‘She was a force’: Remembering Kara Colynuck, a giant of Sault musical theatre

The recent loss of a cherished member of the musical theatre community has triggered an outpouring of support from many locals who proudly knew her.

Kara Colynuck, remembered by friends and family for her unequivocal love and deep commitment to the stage, passed away unexpectedly last month — just days after turning 46.

Whether she was shining as a performer under the city’s brightest lights or keeping a production running smoothly behind the scenes, Colynuck provided unforgettable performances and mentorship in countless shows, beginning in her adolescence and concluding in her final weeks. 

But her passion for the craft extended beyond memorizing lines and belting out notes as she co-founded Algoma Repertory Theatre and served as a director on the Community Theatre Centre Board.

According to her lifelong friend Christina Speers, that “always on the go” attitude, mixed with her fierceness, was something Colynuck had long displayed — even as a young girl.

“Kara was always small but mighty,” Speers said. “She was always the biggest personality in the room. This little blonde-haired thing bossing around boys two and three years older than her. She was a force; she was always a force from day one.”

Lovingly referring to each other as sisters, the two best friends grew up just down the street from one another in the central part of town.

A dancer, French Immersion student, and quick learner, Colynuck was destined for great things, said Speers.

“Kara was really bright when she was young,” she said. “She was already really masterful at the English language by the time she was ready to be enrolled in kindergarten. And she was already a lifelong performer, even when we were teenagers.”

Speers recalled many fond memories of performing in shows with her chosen sister, from the very first one they did together — Carousel — in 1994, to productions in the 2010s like CATS! once Colynuck had moved back home.

Regardless of the style of show or the role she played, her presence was always palpable.

“She was so intuitive as a performer and so giving,” Speers said. “She was such a giving scene partner and always came prepared. She entered a room and commanded attention and just had that million-dollar smile, warm personality and care and concern for everyone around her.”

Marc Beaudette, a close colleague of Colynuck’s and fellow co-director of Algoma Repertory Theatre (ART), can remember meeting her for the first time on stage in a 1987 production of A Midsummer Night’s Dream. They were just 16 and 9 years old, respectively.

“She was a little fireball and so spunky that the director actually created a character for her,” Beaudette said. “There really wasn’t a character in the show for her, so he made one for her.”

In 2019, the two played integral roles in the formation of ART, an established local performance group that has already put on 12 productions — many of them dinner theatre style — in relatively short order.

Whether she was producing a show, assisting with auditions, or performing herself — Colynuck was the beating heart of their work, according to Beaudette.

Few examples of that are greater than when Colynuck made her directorial debut for the company’s fast-paced, improvising-driven production of Tony n' Tina's Wedding at The Machine Shop in 2023.

Her behind-the-scenes efforts helped the production go down as one of the most memorable post-COVID showings in Sault Ste. Marie.

“As a founding member, she was integral to the formation of the company and the way it was ordered,” Beaudette said. “She always had her fingers in any pies we were making, and she wore different hats in every production.”

“She also did some amazing things for us during COVID,” he added. “As president, she went out and got us government assistance when we couldn’t put shows on. She was just a delight; her demeanour with other actors was invaluable to us as a company.”

While they were great working partners, Beaudette noted it’s the friendship he shared with Colynuck that he’ll miss most.

“When she talked to you, she made you feel like you were the only person in her world,” he said. “Every word coming out of your mouth was the most important thing she could listen to. She just had this uncanny characteristic of making you feel so welcomed and loved.”

Colynuck was looking forward to directing Arsenic and Old Lace for ART in the fall of 2025, which will be “mounted in her honour as she would have wanted the show to go on,” Beaudette added.

She was also slated to star as Mrs. Lovett in Sault Theatre Workshop’s upcoming production of Sweeney Todd, which was cancelled following her passing.

Endlessly in pursuit of her next show, Colynuck’s passion for the industry was virtually impossible to match.

“She never stopped; I found it breathtaking,” Speers said. “I couldn’t keep up with her, not if I tried. I’m sure there are 1,000 people in the community theatre collective who would tell you the same thing. Kara was always involved in something.”

“Even just recently, we finished Jersey Boys, and she immediately launched into working backstage for the crew with Legally Blonde,” she added. “Kara was always working as much as she could at one time.”

According to her friends, Colynuck loved being part of Jersey Boys so much that she and Stephen Gagnon-Ruscio made a trip to Niagara Falls to see Frankie Valli perform in June. The two played Frankie Valli and his wife Mary in the local production two months prior.

Lucas Beaver, the director of West End Theatre Project, estimates he’s been involved in at least ten shows with Colynuck — dating all the way back to their high school days.

Her efforts to bring out the most in every character she portrayed was consistently on full display, according to Beaver, particularly during the recent production of Priscilla where the director couldn’t help but be blown away by her tenacity.

“She worked so hard to nail that Australian accent,” he said. “She put all of us to shame for those who were trying to muster some sort of accent, and she just nailed it. That’s a testament to the dedication she puts in and how much she cares about projects — she always wanted to be better.”

Outside of the Sault Community Theatre Centre, Beaver shared a special bond with Colynuck as the two also happened to live in Toronto at the same time some years back. They were proud travel buddies and had the opportunity to see shows in New York on two different occasions.

Her bubbly personality and infectious spirit are two qualities Beaver will never forget.

“She really grabbed life by the reigns and was up for an adventure anytime,” he said. “She didn’t just live in the present; she looked towards the future of what she wanted to achieve. And she was one of those people who would call you and check in — she was that type of a friend.”

Speers, Beaudette and Beaver all told SooToday how well-known — and how well-loved — Colynuck was in Sault Ste. Marie.

These members of the musical theatre community were also clear: that love was reciprocated tenfold, perhaps none greater than for her son and “pride and joy,” Aeden.

“Kara’s son Aeden, her ‘greatest invention’ — she cherished him,” Speers said. “There’s just so much love, and I feel it still in her loss. It’s so big that it’s still present.”

“If someone was unwell, she was there at the hospital,” she added. “If someone needed a meal, she showed up with food. If someone had a loss, she came over to hug you. If someone had a baby, she came with a gift. She was just so committed to being present for everyone she loved.”

Colynuck’s celebration of life, “Kara-Palooza,” will be planned later in accordance with her wishes.

A trust fund has been established for her son, who is currently enrolled in post-secondary school. Readers wishing to donate can do so by clicking here.

“We are going to miss her so much,” Speers said. “We’re really looking forward to her celebration — the party that she wanted.”