Shaw Festival Mourns the Loss of Director Neil Munro Media Release #23

Total Page:16

File Type:pdf, Size:1020Kb

Shaw Festival Mourns the Loss of Director Neil Munro Media Release #23 Shaw Festival mourns the loss of director Neil Munro Media Release #23 Niagara-on-the-Lake, Ontario, July 13, 2009…The Shaw Festival Company is deeply saddened to announce today the passing of long-time Resident Director, Neil Munro. Mr. Munro died July 13, 2009 at the age of 62 at London Ontario’s University Hospital after a lengthy illness. He is predeceased by his wife Carole Galloway and is survived by his sister Anna Munro, nephew John Munro and his mother-in-law Stella Galloway and sister-in-law Jackie Martinez. On making this announcement, Jackie Maxwell commented: “Neil Munro created an indelible mark on the Shaw Festival. As a director he had a vision that was unique — blending extraordinarily detailed preparation with brilliant and at times outrageous ideas, always in the service of illuminating and revitalizing each play. His passion for theatre was immense, only matched by that for the artists he worked with – especially actors. As Resident Director, his commitment to and love for the Ensemble and all it stood for was clear daily as was his brilliant sceptical humour which unsuccessfully hid his true warmth and empathy. We already miss him terribly but our vivid memories of his talent and his passion will live on here at The Shaw, and I know, in the hearts of the many, many Canadians artists whose lives he touched.” Mr. Munro has been one of Canadian theatre’s most vital artists for more than 35 years as a director, actor and playwright. He is revered at The Shaw as a director who brought a fascinating and often controversial directorial touch to many plays, notably, his recent productions of Somerset Maugham’s The Circle and Tennessee Williams’ Summer and Smoke (2007). Other Shaw Festival credits include: Michael O’Brien’s adaptation of the H.G. Wells’ novel The Invisible Man, The Constant Wife, Something on the Side, Man and Superman, Harlequinade, Misalliance, The Plough and the Stars, Detective Story, Chaplin (The Trial of Charles Spencer Chaplin, Esq.), The Man Who Came to Dinner, Laura, the North American premiere of Lord of the Flies, Time and the Conways, You Can't Take It With You, All My Sons, Joy, Berkeley Square, Counsellor-at-Law, Saint Joan, The Front Page, The Petrified Forest, Rashomon, Marsh Hay, The Seagull and all of the Festival's productions of the works of Granville Barker including The Voysey Inheritance, The Marrying of Ann Leete, Rococo, Waste, The Madras House, The Secret Life and His Majesty. Born in Musselburgh, Scotland, Mr. Munro moved to Toronto at an early age. After graduating from the National Theatre School of Canada, he performed at the National Arts Centre, the Citadel Theatre, Theatre Calgary, Tarragon and the Toronto Free Theatre, as well as at the Shaw and Stratford Festivals. …/2 -2- Neil also appeared in many television and radio productions and feature films, most notably in The Jonah Look, which he also wrote, and as Beethoven in the Emmy award-winning Beethoven Lives Upstairs. Mr. Munro played the title role in CBC Radio's Investigations of Quentin Nickles series. Mr. Munro also wrote for the stage. His adaptations for The Shaw included Feydeau’s Something on the Side and Ibsen’s Rosmersholm. His productions of Crossing Over and Bob's Kingdom at the Factory Theatre in Toronto won critical praise and in 1991 his adaptation of Shakespeare's Hamlet, entitled Hamlet's Room, was recognized by Toronto theatre critics as one of the year's ten best plays. He received a Best New Play Dora Award for Bob's Kingdom and a Best Director Dora Award for Hamlet's Room. He was also the recipient of two ACTRA awards and was a Chalmers Award nominee for best new play for Extreme Close Up. Details regarding a memorial service will be announced at a later date. -30- The Shaw Festival produces and presents the work of George Bernard Shaw (1856-1950) and playwrights writing anywhere in the world during, or about, the era of Shaw’s lifetime – plays about the beginning of the modern world. Please visit our website at www.shawfest.com for other Shaw Festival media releases. For more information, or to download images from our image bank to accompany this release, members of the media may contact: Odette Yazbeck Jenniffer Anand Public Relations Director Public Relations Coordinator (905) 468-2153 or 1-800-657-1106 ext. 2222 (905) 468-2153 or 1-800-657-1106 ext. 2224 [email protected] [email protected] .
