Described by Rick Waines.
This performance will be followed by a Touch Tour for VocalEye users. Ticket prices vary. Please call the Belfry Box Office for details 250-385-6815.
Lover. Monk. Singer. Poet. Leonard Cohen is the epitome of cool. In this stylish musical you’ll check into New York’s infamous hotel and be transported into a world of music, mystery and desire. With extraordinary new arrangements, six performers play 17 instruments in this exuberant tribute to Cohen’s most transcendent songs. Sexy and captivating, this eclectic cabaret celebrates loves lost and won.
I’ve seen this show 5 times (we described the original production at the Firehall in 2012) and it just keeps getting better and better…
Conceived and Directed by Tracey Power
Musical Direction and Arrangements by Steven Charles
The Writer is played by Jonathan Gould
Jane is played by Marlene Ginader
The Bellhop is played by Benjamin Elliott
The Sideman is played by Steven Charles
Rachel Aberle and Lauren Bowler play The Sisters of Mercy and other women
The action takes place in a shabby hotel room. The paper thin wall is scrawled with graffiti, a mountain of crumpled paper almost swallows the unmade bed, a bare bulb hangs over the battered wooden desk and chair. The red pulse of a neon sign shines through the window…
“In Chelsea Hotel, Cohen’s wistful melodies and poetic lyrics seem revitalized and occasionally even reborn thanks to the beauty and boldness of the interpretations. Fans will enjoy it, so will those unfamiliar with Cohen’s vast catalogue.” –Times Colonist
“Chelsea Hotel is a knockout… The harmonies are as thick as cabaret smoke and the performers exhale them with astonishing ease. Freakishly talented, they also play an insane variety of instruments—including guitars, keyboards, drums, violin, cello, bass, and accordion… Everybody on-stage is a star.” –The Georgia Straight
“What will be remembered well about Chelsea Hotel is its overwhelming inventiveness. Most of the segments burst with ingenious creativity. The set is stunning and smart, in particular the tower of balled up papers held in by the hotel room’s bed frame, a sort of sleeping mountain of rejected words. The costumes – with their cursive details (lyrics?) – are fun; at other times they become essential tools in determining who the character is. Most of the performances are excellent. And the music is fantastic.” –The Globe & Mail