DOCSLIB.ORG

R. Murray Schafer's Odditorium

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
R. Murray Schafer's Odditorium R. MURRAY SCHAFER’S ODDITORIUM NEW DIRECTIONS IN MUSIC NEW DIRECTIONS IN MUSIC 2016/2017 CONCERT SERIES NEW DIRECTIONS IN MUSIC FROM THE ARTISTIC DIRECTOR Soundstreams has a long and treasured history ideas expressed. Just as mythological connections of collaboration with R. Murray Schafer, in the abound in his large-scale works including the performance of existing works, as well as the entire Patria cycle, the same can be said of the commissioning, developing and premiering of new four small-scale music theatre works included in works. Murray’s vision has always been larger Odditorium. than life and expressing that vision often required that it is mirrored in large-scale works - featuring This production marks the first time these multiple vocal and instrumental ensembles. extraordinary smaller works have been grouped together in such a way. We hope you’ll agree We at Soundstreams have shared with him an that they turn out to be joined at the hip – linked abiding interest in the power of multiple ensembles through a mythology that speaks to our innermost and large-scale forces to express profound emotional lives and at the same time, connecting ideas. This common interest has resulted in a us to the larger cosmos. Therein lies Murray’s number of such commissions, the largest of which special genius – welcome to the labyrinth! included The Fall Into Light for 7 choirs and the monumental opera The Children’s Crusade for more than 100 performers. It is said that size matters. But in fact, there is no direct correlation in Schafer’s works between the size of forces employed and the depth of the Lawrence Cherney Soundstreams would like to acknowledge this event takes place on the traditional territory of the indigenous peoples who have occupied and made this land their home from time immemorial. These territories include the Haudenosaunee Confederacy, and most recently, the territory of the Mississaugas of the New Credit First Nation. ABOUT SOUNDSTREAMS Soundstreams is one of the world’s leading Emerging Composer Workshop, SoundWave, contemporary music companies, and the largest and SoundMakers. Salon 21 is a free monthly global presenter of new Canadian music. discovery series featuring performances, Artistic Director Lawrence Cherney (C.M.) and discussions, and audience participation; the Executive Director Ben Dietschi are committed Emerging Composer Workshop helps talented to showcasing the work of living and international contemporary composers from around the composers with a focus on innovative thematic and world launch their careers; SoundWave experiential programming. provides accessible tickets to young adults; and SoundMakers provides interactive learning Soundstreams also serves a broad community experiences online and in the classroom. of music lovers through free outreach and education programs including Salon 21, the 2 2016-2017 CONCERT SERIES SOUNDSTREAMS.CA 3 R. MURRAY SCHAFER’S ODDITORIUM Music by R. Murray Schafer Chris Abraham, Creative Consultant CAST Carla Huhtanen Soprano Andrea Nann Dancer/ Andrea Ludwig Mezzo-Soprano Choreographer Judy Loman Harp Brendan Wyatt Dancer/ Joseph Macerollo Accordion Co-Choreographer Ryan Scott Percussion Julian Richings Voice Actor Daniel Morphy Percussion PROGRAM All works composed by R. Murray Schafer (b.1933, Canada) La Testa d’Adriane (1977) Tantrika (1986) Amente-Nufe (1982) The Crown of Ariadne (1979) 1. Ariadne Awakens 2. Ariadne’s Dance 3. Dance of the Bull 4. Dance of the Night Insects 5. Sun Dance 6. Labyrinth Dance CREATIVE Chris Abraham Creative Consultant Zack Russell Co-Creative Consultant John Hess Music Director/Vocal Coach Kimberly Purtell Lighting Designer Shannon Lea Doyle Costume/Set Designer Thomas Ryder Payne Sound Designer Gerry Egan Production Manager 4 2016-2017 CONCERT SERIES SOUNDSTREAMS.CA 5 PROGRAM ESSAY COMPOSER BY DAVID JAEGER Composer R. Murray Schafer and Soundstreams and pops, finally ending in laughter that descends have collaborated on numerous projects over the into weeping before she subsides again into her years. Notable among these were the premieres comatose state. In vain, the showman tries to of major large scale works for multiple choirs The revive her with his accordion. Finally, he pulls the Fall Into Light (2004), and The Death of Shalana curtain shut. The show is over.” (2005), the opera The Children’s