Recommended publications
  • Good King Charles Study Guide New.Pub
    In Good King Charles’s Golden Days By Bernard Shaw ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 The Playwright 5 Who’s Who 6-7 Director’s Notes 8 Designer’s Notes 9-10 Production History 11 World of the Play 12-16 Did You Know? 17 Say What? 18 Sources 19 Activities 20-32 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written during, or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – musical treats either from, or set during the period of our mandate • Canadian Work – to allow us to hear and promote our own stories, and our own WHAT MAKES points of view about the mandate period. SHAW SPECIAL MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design.
    [Show full text]
  • 2018 SEASON April 4 to October 28 Niagara-On-The-Lake, Ontario Tim Carroll, Artistic Director Tim Jennings, Executive Director
    2018 SEASON April 4 to October 28 Niagara-on-the-Lake, Ontario Tim Carroll, Artistic Director Tim Jennings, Executive Director 1.800.511.SHAW 1 Contents Welcome from the Artistic Director 1 2018 Season Plays 2 Reading Series 23 Secret Theatre 25 Acting Ensemble 26 Ticket Prices + Marquee Seating 28 Theatres 29 Ways to Save + Policies 30 How to Order 32 Calendar 32 Stay the Night 48 Membership 50 Beyond the Stage — for Friends 51 Beyond the Stage — for All 52 Beyond the Stage — for Young People 54 Sponsors 56 Getting Here 57 We acknowledge and honour the land upon which we gather as the historic and traditional territory of First Nations peoples. In particular we recognize and thank the Neutral Nation, the Mississauga and the Haudenosaunee for their stewardship of these lands over millennia. , 2017) , 2017) Credits Design: Key Gordon Communications | keygordon.com Joan Saint Edited by: Nathalie Ivany-Becchetti Me and My Girl Ensemble photography: David Cooper Backstage photography: Christopher Wahl Ancillary and Niagara photography: Cosmo Condina Photography Photography for: The Magician’s Nephew, Grand Hotel, The Hound of the Baskervilles, Stage Kiss and The Orchard (After Chekhov) by Peter Andrew Lusztyk Irving ( Jeff Cover: ( Emily Lukasik page: This 1.800.511.SHAW 2 My second season This company has amazing musical performers. Grand Hotel is a blockbuster is a chance to put musical with a bit of everything: passion, into practice what crime, laughter, a wonderful score and I learnt in my first. great dancing. Our audience loves brilliant writing, for So, what did young or old.
    [Show full text]
  • George Bernard Shaw in Context Edited by Brad Kent Frontmatter More Information
    Cambridge University Press 978-1-107-04745-7 - George Bernard Shaw in Context Edited by Brad Kent Frontmatter More information GEORGE BERNARD SHAW IN CONTEXT When Shaw died in 1950, the world lost one of its most well-known authors, a revolutionary who was as renowned for his personality as he was for his humour, humanity, and rebellious thinking. He remains a compelling figure who deserves attention not only for how influential he was in his time but also for how relevant he is to ours. This collection sets Shaw’s life and achievements in context, with forty-two chapters devoted to subjects that interested him and defined his work. Contributors explore a wide range of themes, moving from factors that were formative in Shaw’s life, to the artistic work that made him most famous and the institutions with which he worked, to the political and social issues that consumed much of his attention, and, finally, to his influence and reception. Presenting fresh material and arguments, this collection will point to new direc- tions of research for future scholars. brad kent is Associate Professor of British and Irish Literatures at Université Laval and was Visiting Professor at Trinity College Dublin in 2013–14. His recent publications include a critical edition of Shaw’s Mrs Warren’s Profession (2012), The Selected Essays of Sean O’Faolain (forthcoming), and essays in University of Toronto Quarterly, Modern Drama, ARIEL: A Review of International English Literatures, English Literature in Transition, Irish University Review, and The Oxford Handbook of Modern Irish Theatre. He is also the programme director of the Shaw Symposium, held annually at the Shaw Festival in Niagara-on-the-Lake, Canada.
