It is 1902. Lizzie Borden pours tea for a visitor, who is obsessed with finding out the truth: Did Lizzie Borden take an axe and murder her father and stepmother 10 years before, or didn’t she? A role-
playing game ensues, with Lizzie painting the background of the murderous day, with characters appearing from both memory and fantasy to tell the story.
Did she, or didn’t she? You’ll have to see the show to find out.
An enthralling feast for the senses, Blood Relations offers the very best of your local indie theatre talents, with gorgeous costuming and scenic design, outstanding lighting effects, original music, and some of Ottawa’s top performers soaring through the wild and witty dialogue that is so characteristic of Sharon Pollock, award-winning Canadian playwright.
Directed by Eleanor Crowder and stage managed by Chelsey Fawcett, the cast features a powerhouse of local Ottawa actors including William Beddoe, Tom Charlebois, Rachel Eugster, Robin Guy, Michelle LeBlanc, Sachi Lovatt, and Riley Stewart.
Visit the Gladstone for more information and to buy tickets.
MEDIA
CBC Radio interview of Robin Guy, Michelle Leblanc, and Eleanor Crowder by Alan Neal on All In A Day.
Review: Blood Relations at The Gladstone until March 14By Samara Caplan and Laura Gauthier on March 6, 2026
Laura and Samara spend their days as non-profit unicorns and fill every spare minute exploring the world of musical theatre as BFFs (that’s Broadway Friends Forever). Follow @bffs613 on Instagram and Facebook.
Three Sisters and Bear & Co bring mystery and intrigue to The Gladstone Theatre with Blood Relations. You may have heard of Lizzie Borden; whether you know the details of the story or just the famous rhyme, you’ve likely had a glimpse into her tale. The question is, do we really know what happened?
Blood Relations, from award-winning Canadian playwright Sharon Pollock, is based on the true story of the murder of Lizzie Borden’s father and stepmother. Set in 1902, the story shares Lizzie’s conversation with a friend and visitor, ten years after the murders, desperate to discover the truth.
You may already have preconceived notions of Lizzie Borden, but there is much more than meets the eye. Living in a time when women were not considered people, Lizzie struggled to meet the expectations and performance of her gender. When she discovers her father is set to make business decisions that will deprive his children of his fortune and subsequently of any freedom or independence, she is distraught.
The cast of Blood Relations. Photo: Adrian Buss
As Lizzie and her visitor reenact some of the events leading up to the murders, the limitations of her role in life are evident, which only adds more uncertainty around the ‘did she, or didn’t she?’ of the act.
The actors perform the intense, complex and yet natural dialogue with ease, all bringing forward impeccable performances. The production is simple, yet smooth, and never leaves the story lagging. A creative way to look back at history and ask the questions of a different time, often realizing we aren’t as far away from them as we may think.
Though the murders remain unsolved, the real intrigue of Blood Relations lives in the story behind the headlines. See the truth behind the rhyme, on stage until March 14.
Laura and Samara spend their days as non-profit unicorns and fill every spare minute exploring the world of musical theatre as BFFs (that’s Broadway Friends Forever). Follow @bffs613 on Instagram and Facebook.
Three Sisters and Bear & Co bring mystery and intrigue to The Gladstone Theatre with Blood Relations. You may have heard of Lizzie Borden; whether you know the details of the story or just the famous rhyme, you’ve likely had a glimpse into her tale. The question is, do we really know what happened?
Blood Relations, from award-winning Canadian playwright Sharon Pollock, is based on the true story of the murder of Lizzie Borden’s father and stepmother. Set in 1902, the story shares Lizzie’s conversation with a friend and visitor, ten years after the murders, desperate to discover the truth.
You may already have preconceived notions of Lizzie Borden, but there is much more than meets the eye. Living in a time when women were not considered people, Lizzie struggled to meet the expectations and performance of her gender. When she discovers her father is set to make business decisions that will deprive his children of his fortune and subsequently of any freedom or independence, she is distraught.
The cast of Blood Relations. Photo: Adrian Buss
As Lizzie and her visitor reenact some of the events leading up to the murders, the limitations of her role in life are evident, which only adds more uncertainty around the ‘did she, or didn’t she?’ of the act.
The actors perform the intense, complex and yet natural dialogue with ease, all bringing forward impeccable performances. The production is simple, yet smooth, and never leaves the story lagging. A creative way to look back at history and ask the questions of a different time, often realizing we aren’t as far away from them as we may think.
Though the murders remain unsolved, the real intrigue of Blood Relations lives in the story behind the headlines. See the truth behind the rhyme, on stage until March 14.
Review: BLOOD RELATIONS at The Gladstone Theatre
Like last year’s Silent Sky, Three Sisters Theatre Company presents a confident and compelling piece of theatre that tells the story of a strong female historical figure.