Crusade (2009), and the revivals of Credo from Apocalypsis Schafer wrote the 100 pieces of Patria 3: The (2000), and Zoroaster (2001). Greatest Show over a ten-year span. Tantrika was one of the last of those pieces composed, and Lawrence Cherney, Soundstreams’ Artistic had its premiere in St. John’s Newfoundland in R. Murray Director, observed within Schafer’s largest-scale 1986. Schafer says: “Tantra is a cult of ecstasy, creation of all the twelve-episode Patria cycle focused on a vision of cosmic sexuality. The text Schafer Canadian R. Murray Schafer the creation of No Longer Than that there existed certain moments that were for Tantrika consists of words associated with the (C.C.) has achieved an Ten (10) Minutes, inspired by truly individual compositions and stand out as Tantric arts. I wrote the work for Eleanor James, international reputation charts of Vancouver traffic self-sufficient pieces, the “gems” of the cycle. accompanied by percussion instruments.” as a composer, educator, noise. One of these, The Crown of Ariadne for solo environmentalist, scholar, and harp, has already become a frequently performed “1982 was devoted almost entirely to the writing visual artist. He was born in In the 1980’s Schafer’s focus concert piece. The others, La Testa d’Adriane and of Patria 6: Ra,” wrote Schafer. “Right from Sarnia, Ontario and raised in turned to the Patria cycle, Tantrika, both from Patria 3, and Amente-Nufe the beginning, I decided that the work would last Toronto. which he originally began in from Patria 6 have been performed less often, eleven hours, from sunset to sunrise. As source 1966. This 12-part cycle uses but always in concerts where a sense of theatre is material I used ancient texts describing how the A highly prolific composer, R. what he called the “theatre desired. Cherney felt, given the innate theatricality sun god Ra passes the night travelling from West Murray Schafer has produced of confluence”, exploring of these individual works, it might be possible to to East through the Netherworld.” The audience works ranging from opera to the relationships between create a program that could play as an evening of was limited to 75 so-called “initiates”, and they chamber and orchestral music, different art forms including music theatre itself. He spoke with both Schafer, would each receive one of the 75 names of Ra. along with pieces for choir and opera, dance, theatre, and who had already employed the term “Odditorium” Between 2:40 a.m. and 3:30 a.m. there was a soloists. His work is heavily music. Schafer encourages in Patria 3, and theatre director Chris Abraham period of rest, at the end of which the initiates influenced by the natural performers to draw on their about creating such a program. were gently roused and served tea. At this time, we environment, mysticism, and local surroundings when hear Amente-Nufe (Beautiful West), accompanied soundscapes. producing the cycle - resulting Schafer’s La Testa d’Adriane was written in 1977 by the tolling of 75 varied gongs and bells. in outdoor performances near and is the first work of what becamePatria 3: The Schafer began to study music Peterborough, Banff and the Greatest Show. Schafer describes the work: The Crown of Ariadne was written in 1979 for at the University of Toronto Ontario Science Centre. harpist Judy Loman. It was intended as part of in 1952, however he dropped “An accordionist, dressed in a tattered tuxedo Patria 5, which retells the myths of Theseus, out shortly thereafter. He received both the Canadian and top hat, opens with a happy tune to attract an Ariadne and the Minotaur. Schafer described it as, Schafer also spent time at Music Council’s first Composer audience. Behind a curtain, he claims to have the “a dance drama and Ariadne’s instrument would the Vienna Academy and of the Year award and the bodyless head of a woman, saved at the instant be the harp. The various titles of the movements studied informally with British first Jules Léger Prize for before death and preserved by the fantastic art indicate Ariadne’s involvement in the story: 1. composer Peter Racine Fricker. New Chamber Music in 1977. of legerdemain. When he pulls the curtain of his Ariadne Awakens, 2. Ariadne’s Dance, 3. Dance Recent awards include the little booth, we do indeed see a woman’s head on a of the Bull, 4. Dance of the Night Insects, 5. Sun In the 1970’s Schafer became Molson Prize, the Glenn table without a body. She appears to be sleeping, Dance, 