “do a full spin while belting a High E”. 

Candid about her own challenges, Foote acknowledges how self-doubt often precedes personal growth, and “it’s been such a gift to get pushed like this” in such a magnificent production. Foote praises Farb’s book, which seamlessly weaves together scenes and songs to transport the audience. She also lauds Johnson – specifically “her ability to write such melodically free, surprising and fearlessly beautiful music with lyrics that speak so efficiently and poetically from the heart of the character.” And she commends Shankel’s arrangements and the ensemble’s gifted singers and dancers, who create harmonies that are “heart-buzzing” and “brain-melting.”  Foote’s favourite musical moment is a song called “You Scare Me,” sung by Sherman’s character Helen at the end of the show. It is a song, she says, that will forever hold a special place in her heart.

Asked to share something about herself that isn’t readily found on her resumé, the gracious Foote deflects from herself to the show, expressing her deep admiration for the all-female team behind Kelly v. Kelly. She finds it “incredibly inspiring” that every person at the helm of this production is a woman: “It is a testament to their artistry, dedication, and skill in bringing this story to life. To Sara and Britta, I say Brava and Merci.”

And to potential audience members, Foote offers a compelling invitation: come see this brand-new musical, and embark on a transformative journey.

Kelly v. Kelly is on stage at the Berkeley Street Theatre until June 18, 2023. Reserve tickets on musicalstagecompany.com.

© Arpita Ghosal, SesayArts Magazine, 2023