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For 54 years, Diamond Tooth Gertie’s has glimmered – like its namesake gem – under the midnight sun in Dawson City, Yukon.
Save for the Pride flag tangled on the flagpole above the door, the clapboard heritage building looks much as it did over 100 years ago, when it was built as an all-male social club. The establishment, which houses Canada’s oldest casino, is meant to recreate the spirit of the 1890s Gold Rush that put Dawson City – the “Paris of the North” – on the map.
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Part of the team bringing that vision to life are the can-can dancers who perform as the Gold Rush Girls.
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There are four of them, recruited from across the country. Before the show, they, along with four vocalist castmates, train in Toronto, where they are also emotionally prepped for the job.
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“You have to take care of each other,” cautioned choreographer George Absi at a rehearsal in April, 2025. “You’re family now.” With three shows a night, seven days a week from May to September, the emotional and physical demands require resilience, and the isolation can feel intense. But so can the connections.
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It’s possible to take in all of Gertie’s in one glimpse. The sound of laughter at the walnut bar mingles with the roulette table’s clickity-clackety-clack. A regiment of slot machines casts a kaleidoscope of colour onto the faces of patrons who gaze at the ruby-red stage curtain, eager for the show to begin.
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“Oh, it was probably such a physically contagious need for a good time,” muses audience member Carlie King about the spirit of the Gold Rush.
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“People who made it here were lucky, and a lot of them didn’t get anything and lost limbs to frost and organs to sexually transmitted infections and strong liquor. Those who made it back to town needed to let go and were probably desperate to enjoy themselves and celebrate.”
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A modern-day Diamond Tooth Gertie presides over the evening’s festivities. This year, the role is reprised by Torontonian Kati Pearson, who sees it as a tribute to a woman who carved her own path in a world that wasn’t built for her.
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“Diamond Tooth Gertie was the stage name of Gertie Lovejoy, a legendary figure from the Klondike Gold Rush era who was a saloon dancer and singer,” says Pearson. “Although many historical accounts vary, and much of her life remains mystery and myth, she was known for her exuberant personality, flashy performances, and for having a diamond set in her front tooth.”
To her, “Gertie represents a strong and confident woman” – a successful businessperson at a time when women’s roles were more narrowly defined than they are now. “Gertie was able to make a name for herself on her own terms using her talent and business savvy.”
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It’s this grit that every performer in the show embodies: smiling through sweat, commanding applause, and giving shape to a joy born of survival.
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This rings especially true for dancer Holly Plett from Winnipeg, whose grandmother passed away just a few weeks into the season. With no easy way home and a nightly curtain call, she dances through grief.
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For returning dance captain Sydney Sudmals, this show, and Dawson City generally, represents something different.
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Last summer, Sydney met Bryn Turai, a soft-spoken blackjack dealer with an impish grin who worked on the casino floor. Their connection grew into a relationship and a shared love for the chaos and colour at Gertie’s. The two are from Ontario, but in Dawson, Sydney says, “friendships blossom because of how authentically themselves everyone can be here.”
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King, the audience member, puts words to a common feeling about the town: “Dawson is the land of misfits. Anything goes, everything goes, nobody cares, yet everyone cares.” Dawson calls to the creatives, the runaways, and the reinventors.
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caption:
credit:
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audio-description:
[.text]
[.+paragraphs]
Karen Murray, a longtime local and the show’s producer, put it best: “Dawson City is like the end of the road. It’s the last stop. So if you’re running from something or you’re running to something … this is it. It’s either the furthest you can go or it’s the place you’re trying to go.”
[]
[]
[]
:skip
****** photo ******
:endskip
[.slide]
type: photo
photo-sm: https://www..com/files/interactive/canada/features/photo-popup/stories/yt-cancan/KenyaJadePinot-DawsonCity-35_sm.jpg
photo-lg: https://www..com/files/interactive/canada/features/photo-popup/stories/yt-cancan/KenyaJadePinot-DawsonCity-35_lg.jpg
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[.+paragraphs]
At the end of the road, where the wilderness presses in and the summer sun drenches the landscape, Gertie’s is more than a cabaret. It’s a living monument to empowerment, perseverance, and the feminine urge to find a way.
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[]
[]
:skip
****** photographer bio ******
:endskip
[.slide]
type: bio
label: About the photographer
photo: https://www..com/files/interactive/canada/features/photo-popup/stories/yt-cancan/KJ_BIO_PIC_copy_sm.jpg
photo-credit: Grace Rockett
bio: Kenya-Jade Pinto is an Indo-Kenyan-Canadian documentary photographer and filmmaker. She grew up chasing crabs on the Kenyan coast before moving to Alberta’s foothills as a teen. Today, she works out of Toronto. Her work focuses on narrative projects that navigate the tricky little nuances of our shared human experience in an increasingly interconnected world.
[]
:skip
****** credits ******
:endskip
[.slide]
type: credits
[.+credits]
Photography and story by Kenya-Jade Pinto
Editing by Lisan Jutras
Photo editing by Solana Cain
Visuals editing by Solana Cain and Liz Sullivan
Digital presentation by Sarah Palmer
Interactive design and development by Christopher Manza
[]
[]
[]
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