A Wild Excursions Performance production. At the Waterfront Theatre on Wednesday, January 24 as part of the PuSh International Performing Arts Festival. No remaining performances

The songs are the best element in Beggars Would Ride, and the ones about sex are disgusting treats. Allan Morgan, who plays a revolting rich guy, enters after having screwed off-stage, sticks a handkerchief into his pants to wipe his privates, then gives the smeared rag a good sniff before singing a ditty that features the image of goo running down one’s thighs. This is clowning in the bouffon tradition, which delights in rolling in human effluvia—I suppose because it’s ridiculous to pretend it isn’t there.

There are only two classes in the world of this play. Morgan’s character, Morley, is married to Ravinia (Karin Konoval). These two are nobility—also known in the script’s garbled language as the Rich-as-Creasy. Three “servanets” (Damon Calderwood, Jeff Gladstone, and Tamara McCarthy) do their bidding.

The Clockwork Orange–style speech tickles the ear, but style is no substitute for plot. In Act 1, writer-director Conrad Alexandrowicz quickly establishes that Calderwood’s character, Rufus, wants to foment rebellion. The other servants fear taking such a step. Morley and Ravinia continue to abuse them. And that’s about all that happens. Act 2 improves; a revolutionary plan swings into motion and allegiances shift.

Part of the problem is that class politics are crudely presented here. Yes, the majority of Canadians are rich by world standards, but most of us don’t see ourselves as wealthy—or as servants. We prefer to be blind, for reasons—?including collusion by the media and the numbing effect of popular entertainment—that this play ignores.

All that said, Beggars contains stellar performances. Konoval’s Ravinia is an explosion of carnival weirdness and threat. Morgan’s Morley is so rank you can almost smell him.

With its tipsy rhythms and odd progressions, Patrick Pennefather’s music sounds like that of Kurt Weill. Set designer Bryan Pollock’s giant flowers and leaning Greek columns make the stage look like a pop-up storybook gone mad.

The world Alexandrowicz has created is vivid but thin. I wanted more momentum and depth.