6. Labyrinth Dance. In 1995, at Judy’s known as the “father of Gould Prize, the 2010 Dora but the barker awakens her with music and she request, I added another movement (between 4 acoustic ecology”. He was Award for his Soundstreams- sings a strange aria of gurgles, trills, whispers and 5) called Ariadne’s Dream.” deeply concerned about the commissioned opera The damaging effects of noise Children’s Crusade, and the on people (in particular the 2009 Governor General’s Are you age 35 or under? habitants of the “sonic sewers” Performing Arts Awards for Join SoundWave for access to $22 concert tickets! of the city), he began lobbying Lifetime Artistic Achievement. for anti-noise legislation Shafer was made a Companion soundstreams.ca/SoundWave and urban soundscape of the Order of Canada in improvements. This in turn 2013. influenced his music including 6 2016-2017 CONCERT SERIES SOUNDSTREAMS.CA 7 CAST CAST Carla Andrea Judy Joseph Ryan Daniel Huhtanen Ludwig Loman Macerollo Scott Morphy Soprano Mezzo-Soprano Harp Accordion Percussion Percussion Carla debuted in the UK Born and raised in Regina, Considered by numerous Joseph Marerollo (O.C.) Critically acclaimed Canadian Dan is an incredibly active as Lisetta and Serpetta at Saskatchewan, mezzo- music critics to be one of began accordion lessons at percussionist Ryan Scott has and sought out percussionist Garsington Opera.
Load more

Recommended publications
  • INTO the WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim
    PRESENTS INTO THE WOODSIN CONCERT Book by James Lapine Music and Lyrics by Stephen Sondheim Directed by Michael Torontow NOVEMBER 14 -16, 2019 Georgian Theatre, Barrie | 705-792-1949 www.tift.ca Presented by | Season Partner Artistic Producer Arkady Spivak INTO THE WOODS Book by James Lapine Music and Lyrics by Stephen Sondheim Director Michael Torontow Music Director Wayne Gwillim Choreographer Lori Watson Set and Lighting Designer Joe Pagnan Costume Designer Laura Delchiaro Production Manager Jeff Braunstein Stage Manager Dustyn Wales Assistant Stage Manager Sam Hale Sound Designer Joshua Doerksen Props Master Vera Oleynikova CAST OF CHARACTERS Cast Baker-------------------------------------------------------------------------------------------------------------------------------Aidan deSalaiz Cinderella’s Prince, Wolf, Lucinda------------------------------------------------------------------------------------Griffin Hewitt Witch---------------------------------------------------------------------------------------------------------------------------------Alana Hibbert Rapunzel’s Prince, Florinda, Milky White-------------------------------------------------------------------------Richard Lam Baker’s Wife---------------------------------------------------------------------------------------------------------------Jamie McRoberts Jack’s Mother, Stepmother, Granny, Giant------------------------------------------------------------------Charlotte Moore Jack, Steward------------------------------------------------------------------------------------------------------------------Justin
    [Show full text]
  • Department of Drama
    UNIVERSITY OF ALBERTA Mentoring Canadian Theatre: Paul Thompson's Influence On The State of Canadian Theatre Through His Work in Collective Creation Dunng the 1970s and Early 1980s Ryan Farrell O A thesis submitted to the Faculty of Graduate Studies and Research in partial Willment of the requirements for the degree of Master of Arts. DEPARTMENT OF DRAMA Edmonton, Alberta Spring, 2000 National Library Bibliothéque nationale u*u ofCanada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibrigmphiques 395 Wellington Street 395. rue Weliiigton OlÉewaON K1AOW OttawaON KlAON4 canada carlada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliothéque nationale du Canada de reproduce, loan, distn'bute or seIl reproduire, prêter, distriiuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels mybe printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT In this thesis, 1 demonstrate how Paul Thompson's collective creations from the 1970s and early 1980s provided a mechanism by which to attach theatre practice to the creation of dramatic text. 1 demonstrate how Paul Thompson developed his collective creations to help replenish the body of Canadian written work in the country's theatre industry, creating a volume of playable Canadian theatre texts that were developed by Canadians, for Canadians, and based on Canadian subject-rnatter.
