Review: ROGERS. V. ROGERS at Great Canadian Theatre Company

Do you want to learn about a family whose backstabbing, squabbles, and sibling rivalry make your own family feel like the Brady Bunch? The Great Canadian Theatre Company’s 2026-2027 season premiere, the Crow’s Theatre production, Rogers v. Rogers, directed by Chris Abraham, may be just what you’re looking for.

Michael Healy’s play is based on Alexandra Posadzki’s book, Rogers v. Rogers: The Battle for Control of Canada’s Telecom Empire. Rogers v. Rogers traces the story of telecommunications magnate Ted Rogers, from the upbringing that shaped his hard-driving leadership style to the backgrounds of his four children, Lisa, Edward, Melinda, and Martha, before plunging into the corporate power struggles that erupted after his death.

What makes this play extraordinary is that, despite having many characters, it is a one-person show. Tom Rooney embodies every character on stage, from the Rogers family to company executives, board members, and Competition Bureau commissioner Matthew Boswell, distinguishing each through subtle changes in accent, mannerism, or costume accessory. The rapid-fire script keeps the story moving and the audience engaged for the full ninety minutes. The fact that there is no intermission allows the energy and tension to mount without interruption.

I won't dive into the story too much so as not to spoil it for audiences who are unfamiliar with the family's background and influence. Some audience members, particularly in Toronto where the Rogers name is especially prominent, may arrive with more knowledge of the family's history. Suffice it to say that the events leading up to and following the Rogers-Shaw merger contain enough drama to fuel an entire television series, let alone a ninety-minute play. 

The play's stage design (Joshua Quinlan) is imposing, vibrant, and glitzy; an oversized boardroom table spans the length of the stage, enhanced with bright lighting and flanked by floor to ceiling screens. This sharp, corporate setting mirrors the often-sterile relationships among the family members.

During one scene where the company’s board meets via virtual teleconference, the background screens transform into a Zoom-style call, with Rooney reflected in each square as a distinctive character. As each character speaks, the central square reflects the live Rooney seated at the boardroom table; for me, this is a "wow" moment of the show, as it is so incredibly well executed.

Admittedly, I may have gotten more out of this show because I have a finance background, where terms like EBITDA are used on a daily basis. I have also seen my fair share of matrimonial litigation and shareholder disputes, where things can get ugly quickly. Rogers v. Rogers captures the high-stakes tension of shareholder and family disputes with remarkable authenticity. However, my companion, who works in a completely unrelated field, was not quite as engrossed in the plot as I was, though they still enjoyed the show.

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