    [Show full text]
  • 2010 ISS Newsletter
    Fourth International Shaw Society Conference The Governing Council 2010 End-of-Year Newsletter International Shaw Society ―Shaw Without Borders / Shaw sans frontières‖ is the title of the Fourth International Shaw Society Conference, sched- INTERNATIONAL uled for 25 to 29 July 2011 at the University of Guelph in Guelph, Ontario, Canada. The conference is sponsored by the In- ternational Shaw Society in collaboration with the University of Guelph and The Shaw Festival. Papers (for 20-minute talks Executive Committee SHAW maximum) may be on a wide range of topics and written from any critical perspective, but those who choose to speak on the conference topic should address Shaw‘s broad international interests as expressed in his novels, plays, prefaces, speeches, L.W. Conolly, President www.shawsociety.org and travels; productions of Shaw‘s plays in different countries and languages; ‗‗boundary-free‘‘ internet Shaw; and Jay R. Tunney, Vice President SOCIETY ‗‗copyright-free‘‘ Shaw (in Canada since 2000, and in most other countries from 2020). Abstracts of 300 to 500 words R.F. Dietrich, should be submitted at the conference website at http://conference.lib.uoguelph.ca/index.php/shaw/ISSC2011, but please Treasurer and Webmaster copy, with c.v. and letter of introduction, to Professor Leonard Conolly, preferably by email to [email protected] or by mail John McInerney, to him at Department of English, Trent University, Peterborough, Ontario, Canada K9J 7B8. DEADLINE IS 15 APRIL Recording Secretary Another Busy Year Ahead 2011. It would be helpful if papers were presented at the conference accompanied by a one-page outline of ―talking points‖ Membership Secretary: and key quotations for distribution to the audience.
    [Show full text]
  • Mrs Warren's Profession
    Mrs Warren’s Profession By Bernard Shaw ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6 Director’s Notes 7 Designer’s Notes 8 Production History 9-10 World of the Play 11-17 Did You Know? 18 Say What? 19 Sources 20 Activities 21-37 Response Sheet 38 ONNECTIONS ShawC Festival Study Guide THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written during or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – rarely-performed musicals from the period of our mandate are rediscov- ered and returned to the stage WHAT MAKES THE • Canadian Work – to allow us to hear and promote our own stories, our own points SHAW SPECIAL of view about the mandate period. MEET THE COMPANY - OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central ac- tion helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design.
    [Show full text]
  • I First Came to the Theatre in 1966 As an Actor and in 1967 I Was Appointed the Artistic Director
    PAXTON WHITEHEAD I first came to the theatre in 1966 as an actor and in 1967 I was appointed the artistic director. I stayed in that position through the season of 1977, which also included a short tour after the season into the spring of 1978. That was the period of my time there, with one exception: The 1975 season was not produced by me, it was produced by Tony van Bridge because I was on a sabbatical. I had been working in the United States for about four and a half years, mostly in the New York area, and about 19641 finished a production of Beyond the Fringe and discovered regional theatre. I was going around various places in the U.S. as a guest, appearing with the regional companies. One of those was the Manitoba Theatre Centre in Winnipeg, when I was hired up from New York to participate in Heartbreak House in the spring of 1965 along with a few other America-based actors to join a company there, in which I found Tony van Bridge and Martha Henry. I had a wonderful time and they asked me back the following fall to do Private Ear and Public Eye and The Importance of Being Earnest. In the meantime, in the interim after doing Heartbreak House in Winnipeg I had appeared in Cincinnati in Major Barbara, where I had been seen by Marigold Charlesworth, who at that time was running the Canadian Players. Coincidentally she asked me to come to Toronto to appear in their production of The Importance of Being Earnest.
    [Show full text]
  • See the History Book
    SPONSOR Silver Gold SPONSOR Local 461’s First Century is a Vista for the Next Brother and Sisters, Friends and Honoured Guests, It is with great pride that I welcome you to a celebration of the collective accomplishments of every member of I.A.T.S.E. Local 461, both past and present. There are not many things which endure and persevere over the span of a century. In a physical object, a house, a chair, a piece of jewellery, achieving 100 years makes it a rare thing. With an idea, a common cause, a community, to persist over a 100 years is even rarer. It is a testament to every member over the last 100 years that we have achieved this milestone together. To take pride in this achievement is not to say that it was easily won. In fact, while we have many achievements to be proud of, the balance of our history is one of adversity. It’s been difficult, we’ve made mistakes, we’ve struggled. The successes we have won we have fought for every step of the way. But perhaps it is because they were difficult that we should be all the more proud. Here at the precipice of a 100 years we have a unique vantage. We can look behind us at our history and remember and honour our Brothers and Sisters who came before us. But also from this vantage we can, and must, look ahead to the future — to the next 100 years. We must, with renewed determination, take up what we have inherited and ensure it survives and thrives over the next century.
    [Show full text]
  • You Order First!
