CULTURE GECKO
Oli Guselle’s Shakespeare’s Mixtape is a Musical Mashup Delicacy
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By Ezekiel McAdams
August 17 2025
*Author’s Note: This is an Op-Ed review of the performance from August 16 2025. The performance may vary slightly depending which performance you see.*
First off, before I gush, this is kinda exciting for me as I haven’t reviewed a band or musical performance in over a decade. I’ve interviewed bands or artists sporadically whether it was for some of my freelance work for Planet S or the odd piece here on Culture Gecko. While this is theatre adjacent being associated with Shakespeare on the Saskatchewan’s 40th anniversary season both as part of the festival and on site, this felt different.
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I love music, almost as much as I enjoy theatre and getting to write about it. I've begun to feel synonymously known for it, but I don’t get to write, review or interview music artists as much as I would like. I had to unfortunately choose with both my limited time and energy where I allocated and prioritized my resources.
It was after a performance of SUM Theatre’s Breathe in late June when Oli Guselle first broached the idea of covering her next project. They were part of the ensemble and band and I remember being both surprised and also ecstatic at the very notion of returning to cover local music.
I missed last year’s Players Series Spotlight that had a multitude of different artists ranging from poetry, music and acting that celebrated Shakespeare’s rich tapestry of work. Guselle was a part of last year’s program that debuted an earlier of Shakespeare's Mixtape and didn’t want to miss it again.
I remember meeting them for the first time in person at the opening night of Never Never Shakespeare’s Twelfth Night that ran earlier this year in February 14-23rd 2025.
It was during a brief conversation with actor John Reaney, who was in the production, I interrupted them, blurting out, “Are you Oli Guselle?”
It was during a brief conversation with actor John Reaney, who was in the production, I interrupted them, blurting out, “Are you Oli Guselle?”
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I then proceeded to careen into full blown gush, fangirling with no self regard of how I came across, telling them what a massive fan I was of them, their band, Checkout Queens.
I told them, whatever they needed in any way in the future that can help, support and promote their endeavors that I was on standby.
So, now that all of that preamble, mush and context is out of the way, the most important part is, how was the show, right?
It was fucking incredible!
This was a musical entity birthed into being by a creative force who took the spirit of Shakespeare smothered it with a spread of eclectic musical genres, now presented as a fully formed experience outfitted in theatrical performance garb that evoked, let’s just say, a vibe!
The show began at 10pm, Guselle had told me the day before that they wanted to replicate and harken back to a band or artist ope, opening later to entice some of Saskatoon’s rich and diverse music community to come out and possibly catch some of the crowd leaving one of the Shakespeare performances.
Shakespeare on the Saskatchewan’s artistic director, Kayvon Koshkam introduced the evening, following a robed performer who silently appeared and slinked across the stage, sitting down by the drum set, joking as he said, “I'm with him!”
Koshkam was brief and perfunctory, if he was any closer to a point, he would have ran it off the stage.
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More robed figures followed the first one, creating a moody ascetic that painted this particular canvas with the adage of expect the unexpected.
A robed figure in the centre pulled their hood back, revealing it to be Guselle and like that the evening took off like a rocket and didn’t stop till it was finished while we were still gasping for air in what we had just witnessed.
The best comparison and compliment I could use is, indie rock band, The Decemberists, album from 2009, The Hazards of Love, a narrative plot, rock opera concept album where each track segues into the next creating this atmospheric milieu that is both brilliant as it is indescribable.
This rock opera that Guselle has conceived and created pushes the Shakespearean thoroughfare into a multigenre earworm ranging from pop punk emulating riot grrl bands to gospel, classical and a capella.
Guselle’s style is sprinkled with eclectic variety borrowing a classically trained style but also evoking an indie sound reminiscent of artists such as Regina Spektor, Said the Whale to The Beaches, Stars or Band of Horses. Guselle’s vocal range evokes comparisons to punk royalty like Joan Jett, rock bands such as Heart or singer, Camille Bright Smith who was the singer for 90’s L.A. band, GUSH.
Several of the songs in the tracklist emulated and felt inspired by previous bands but Guselle is able to amalgamate previous work into her own that feels fresh, unique and her own.
For example songs such as “Double, Double, Toil and Trouble” clearly an ode to MacBeth felt like it captured songs such as Savages’ “Husbands” or White Lung’s “Snake Jaw”.
While songs such as “Slyvia” really felt like both a love letter to Joan Jett, Shakespeare and other Riot Grrl bands.
The moody atmospheric rock opera that Guselle created felt inspired by such songs as The Veils "Axolotl" or Death from Above 1979's “Right On, Frankenstein” or LA band GUSH with their song “Gut Girl” etc
The ensemble that Guselle recruited are equally talented from Annika Tupper on keyboards tambourines, backup vocals, Andrew Taylor on drums and Alex “Big Al” Brassard on base and Brodie Mohninger on guitar. Mohninger also helped out with light and sound.
Tupper truly shines when she shares a duet with Guselle performing an a capella melody that conjures up an atmospheric, classical, Celtic, sea shanty-esque performance that was magical and transfixing.
Tupper is the perfect accompaniment as she is able to effortlessly intertwine herself whether playing different instruments, singing or providing backup vocals. Tupper is an impressive and accomplished vocalist which is clearly evident the moment she sings.
Tupper’s alter ego in the band is Lady Empress and striking an immediate presence whether in the background or playing of Guselle in-between sets as Guselle introduces each song.
Taylor steals the show as during one song, his character, Friar Lawrence jumps up sporadically to intervene providing almost fervent religiosity, gospel revival tent preaching and grandstanding.
Taylor is able to blend in the background or insert himself almost nonchalantly at times.
Brassard creates a very surreal imposing presence throughout the performance as his alter ego, Ghost.
Brassard adds to the fusion on stage helping each song sparkle whether it through his playing or his on stage performance.
Mohninger can’t help but radiate with the steampunk goggle ascetic that is present the entire performance and helps add to the allure, mystery and otherworldly creation we are witnessing before our eyes.
Oli Guselle’s Shakespeare’s Mixtape is a rabid cornucopia soundscape injected with Shakespearean spirit. This is both a visual and auditory feast, an enchanted experience that is unforgettable and not to be missed out.
Shakespeare’s Mixtape is running from August 16-18th at the Shakespeare on the Saskatchewan site as part of their Players Series Spotlight for their 40th season. The event is held at the Raynor Whiteside Financial Group Community Stage. The event is free.
The times and dates are listed below.
August 16 2025 10 PM – Raynor Whiteside Financial Group Community Stage
August 17 2025 7:30 PM – Raynor Whiteside Financial Group Community Stage
August 18 2025 7:30 PM – Raynor Whiteside Financial Group Community Stage
More information can be found here https://shakespearesask.com/show/players-series-spotlight/
So now here comes the gushing part I mentioned previously. I’m a huge fan of Guselle and their work from acting, music and their creativity is a bright star that burns bright not just through Saskatoon but wherever their path has crossed.