An actress (Robin Guy) visits Lizzie Borden (Michelle LeBlanc) many years after the events of 1892 and Lizzie’s subsequent acquittal. The actress seems to be both a friend and adversary, at one moment comforting Lizzie and the next taunting her, demanding to know what truly happened that day. Lizzie lets the actress take over the role of Lizzie, while she assumes the role of Bridget, the Borden’s live-in maid, as together they reenact the events leading up to the murders in an effort to discover the truth.
Rather than offering a simple explanation or making assumptions, Pollock’s script invites viewers to explore how truth can be shaped by perspective. In this version of the truth, Lizzie is painted as sympathetic and misunderstood, but also as ruthless and self-centred. Blood Relations is the type of play that requires strong performances with good pacing in order to be successful.
The secondary characters are also extremely well cast, including Tom Charlebois as Lizzie’s gullible, sometimes cruel, father, Andrew; Rachel Eugster as Lizzie’s stern, unloving, stepmother, Abigail; Sachi Lovatt as Lizzie’s distant sister, Emma; and Riley Stewart as the scheming Harry Wingate. These performances are complemented by that of William Beddoe, who plays the dual role of Patrick, the doctor who is enamoured with Lizzie, and her defence attorney at trial. The cast is able to navigate the play’s shifting timelines and layered identities with a clarity that is impressive, and their performances allow the tension to build steadily over the course of the play.
The set design, by Andrea Steinwand, is effective at establishing intimacy and unease simultaneously. The stage is arranged as the Borden’s sitting room and dining room, with period-appropriate furniture and props that both create atmosphere and support the narrative. The coziness of the space makes the knowledge of what is to come all the more unsettling, giving the sense that danger can exist within even the most ordinary of settings.
The lighting design, by David Magladry, takes on a crucial role in shaping the tone of the show, especially during the more grisly and emotionally charged scenes. Director Eleanor Crowder maximizes dramatic impact with deliberate pacing and effective blocking.
Blood Relations is especially well suited to history buffs, as well as audiences who appreciate character-driven drama and shows that prioritize psychological complexity over spectacle. This Three Sisters production, much like last year’s Silent Sky, is a confident and compelling piece of theatre that tells the story of a strong female historical figure. It is also reminder that theatre has the power to unsettle, provoke, and invite reflection.
So, did Lizzie actually “give her mother forty whacks”? You’ll have to see the show to find out! Blood Relations is on stage at The Gladstone Theatre through March 14th. Get tickets at the link below or click here for more information.
Like last year’s Silent Sky, Three Sisters Theatre Company presents a confident and compelling piece of theatre that tells the story of a strong female historical figure.
An actress (Robin Guy) visits Lizzie Borden (Michelle LeBlanc) many years after the events of 1892 and Lizzie’s subsequent acquittal. The actress seems to be both a friend and adversary, at one moment comforting Lizzie and the next taunting her, demanding to know what truly happened that day. Lizzie lets the actress take over the role of Lizzie, while she assumes the role of Bridget, the Borden’s live-in maid, as together they reenact the events leading up to the murders in an effort to discover the truth.
Rather than offering a simple explanation or making assumptions, Pollock’s script invites viewers to explore how truth can be shaped by perspective. In this version of the truth, Lizzie is painted as sympathetic and misunderstood, but also as ruthless and self-centred. Blood Relations is the type of play that requires strong performances with good pacing in order to be successful.
The secondary characters are also extremely well cast, including Tom Charlebois as Lizzie’s gullible, sometimes cruel, father, Andrew; Rachel Eugster as Lizzie’s stern, unloving, stepmother, Abigail; Sachi Lovatt as Lizzie’s distant sister, Emma; and Riley Stewart as the scheming Harry Wingate. These performances are complemented by that of William Beddoe, who plays the dual role of Patrick, the doctor who is enamoured with Lizzie, and her defence attorney at trial. The cast is able to navigate the play’s shifting timelines and layered identities with a clarity that is impressive, and their performances allow the tension to build steadily over the course of the play.
The set design, by Andrea Steinwand, is effective at establishing intimacy and unease simultaneously. The stage is arranged as the Borden’s sitting room and dining room, with period-appropriate furniture and props that both create atmosphere and support the narrative. The coziness of the space makes the knowledge of what is to come all the more unsettling, giving the sense that danger can exist within even the most ordinary of settings.
The lighting design, by David Magladry, takes on a crucial role in shaping the tone of the show, especially during the more grisly and emotionally charged scenes. Director Eleanor Crowder maximizes dramatic impact with deliberate pacing and effective blocking.
Blood Relations is especially well suited to history buffs, as well as audiences who appreciate character-driven drama and shows that prioritize psychological complexity over spectacle. This Three Sisters production, much like last year’s Silent Sky, is a confident and compelling piece of theatre that tells the story of a strong female historical figure. It is also reminder that theatre has the power to unsettle, provoke, and invite reflection.
So, did Lizzie actually “give her mother forty whacks”? You’ll have to see the show to find out! Blood Relations is on stage at The Gladstone Theatre through March 14th. Get tickets at the link below or click here for more information.