    [Show full text]
  • Dora Mavor) Papers Coll 207
    MS Moore (Dora Mavor) Papers Coll 207 A large collection of correspondence, scripts, photos, clippings, theatre programs and tapes covering the personal and professional career of the Canadian actress, drama teacher and director Dora Mavor Moore. It excludes that part of Moore’s career when she was director of the New Play Society and School. This material can be found in the New Play Society Papers (MS Coll. 228). Dates: 1888-1979 Extent: 189 boxes and items. Located at Downsview Offsite Storage. Gift of Dora Mavor Moore, Francis W. Mavor Moore and J. Mavor Moore. 2 MOORE (DORA MAVOR) COLLECTION 207 BOX NO SERIES 1 - 2 A Education and early acting career 3 - 38 B Teaching and early directing 39 - 50 C Professional activities, other than teaching or directing 51 - 88 D Personal 89 - 98 E Theatrical history 99 - 101 F Photographs 102 - 126 G Theatre programmes 127 - 129 H Tapes 1)0 - 132 I Scripts 133 - 145 J Christmas card collection Family Papers 1.57- 1~3 K L Books I, 3 MOORE (OORA MAVOR) COLLECTION 207 CONTAINER LISTING; A: EDUCATION AND EARLY ACTING CAREER Box no. 1. A Education: Ecole superieure de demoiselles, 1904-1906 1· B University College, University of Toronto; Margaret Eaton School of Literature and Expression, Toronto; Royal Academy of DramaticArt, London, England. 2 Early professional career on the stage, 1912-1918; Colonial Stock Company, Ottawa; Ben Greet Pastoral Players and RepertoJrytOmmpanies, N.Y., Chicago, etc.; various New York companies; Farnum Barton & Associate players, Toronto 1915; participating in Old Vic production, London, England, 1918. B: TEACHING AND EARLY DIRECTING Box no.
    [Show full text]
  • Russian Writers and the Doukhobors
    RUSSIAN WRITERS AND THE DOUKHOBORS George Woodcock 0.NE DAY WHEN ι WAS TALKING to Mavor Moore about his childhood, he recollected going in his parents' house to answer a ring on the doorbell. "And there stood Princess Kropotkin." Princess Kropotkin was actually Alexandra ( Sasha), the daughter of the famous Russian anarchist and geographer, Peter Kropotkin; after her father's death near Moscow in 1921 she had migrated to the United States and lived in New York. The friendship she sustained with Mavor's mother, the actress Dora Mavor Moore, was a continuation of that which had existed since the mid-1880s between her father and James Mavor, the distin- guished Scottish Canadian political economist who was Dora's father, and whose memoir, My Windows on the Street of the World (1923), is one of the most in- teresting of Canadian autobiographies. It was a friendship that would involve a number of important Russian writers and intellectuals and that led to the coming of the Doukhobors to Canada. Kropotkin and James Mavor first met in November 1886 when Kropotkin had gone to Edinburgh to lecture on anarchism. He stayed with James Stuart Blackie, the Classical scholar and translator of Aeschylus, and among the people he met on that occasion were Patrick Geddes, Fridtjof Nansen (then a young man studying in Scotland), and James Mavor, who was then professor of political economy at St. Mungo's College in Glasgow; he would not take up his post at the University of Toronto until 1892. The meeting stayed vividly in Mavor's mind, and he wrote in his autobiography what is perhaps the best portrait we have of the anarchist prince at this time, when he was forty-two and at the height of his vigour.
