Critical Acclaim for
THE QUEEN IN ME

“infused with fresh relevance – a reminder that art persists in the face of the anti-LGBTQ protests happening across Ontario.”

“a call-out of epic proportions”

“This queen speaks for all of the “fallen” women of opera […] who have been reduced to two-dimensional decorations…”

“wildly interesting, funny, poignant”

“Their obvious love for opera and all the societal power it has held reminds me of Maria Callas, the legendary soprano who had a certain reverence for the composer. Even during the cheekiest “angry lesbian” rant onstage – hilariously tinged with a bright German accent – Kasahara clearly holds the art very, very dear.”

“Kasahara delivers legit, top-tier singing of the best moments from Turandot, Rigoletto, Manon Lescaut, Macbeth and more.”

“The show is densely packed with problems the opera industry must address, questions to disrupt and ridiculous people of which to make fun. But the prevailing theme was utter joy.”

— Jenna Simeonov, The Globe and Mail Sep 25, 2023

“… the vocals are captivating with the included arias and excerpts – from works by Puccini, Verdi, Strauss and more – demonstrating Kasahara’s range and versatility.”

“The Queen In Me is fast-paced, entertaining, and aptly challenges the status quo of an artform that sometimes isolates more than it innovates.”

“Perfectly suited for opera lovers and opera loathers alike: everyone will get something out of the message and the performance.”

— Alan in Belfast, Oct 19, 2022

“…soprano Teiya Kasahara in The Queen In Me, a clever, caustically funny, pointed and pertinent solo show receiving its European première at Belfast’s The Mac.”

“Kasahara’s machine-gunned soliloquy ricocheting between history lesson, musical analysis and a multitude of ‘isms’ laced together by some of opera’s most familiar arias, alongside a carefully insinuated autobiographical element that imbues the evening with a stirring challenge and a compelling call to action.”

— Michael Quinn, British Theatre Guide, Oct 19, 2022

Kasahara is a force to be reckoned with, offering up stunning renditions of beloved pieces from Puccini, Donizetti, Verdi, Strauss, Massenet and Mozart. Even more exhilarating is their reclamation of the spotlight on their on terms, mastering the material and illustrating — viscerally — the transcendent potential of the art form.

Kasahara is a commanding presence as the Queen of the Night from Mozart’s The Magic Flute.

The Queen In Me, created and performed by Teiya Kasahara, contains multitudes! It is an ode to opera: a rigorous deconstruction of its misogynistic tropes; a calling-out of Euro-centric, cis-gendered, heteronormativity within the industry; and, ultimately, a rousing celebration of new, liberating conventions within the art form.

— Istvan Dugalin, Theatre Reviewer, Sep 25, 2022

Rooted in selfhood and identity, Kasahara performs captivating renditions of recognizable, canonical soprano arias.

Alongside the robust and undeniably stunning vocals, this performance is full of witty enriched dialogue in which Kasahara calls out the opera Industry for its expectations of sopranos, women, racialized, trans, and non-binary folks.

The Queen In Me enchantingly criticizes the ongoing exclusivity of opera in Canada and reveals the truth of what it is like for Kasahara to have had to remain performing in hyper-feminized and limiting roles.

The Queen In Me is a radical, innovative piece of operatic art.

The Queen In Me is a hilariously cathartic piece of operatic work.

— Tessa Maki, Intermission Magazine, Sep 25, 2022

“… [an] extraordinarily enthralling depiction of the character in their solo show, The Queen In Me.”

“startlingly original musical monologue”

“[Kasahara] is masterfully assertive, [a] no nonsense 2SLGBTQIA+ singer/opera activist”

“Part bitter satire, part impassioned plea, Kasahara ruled, nowhere more forceful than in their powerful, poignant rendering of the Queen of the Night’s searing revenge aria, Der Hölle Rache.”

“… a decidedly risky proposition for any performer.”

“Bravery comes in many forms. Kasahara was and is positively fearless.”

“Thrilling, inspiring, savagely operatic, Teiya Kasahara gave urgent voice to a compelling need to move the beleaguered art form forward.”

— Ian Ritchie, Opera Going Toronto, June 12, 2022

“This Queen rules.”

“The Queen In Me [is a] bold, intelligent and beautifully sung critique of the art form and its practices.”

“Works brilliantly”

“Clever”

“The final ten minutes are so thrilling dramatically and musically”

— Glenn Sumi, NOW Toronto, June 9, 2022

“The Queen In Me … [is a] monolith of a one person show. A true one-person show – not a recital, not a cabaret or salon, but a dramatically driven show that would need to be seen to be believed.”

“… the salve that the opera industry has been craving.”

“We finally have an answer to the age-old click-bait question ‘Is Opera Dead?’ This production provides a loud, proud, definitive “NO” as an answer.”

“Teiya always had strength and clarity and cleanliness. What we have now is that strength turned into a power that has an elasticity and depth.”

“It’s an instrument that just gets better and better the more you hear it. Also we need to give a shoutout to their stamina: at no point during the almost over 90-minute runtime where they sang everything from QotN to Turandot to Lady Macbetto to Lucia and back again all while delivering mountains of divinely delivered spoken text, and at no point was there even a whisper of fatigue.”

“Kasahara is proof positive that opera singers, when given the breathing room, can indeed act - and skillfully to boot.”

“I will honestly say it was one of the most powerful moments of theatre I’ve experienced in years.”

“Kasahara’s Queen is acted beautifully and they show a remarkable mastery of a thick German accent. They slide effortlessly between speaking and singing.”

“This is the kind of show we need right now: Political without being preachy, informative without being condescending, and vulnerable without being traumatic.”

“Their standing ovation was more than deserved.”

— Greg Finney, Schmopera, June 7, 2022

“Kasahara makes a role they have sung many times sound easy.”

“… a well-paced tour of other operatic conventions and characters.”

“… an orchestral arrangement that seamlessly links Verdi, Puccini, Mozart, Strauss and others.”

“… [Teiya Kasahara] tackled the challenge with great skill, and while some of the commentary was bitingly critical of the opera world — much to the whooping agreement of audience members around me — there was never any doubt about Kasahara’s passion for and commitment to the art form.”

“Kudos to Kasahara, too, for the the exuberant theatricality of their performance.”

“A bare-chested, tattooed, trans self triumphantly giving voice to Mozart’s music.”

“The Queen In Me is a timely, provocatively entertaining addition to the genre.”

— Wayne Gooding, Opera Canada, June 5, 2022

“It brought the house down.”

“It’s very funny, very pointed, and the singing is really good… they are ace at it.”

— John Gilks, Opera Ramblings, June 5, 2022

“… [an] extraordinarily enthralling depiction of the character in their solo show, The Queen In Me.”

Acknowledgements

THE QUEEN IN ME world premiere is generously supported by the Canada Council for the Arts, the Ontario Arts Council, the Toronto Arts Council, and the Wuchien Michael Than Foundation.