Toronto Fringe Review: Yanik Gosselin delivers a deeply personal cabaret celebrating the remarkable women who taught him how to dream
By Ross
One of the greatest pleasures of spending several days wandering through the Toronto Fringe Festival is never quite knowing what kind of artist is waiting behind the next theatre door. Occasionally, that connection begins before a single performer takes the stage. Brava: A Cabaret of Devotions was exactly that kind of experience, announcing itself before the first note was sung. Hearing Elaine Stritch’s unforgettable recording of “The Ladies Who Lunch” welcoming us into Soulpepper‘s intimate and appropriately named Garland Cabaret, I had a feeling I was about to spend an hour with someone whose musical passions closely resembled my own. Then Yanik Gosselin began to sing, and I was, to borrow from the immortal Olivia Newton-John, “hopelessly devoted.”
Written and performed by Gosselin, the cabaret is a loving tribute to the extraordinary women who shaped both his life and his artistry. Some are legendary divas, including Judy Garland, Liza Minnelli, Bette Midler, Céline Dion, and the unforgettable heroines of movie musicals. Others are far closer to home, particularly the two beloved aunts who first introduced him to “Grease” and unknowingly set him on the path toward a life in music. Gosselin shares those memories with remarkable openness, allowing each song to grow naturally from the stories surrounding it. His operatic training gives every phrase remarkable confidence, yet he never sacrifices the conversational intimacy that cabaret demands. Even when an occasional spoken stumble interrupts his rhythm, his sincerity only strengthens the connection. Benjamin Kersey’s elegant music direction and impeccable piano accompaniment provide a seamless magical musical foundation, while Mabel Wonnacott’s gentle lighting helps create an atmosphere that feels inviting rather than theatrical.
When he tells us of his six-year-old heart break when he first heard the exquisite Judy Garland sing, we feel it happen to our own. This is what makes Brava especially touching. Gosselin never treats these women simply as idols to imitate. He celebrates them as mentors who helped him discover confidence and joy. Whether recalling the exuberance of “Grease“, or soaring into the music of Céline Dion and Bette Midler, every number’s performance feels rooted in genuine affection rather than impersonation. One playful detour into Catherine O’Hara’s Moira Rose lands with both laughter and genuine affection, even if it is one of the evening’s lighter musical moments. Throughout the hour, Gosselin quietly invites us to reflect on the artists and family members who first taught each of us to love music.
Peter Allen’s “Quiet Please, There’s a Lady On Stage” beautifully frames the evening, as Gosselin gently gathers around him all those famous voices, performances, and the personal memories that have shaped his life. By the final notes, Brava: A Cabaret of Devotions has become something much richer than a concert of beloved songs. It is a loving thank you to the women who gave one young performer permission to dream, and an invitation for all of us to celebrate the people whose voices still echo through our own lives.
