"The latest YPT offering boasts a colourful, playful set with fine lighting and sound design. Unfortunately, it’s not enough to overcome lacklustre performances and the convoluted plot of this murky faerie fantasy. "

In children’s theatre, there are three key “look fors”, that I believe are pivotal to a production’s success – First, an engaging plot. The script shouldn’t be too heavy, abstract and difficult to follow. A good moral message is always welcome in a non-preachy way. Second, stimulating sets and costumes. These should appeal through extraordinary colour, texture and design. Third, captivating performances. Physical and vocal performances must match the heightened sensory experience, engaging and retaining the audiences’ suspension of disbelief. A little audience interactivity can go a long way here as well.

“Wicked Nix” at Toronto’s Young People’s Theatre ticks only one of these boxes, bringing wonderful visuals, lights and sound to this adaptation of Lena Coakley’s children’s novel. Unfortunately, the meandering plot and bland performances keep this whimsical narrative of a mischievous woodland fairy from resonating as it should.

Nix (Davinder Malhi) is the sprite at the centre of it all. He narrates his own tale of how he is tasked by the Fairy Queen (Christine Horne), with safeguarding the forest from a most dangerous enemy – humans. When one such foe (James Dallas Smith) settles into a cottage in the woods on the eve of the Queen’s return, Nix conjures a few wicked tricks and employs his impish tactics and spiteful threats to drive him away. His efforts fail, and Nix is faced with difficult choices and an even more dangerous truth, while discovering the timeless bonds of family and the joy of finding home in unexpected places.

Director Stephen Colella creates a fanciful world of reality and make-believe, clearly denoting where one ends and the other begins. His inspired vision and creative blocking make full use of every inch of the stage. His canvas of childlike fantasy is ready, but can the actors provide big enough brushes strokes to fully engage the audience? Well, no. Monochrome performances range from average to drearily understated, the antithesis of its superior production design, resulting in a fairy tale that’s more feeble than fanciful.

Paula Wing’s adaptation of Coakley’s 2018 novel successfully addresses the importance of identity and belonging, but these wonderful messages aren’t revealed until the play’s conclusion and it’s a slow burn getting there. There’s also a dark, spooky twist that casts fairies not as fun-loving tricksters but sordid, self-serving imps. From the outset, Nix’s relationship with his human friend Rose (Qianna MacGilchrist), who lives on the edge of the forest with her doting Mummy, seems a diversion to the main narrative. Much of the script is padded with tedious, uninteresting dialogue. When the Man-Human arrives, things perk up. But still the (predominantly young) audience waited for something to happen. Anything.

The fanciful set and earthy costumes by Ting-Huan and Christine Urquhart are inspired and chimerical. Large vertical and horizontal cylinders painted green and yellow stand in for tall trees and fallen logs, large mounds of green felt provide hills to hide behind, plush area rugs with meandering patterns mimic streams and pathways while a mossy curtain protects a hidden structure. There’s even a large wicker “nest” above the stage where Nix often perches. It's a jungle gym on steroids.

Costumes tie in beautifully with forest residents sporting shorts, shirts, and vests in shades of green, while the human visitors are clad in jackets, pants and shoes in warm and natural hues of the earth ranging from browns and beiges to greens and yellows. Only Rose and Mummy who alive outside the forest, wear pastel dresses and blue jeans. The Fairy Queen is splendent in her gown of silver and blue, channelling every bit of Glinda from The Wizard of Oz.

Top marks for Rebecca Picherack’s exquisite lighting design, enhancing the lush mysteries of the enchanted forest. Pockets of light and shadow give a rich depth texture and depth to the set. Moving patterns projected on the walls of the theatre and stage floor are thoroughly immersive. Amber and blue lights clearly communicate the time of day and mood of each scene.

I love how sound can contribute to the tone of a show, even before the curtain rises. Designer Raha Javanfar understands this well. Cheery birdsong, chirping crickets and buzzing cicadas serenade audiences looking for their seats. Throughout the performance storms, howling wolves, fairy voices and other natural and unnatural forest sounds seem to come from every corner of the theatre. Kudos to the chilling resonance of the Fairy Queen’s voice as well!

The performance I attended was “relaxed” with extra features being added to make the theatre-going experience more sensory-friendly. These include revealing the show’s potential trigger warnings, slightly adjusted sound and lighting levels and a calm area to watch the show on a lobby monitor if a break is needed. This is all for the benefit of the audience, not the performers. I don’t think the cast got the memo. Overall, performances were colourless and unengaging. Few laughs, plodding pace and zero interactivity made me wonder if the audience was as invested in these characters as they should be.

As Nix, Davinder Malhi, reminds me of Puck from A Midsummer Night’s Dream—mischievous and conniving with the best of intentions, despite his misdoings. He’s full of boundless energy but falls short on charm. As Rose, Qianna MacGilchrist’s youthful exuberance is fun to watch and thoroughly convincing as a wide-eyed pre-teen.

In dual roles, Christine Horne’s portrayals are too similar. She’s believable enough as the caring Mummy but misses the fun and over-the-top regal bearing befitting a Fairy Queen with questionable motives. As Man, James Dallas Smith’s line delivery is adequate but there’s little truthful connection with Nix. Michael Spencer-Davis delivers an ineffectual performance in the smallest role, Mr. Green.

Wicked Nix is a secretive tale with an abundance of turns and shocking revelations –
Not everything, and everyone, is what they first appear to be. Though production elements are solid and the sense of wonder palpable, the menial commitment to the script (from highly experienced actors) is more surprising than endearing.

Runs approximately 75 minutes with no intermission.
The production runs until May 15 Young People’s Theatre, 165 Front St. East, Toronto, ON M5A 3CZ4
For tickets call 416-862-2222 or email youngpeoplestheatre.org


“Wicked Nix”
Adapted for the stage by Paula Wing
Directed by Stephen Colella
Set and costumes by Ting-Huan and Christine Urquhart
Lighting designed by Rebecca Picherack
Sound design by Raha Javanfar
Performers: Christine Horne, Qianna MacGilchrist, Davinder Malhi, James Dallas Smith,
Michael Spencer-Davis