    [Show full text]
  • Collider 2021 Play Guide
    Generously Season Supported by Sponsor We wish to acknowledge that the land on which we gather is Treaty No. 6 territory and a traditional meeting ground and home of the First Nations, including both the treaty signatories – Cree, Saulteaux, Nakota Sioux, Stony and Cree-Iroquois – as well as other Indigenous peoples, such as the Blackfoot and Métis, who occupied this land. We extend our appreciation for the opportunity to live, create and perform on this territory. Nikistêyhtamâkânân oma askîwihtâwin ita kâ mâwasakôyâhk Nikotwâsik Kâ akihtêk omâmawôpayônôwâw Nistam Îyinôwak, nânapo ôkih tipahamawâkan tahkikwanênkêwak-Nêhîyawak, Nahkawînôwak, Opwâsîmowak, Asinî Pwâtak êkwah Nêhîyaw Paskosikanak-êkwah kotakak Îyinôwak, tâpiskôc Kaskitêwayasitak êkwah Âpihtwâyak, kâkîh kikîwîhkêcik otah. Nitâniskê nanâskôtênân tawâw ôtah êh ayâyâhk tita wîci pimâtisîhtamâhk, tita osîhcikêyâhk êkwah tita nôkohtihiwêyâhk otah askîwihtâwinihk. WELCOME TO THE CITADEL’S VERY FIRST COLLIDER FESTIVAL! Collider is a new play development festival that celebrates and helps bring to life new stories and scripts for larger stages, showcasing a mix of local artists, artists from across the country, and beyond. This year’s inaugural festival is completely digital and features five days of workshops, readings, a digital preview and keynote address, creating a creative collision of artists and audiences passionate about exhilarating new large- scale productions. Collider is a central part of The Citadel’s commitment to commissioning, developing, and showcasing new works with ambitious and exciting production potential. This week we will be featuring six new play readings by: Kareem Fahmy (N.Y.), Charlotte Corbeil-Coleman (Toronto) and Hawksley Workman (Peterborough), Erin Shields (Montreal), Mieko Ouchi (Edmonton), Holly Lewis (Edmonton), Kenneth T.
    [Show full text]
  • Spring 2021 Catalogue
    PLAYWRIGHTS CANADA PRESS spring 2021 SEXUAL MISCONDUCT OF THE MIDDLE CLASSES HANNAH MOSCOVITCH “Wasn’t there something deadly about the ‘young girl’ as an object of fiction?” The archetypal student-teacher romance is cleverly turned on its head for the post-#MeToo era in this striking new play by the acclaimed author of What a Young Wife Ought to Know and Bunny. Jon, a star professor and author, is racked with self-loathing after his third marriage crumbles around him when he finds himself admiring a student—a girl in a red coat. The girl, nineteen-year-old Annie, is a big fan of his work, and also happens to live down the street. From their doorways to his office to hotel rooms, their mutual admiration and sexual tension escalates under Jon’s control to a surprising conclu- sion that will leave you wanting to go back and question your perceptions of power as soon as you finish. APRIL | $18.95 5 3/8" x 8 3/8" | 96 pages | 9780369102300 “Beyond providing her signature sharp sense of DRA019000, DRA013000 humour . the intrigue in Moscovitch’s script is in 1f, 1m | premiered in December 2019 at the discovering why she’s playing with such traditional Tarragon Theatre in Toronto tropes, so out of character for the playwright who ALSO AVAILABLE: The Russian has written so frankly about female sexuality.” Play and Other Short Works | East —Carly Maga, Toronto Star of Berlin | The Mill | This is War | Little One and Other Plays | Infinity “Powerful and clever and funny.” | Bunny | What a Young Wife Ought —Ron Johnson, TRNTO to Know | The Children’s Republic “Everything about Sexual Misconduct of the Middle YOU MAY LIKE: The Virgin Trial Classes was perfect.
