BETTE AND JOAN – fame, fear, fervour, and feuding

March 31st, 7:30 pm, 2026, Ensemble Theatre

Ensemble's 2026 season continues its superb run with Anton Burge's BETTE AND JOAN, inventively directed by Liesel Badorrek.

This famous Hollywood feud delves into the unique paths of these two movie stars — how their journeys differ, how they intertwine through rivalry and competition, and how the movie-making machine can be so euphoric at times and then so cruel and dismissive.

BETTE AND JOAN opens on the set of Robert Aldrich's film What Ever Happened to Baby Jane. The reverse side of the set flats present the austere mechanics of movie-making, standing in judgment above the make-up vanity mirrors. First Joan (Lucia Mastrantone), then Bette (Jeanette Cronin), address the world and speak of their journeys to stardom and artistry. Their discourse becomes intertwined to reveal two varying perspectives — of when their careers intersected, and when they trampled on each other.

We are given insights not only into the production dramas of Baby Jane, but into each career as they rise from humble beginnings to global names, navigating the pitfalls and patriarchy of the success mountain. We discover the strength and resilience of both women as they trudge through the misogynistic celluloid domain — and we discover their sensitive, vulnerable sides, allowing us to see fleshed-out characters and understand the human side of their ambitions and life choices. Joan working Christmas Day for the fans; Bette choosing work over family.

The feuding reveals that Joan's reputation is one of aiming for fame, whereas Bette is known as dedicated to the art of acting. This became their legacy — and a barb Bette would use, referring to Joan as the personification of a movie star and herself strictly as an actress. This was reflected in their Baby Jane roles: Joan, obsessed with image, padded her bra to exaggerate her shoulder-dominated figure, while Bette — to the shock of the entire production and audience — used extreme, ugly make-up to intensify the plight of her character. The production suggests a possible key to both women: Joan driven by fear of her looks, Bette by fear of failing her craft

Their story has been told before, and even though a young colleague of mine had never heard of these icons, the feud is legendary to many.  Badorrek has effectively tied the staging and performance elements together elegantly. Cronin and Mastrantone wonderfully command the stage, engaging the entire in-the-round audience.

The flat backdrop becomes a mosaic of beautiful images through a variety of projections. This art wall is exquisitely executed. The visions play tribute to the silver screen — the play opens with a movie trailer to introduce the night, and the flickering movie-house vistas use a combination of pre-recorded and live projections that accompany and weave with the actors' performances. The lighting, both on stage and in the video work, is glorious. I was particularly struck by moments where expressionistic choices and vignettes were employed. This melding of stylistic projection with live performance is a work of art.

Cronin has captured the look, mannerisms and voice of Davis and struts the stage with aplomb. On screen her Bette is flawless and she has the vocals down pat. Mastrantone excels with that Crawford determined self-assurance and maniacal vision. This pair work beautifully together, their run after intermission a roller coaster ride of humour, drama and emotional journey. The first half was less captivating, and I wondered if Badorrek could have followed in Aldrich's footsteps and cast actors who come with a BETTE AND JOAN dynamic.  

Grace Deacon's set design is perfect, combining all the required elements — the Hollywood back lot, the actor's domain. Her design integrates seamlessly with Cameron Smith's incredible projections. Smith's cinematographic eye and artistic vision are highly commendable. The production's triple threat comes together as these elements work in conjunction with Kelsey Lee's dramatic lighting. To see the backstage world alongside the silver screen imagery is sublime. The marriage of these three crafts is simply perfect.

Ross Johnston's sound design is the final flourish this production deserves, capturing tone and ambiance with quiet precision.

Whether you know these icons or are coming to them fresh, Badorrek's accomplished and enjoyable production will show you exactly why Bette says to Joan — "I should've married you."