One-Man Show “Rogers v. Rogers” Takes Aim at Telecom Titan

“Rogers v. Rogers,” a satirical play at Crow’s Theatre in Toronto, offers a humorous yet critical look at the telecom giant Rogers Communications through the lens of its notorious boardroom drama. Adapted from the book by journalist Alexandra Posadzki and directed by Chris Abraham, the one-man show features Tom Rooney portraying every character, including various members of the Rogers family, culminating in a charged Zoom meeting that is pivotal to the company’s internal power struggles. The production runs until January 17, 2025.

The play delves into the tumultuous takeover of Shaw Communications and the internal conflicts that arose when Edward Rogers sought to remove CEO Joe Natale in favor of Tony Staffieri. Rooney’s portrayal of Edward is a stark and comical representation, showcasing him as a bumbling figure who indulges in fast food while navigating corporate chaos. This characterisation invites the audience to both laugh and reflect on the absurdities of corporate life.

In his performance, Rooney expertly shifts between characters with minimal props and a slight change in vocal inflection. His portrayal of Edward is a whirlwind of energy, contrasting sharply with his depiction of other family members, such as the matriarch Loretta, who is often seen with a cigarette, and sister Melinda, characterized by her Valley girl demeanor. The rapid transitions highlight Rooney’s versatility and comedic timing, making for an engaging theatrical experience.

As the narrative unfolds, the play not only critiques the Rogers family’s dynamics but also brings attention to broader issues surrounding Canada’s telecommunications landscape. The character of Matthew Boswell, Canada’s commissioner of competition, emerges as a foil to Edward, representing the ideals of fairness against the backdrop of corporate greed. This character adds depth to the satire, allowing for a commentary on the oligopolistic nature of the Canadian economy.

While the play’s satirical elements are strong, it occasionally suffers from an overload of information regarding the Rogers saga and competition laws. This exposition, while necessary for context, can slow down the pacing at times. The challenge remains in balancing informative content with dynamic storytelling, ensuring that the audience remains engaged throughout.

Despite minor pacing issues, Rooney’s performance is a standout, particularly in his exaggerated portrayal of Edward Rogers. The comedic yet scathing representation may resonate deeply with audiences, possibly prompting them to reevaluate their own experiences as customers of the telecom giant.

“Rogers v. Rogers” is a testament to the potential of theatre to reflect contemporary societal issues while providing entertainment. As the curtain falls, the audience is left not only with laughter but also with a critical view of the complex interplay between power, family, and corporate culture in Canada. With its sharp wit and engaging performances, this production is likely to remain a talking point well beyond its run at Crow’s Theatre.