    [Show full text]
  • Playwrights Canada Press Fall 2020
    PLAYWRIGHTS CANADA PRESS fall 2020 ORDERING AND DISTRIBUTION IN CANADA SALES Canadian Manda Group 664 Annette Street, Toronto, ON M6S 2C8 t: 416.516.0911 | f: 416.516.0917 | e: [email protected] | w: www.mandagroup.com customer service & orders Ryan Muscat, Account Manager, Ontario & Manitoba t: 1.855.626.3222 | f: 1.888.563.8327 | e: [email protected] t: 416.516.0911 x243 Chris Hickey, Sales Manager Iolanda Millar, Account Manager, British Columbia, t: 416.516.0911 x229 Yukon & Northern Territories :: t: 604.662.3511 x246 Tim Gain, National Account Manager, Library Market Nikki Turner, Account Manager, Trade & Library t: 416.516.0911 x231 Market :: t: 416.516.0911 x225 Dave Nadalin, Account Manager, Ontario Anthony Iantorno, National Account Manager, Online t: 416.516.0911 x400 Retailers :: t: 416.516.0911 x242 Jean Cichon, Account Manager, Alberta, Saskatchewan Joanne Adams, National Account Manager, & Manitoba :: t: 403.202.0922 x245 Mass Market :: t: 416.516.0911 x224 Kristina Koski, Account Manager, Special Markets Jacques Filippi, Account Manager, Quebec & Atlantic t: 416.516.0911 x234 Provinces :: t: 1.855.626.3222 x244 David Farag, National Account Coordinator Kate Condon-Moriarty, Account Manager, British t: 416.516.0911 x248 Columbia :: t: 604.662.3511 x247 Emily Patry, Marketing & Communications Manager Caitrin Pilkington, Account Manager, t: 416.516.0911 x230 Special Markets :: t: 416.516.0911 x228 Ellen Warwick, National Account Manager, Special Markets :: t: 416.516.0911 x240 DISTRIBUTION University of Toronto Press Inc. 5201 Dufferin Street, Toronto, ON M3H 5T8 t: 1.800.565.9523 or 416.667.7791 | f: 1.800.221.9985 or 416.667.7832 | e: [email protected] To order by EDI: Through Pubnet: SAN 115 1134 All orders from individuals must be prepaid.
    [Show full text]
  • Mavor Moore Fonds Inventory #359
    page 1 Mavor Moore fonds Inventory #359 File: Title: Date(s): Note: Call Number: 2005-040/001 (1) Acting (2) The apology : scripts 1987 (3) Arts [notes and articles] 1963-1991 (4) Articles on television 1950-1960 (5) Book reviews 1968-1993 (6) Television broadcasting 1952-1987 (7) Canada Conference of the Arts : Massey Conference 29 November 2001 (8) Canada Council for the Arts : application information 1997-1998 (9) Canadian commentator 1957-1958 (10) Censorship articles by Mavor Moore 1976 (11) Citations 1978-2002 (12) Copyright and intellectual property 1994-1998 (13) Criticism [notes and articles] 1981-1992 (14) Culture : Arts Canada 1949-1984 1 of 2 (15) Culture : Arts Canada 1949-1984 2 of 2 (16) Duplicates : addresses. etc. [notes, articles and [1949-1984] 1 of 2 correspondence] (17) Duplicates : addresses. etc. [notes, articles and [1949-1984] 2 of 2 correspondence] (18) Economics [1970-1994] (19) Expo 1986 (20) Globe columns [1983-1997] (21) Introductions [ca. 2002] Call Number: 2005-040/002 (1) Law : first annual conference on law and contempoary 14-15 February 1986 social issues (2) Nationalism [1958-1983] (3) National Arts Centre Ottawa 19 August 1986 (4) Odd sheets [notes] [1972-1987] (5) Play reviews 1959-1993 (6) Poetry [1959-1990] (7) Shaw, G.B. [1957-1980] (8) Shakespeare [notes, articles and correspondence] [ca. 1961] 1 of 2 (9) Shakespeare [notes, articles and correspondence] [ca. 1961] 2 of 2 (10) Toronto Telegram 1958-1960 (11) United Nations/ United Nations Educational, Scientific 1995 and Cultural Organization (12)
    [Show full text]
  • By Waawaate Fobister, Primrose Madayag Knazan, Jordan Sangalang and Liam Zarrillo