    2018 SEASON YOU April 4 to October 28 Niagara-on-the-Lake, Ontario ORDER Tim Carroll, Artistic Director FIRST! Tim Jennings, Executive Director 1 FESTIVAL THEATRE MY SECOND SEASON IS A CHANCE TO PUT The Magician’s Nephew INTO PRACTICE WHAT I LEARNT IN MY FIRST. By C.S. Lewis Adapted for the stage by Michael O’Brien SO, WHAT DID I LEARN? WELL … Grand Hotel Book by Luther Davis This company has amazing musical have staged it; Oh What A Lovely Music and lyrics by Robert Wright and George Forrest, performers. Grand Hotel is a War, the great musical by Joan with additional music and lyrics by Maury Yeston blockbuster musical with a bit of Littlewood, was influenced everything: passion, crime, laughter, by Shaw and will bring the Canadian Mythos: A Trilogy a wonderful score and great dancing. experience on to the stage of the Gods. Heroes. Men. Written by and starring Stephen Fry Royal George, which began life as Our audience loves brilliant writing, a vaudeville house to entertain the The Hound of the Baskervilles for young or old. The Magician’s troops mustering for France. By Sir Arthur Conan Doyle Nephew will bring C.S. Lewis’ Adapted by R. Hamilton Wright and David Pichette legendary world of Narnia to Canada’s theatre history is packed life in a show for all the family. with gems worthy of rediscovery. ROYAL GEORGE THEATRE Michael Mackenzie’s funny and We all love a bit of pure escapism. moving The Baroness and the Pig has Stage Kiss Sherlock Holmes in The Hound of the been played all over Europe, but will By Sarah Ruhl Baskervilles marks the return of the be brand new to Shaw audiences.
    [Show full text]
  • The Evolution of the Play Cycle, from Shawâ•Žs •Ÿpentateuchâ•Ž To
    San Jose State University SJSU ScholarWorks Faculty Publications, English and Comparative Literature English and Comparative Literature January 2005 Publications “Playwrights’ Progress: The Evolution of the Play Cycle, from Shaw’s ‘Pentateuch’ to Angels in America Julie A. Sparks San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/eng_complit_pub Part of the English Language and Literature Commons Recommended Citation Julie A. Sparks. "Publications “Playwrights’ Progress: The Evolution of the Play Cycle, from Shaw’s ‘Pentateuch’ to Angels in America" SHAW: The Annual of Bernard Shaw Studies (2005): 179-200. This Article is brought to you for free and open access by the English and Comparative Literature at SJSU ScholarWorks. It has been accepted for inclusion in Faculty Publications, English and Comparative Literature by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Julie Sparks PLAYWRIGHTS’ PROGRESS: THE EVOLUTION OF THE PLAY CYCLE, FROM SHAW’S “PENTATEUCH” TO ANGELS IN AMERICA When asked by Oxford University Press to select one play among all his works as his “world classic,” Bernard Shaw passed over the more well known candidates and chose his sprawling five-play cycle, Back to Methuselah.1 He defended this selection not because it was his best play, but because it was a work that “came straight from the Life Force operating as an élan vital” through not only its writer but also the lunatic (Barry Jackson)
    [Show full text]
  • The Doctor's Dilemma John Bull's Other Island
    John Bull’s The Other Doctor‘s Island Dilemma by Bernard Shaw By GB Shaw ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6 Director’s Notes 7 Designer’s Notes 8 Production History 9 World of the Play 10-20 Say What? 21 Sources 22 THE SHAW STORY MANDATE The Shaw Festival produces and presents the work of George Bernard Shaw (1856-1950) and playwrights writing anywhere in the world during, or about, the era of Shaw’s lifetime. VALUES • The Shaw Festival chooses works for presentation that are challenging, provocative and intelligent. • Productions engage audiences with clever, insightful, and delightful portraits of the human condition. WHAT MAKES • The works chosen often resonate with the wit, social commentary, and topical relevance for which G.B. Shaw himself was well known. SHAW SPECIAL • The Shaw Festival is dedicated to excellence, consistency, and integrity in all its creative and administrative practices. • The Shaw Festival operates within a fiscally responsible and accountable framework. THE SHAW FESTIVAL ATTRIBUTES ITS SUCCESS TO: The Ensemble - their talent, continuity, generosity, and collegiality fuel all of the Festival’s efforts The Company - their singular sense of purpose fosters mutual trust, respect, and dedication to the Festival The Repertory - the alternating schedule of performance serves the audience and inspires the company The Mandate - 1856-1950 offers a wealth of material to fascinate and delight, Festival Theatre liberating the ensemble to explore complex questions from the safety of the not too distant past while encouraging audiences to re-discover themselves through the lens of historical perspective The Shaw Festival is a crucible of progressive and provocative ideas inspired by the brilliance, bravery, humanity, and humour of George Bernard Shaw.
    [Show full text]
  • A Chronology of Works by and About Bernard Shaw
    A Chronology of Works By and About Bernard Shaw CONTENTS A. Shaw’s Novels, Plays and Commentary 2 B. Shaw’s Reviews and Criticism 5 C. Shaw’s Collected Writings and Letters 5 D. Biographies and Biographical Studies 8 E. Critical Works: Monographs and Essay Collections 10 F. Online Monographs 15 G. Translated Monographs 15 H. Foreign-Language Monographs 16 I. Scholarly Editions of Shaw’s Plays 18 J. Reference Works 19 K. Bibliographies 19 L. Websites 20 M. Miscellanea 21 compiled by Michel Pharand last updated 1 January 2021 2 A. Shaw’s Novels, Plays and Commentary First date: year(s) written Second date: year of first performance Third date(s): year(s) of publication [in brackets] 1878 My Dear Dorothea: A Practical System of Moral Education for Females Embodied in a Letter to a Young Person of that Sex (ed. S. Winsten) [1906; 1956] 1878 Passion Play (fragment) [1971] 1879 Immaturity (novel) [1930] 1880 The Irrational Knot (novel) [ser. 1885-7; 1905] 1881 Love Among the Artists (novel) [ser. 1887-8; 1900] 1882 Cashel Byron’s Profession (novel) [ser. 1885-6; 1886; rev 1889, 1901] 1883 An Unsocial Socialist (novel) [ser. 1884; 1887] 1884 Un Petit Drame (playlet) [1959] 1884/92 Widowers’ Houses 1893 [1893; rev. 1898] 1887-88 An Unfinished Novel (novel fragment) [1958] 1889 Fabian Essays in Socialism (ed. Shaw) [1889; rev. 1908, 1931, 1948] 1890 Ibsen Lecture before the Fabian Society [1970] 1891 The Quintessence of Ibsenism (criticism) [1891; rev. 1913] 1893 The Philanderer 1905 [1898] 1893 Mrs Warren’s Profession 1902 [1898; rev. 1930] 1893-94 Arms and The Man 1894 [1898; rev.
    [Show full text]
  • Annual Report Annual Report 1
    ANNUAL REPORT ANNUAL REPORT 1 “If I learned anything from my visit to the Shaw...it was that they offer a range of theatrical experience that one can only view with a certain envy.” THE GUARDIAN, LONDON, UK PETER MILLARD AND WENDY THATCHER IN WHEN THE RAIN STOPS FALLING. DEBORAH HAY, PATRICK GALLIGAN AND BENEDICT CAMPBELL, WITH THE ENSEMBLE, IN MY FAIR LADY. MISSION “An exceptional opening week in Niagara CANDIDA is completed by Candida, usually one of In the spirit of Bernard Shaw, the my least favourite Shaw plays... Tadeusz CANDIDA BY BERNARD SHAW. DIRECTED Bradecki’s production, however, gives Shaw Festival provokes the mind BY TADEUSZ BRADECKI, DESIGNED BY WILLIAM SCHMUCK, LIGHTING DESIGNED it a hard comic edge and, even more BY JOCK MUNRO, ORIGINAL MUSIC COM - rewardingly, a hard passionate edge.” and stirs the soul through a theatre POSED BY REZA JACOBS. THIS PAGE: NATIONAL POST CLAIRE JULLIEN AND WADE BOGERT- experience so compelling that, year 0’BRIEN. after year, ever-broadening groups of artists, audiences and supporters are drawn to our work in Niagara- on-the-Lake and beyond. CORE PRINCIPLES ENGAGING THEATRE that constantly surprises and ignites conversation. 2 DEEP EMPATHY for humankind 3 while not suffering fools gladly. The SPIRITED CHALLENGE of the assumptions and the power structures that rule our lives. A passionate belief in EQUALITY AND DIVERSITY. The use of WIT AND PASSION to stamp out hypocrisy and pretension. The love of a GOOD ARGUMENT. Chair’s Report A great theatrical company respects the past, but more importantly, relishes the future. In 2011, the Shaw Festival not only celebrated fifty years of delivering theatrical excellence, but also took steps to secure our next fifty years, both artistically and financially.
    [Show full text]