    vol 28 • no 3 may 2021 By Waawaate Fobister, Primrose Madayag Knazan, Jordan Sangalang and Liam Zarrillo PRODUCTION SPONSORS THEATRE ABBREVIATION LEGEND Arts Club Arts Club Theatre Company • Vancouver, BC RNT Royal National Theatre • London, England ATF Atlantic Theatre Festival • Wolfville, NS Royal Alex The Royal Alexandra Theatre • Toronto, ON ATP Alberta Theatre Projects • Calgary, AB RSC Royal Shakespeare Company BAM Brooklyn Academy of Music • NYC • Stratford-upon-Avon, England Bard on the Beach Bard on the Beach Shakespeare RWB Royal Winnipeg Ballet • Winnipeg, MB Festival • Vancouver, BC Sarasvàti Sarasvàti Productions • Winnipeg, MB Belfry The Belfry Theatre • Victoria, BC Segal The Segal Centre for Performing Arts Blyth Blyth Theatre Festival • Blyth, ON • Montreal, QC Broadway Theatre district • New York, NY Shaw Shaw Festival • Niagara-on-the-Lake, ON CBC Canadian Broadcasting Corporation SIR Shakespeare in the Ruins • Winnipeg, MB Centaur Centaur Theatre Company • Montreal, QC Soulpepper Soulpepper Theatre Company Citadel The Citadel Theatre • Edmonton, AB • Toronto, ON COC Canadian Opera Company • Toronto, ON Stratford Stratford Festival • Stratford, ON CS Canadian Stage • Toronto, ON SummerWorks SummerWorks Theatre Festival Dora Dora Mavor Moore Award • Toronto, ON • Toronto, ON Drayton Drayton Entertainment • Ontario TA Theatre Aquarius • Hamilton, ON Dry Cold Dry Cold Productions • Winnipeg, MB Tarragon Tarragon Theatre • Toronto, ON Factory Factory Theatre • Toronto, ON TBTR Theatre by the River • Winnipeg, MB GCTC The
    [Show full text]
  • Download the Digital Program
    vol 28 • no 2 apr 2021 Book, Lyrics and Music by Tomson Highway PRODUCTION SPONSORS THEATRE ABBREVIATION LEGEND Arts Club Arts Club Theatre Company • Vancouver, BC RNT Royal National Theatre • London, England ATF Atlantic Theatre Festival • Wolfville, NS Royal Alex The Royal Alexandra Theatre • Toronto, ON ATP Alberta Theatre Projects • Calgary, AB RSC Royal Shakespeare Company BAM Brooklyn Academy of Music • NYC • Stratford-upon-Avon, England Bard on the Beach Bard on the Beach Shakespeare RWB Royal Winnipeg Ballet • Winnipeg, MB Festival • Vancouver, BC Sarasvàti Sarasvàti Productions • Winnipeg, MB Belfry The Belfry Theatre • Victoria, BC Segal The Segal Centre for Performing Arts Blyth Blyth Theatre Festival • Blyth, ON • Montreal, QC Broadway Theatre district • New York, NY Shaw Shaw Festival • Niagara-on-the-Lake, ON CBC Canadian Broadcasting Corporation SIR Shakespeare in the Ruins • Winnipeg, MB Centaur Centaur Theatre Company • Montreal, QC Soulpepper Soulpepper Theatre Company Citadel The Citadel Theatre • Edmonton, AB • Toronto, ON COC Canadian Opera Company • Toronto, ON Stratford Stratford Festival • Stratford, ON CS Canadian Stage • Toronto, ON SummerWorks SummerWorks Theatre Festival Dora Dora Mavor Moore Award • Toronto, ON • Toronto, ON Drayton Drayton Entertainment • Ontario TA Theatre Aquarius • Hamilton, ON Dry Cold Dry Cold Productions • Winnipeg, MB Tarragon Tarragon Theatre • Toronto, ON Factory Factory Theatre • Toronto, ON TBTR Theatre by the River • Winnipeg, MB GCTC The Great Canadian Theatre Company TC Theatre
    [Show full text]
  • Serving Elizabeth: Director’S Notes Welcome
    SERVING SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY JOHN & THERESE GARDNER AND BY THE TREMAIN FAMILY LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives.
    [Show full text]
  • Canadian Theatre Encyclopedia - Canadian Theatre History
    11/3/2017 Canadian Theatre Encyclopedia - Canadian Theatre History Canadian Theatre Encyclopedia canadiantheatre.com /dict.pl Canadian Theatre History The First Theatre Aboriginal peoples were performing rituals and dramas as part of ceremonies and celebrations hundreds of years before Europeans came to the shores of the “New World.” Indeed the Aboriginal Theatre we see today, such as Tomson Highway's plays, is often based on Native mythology. First European Theatre Theatre historian, David Gardner believes that European theatre came to Canada with Sir Humphrey Gilbert and "a little company of mummers" in 1583, predating Marc Lescarbot’ production of Le Théâtre de Neptune en la Nouvelle- France> on November 14, 1606. Samuel de Champlain, in Port Royal (in what is now Nova Scotia) organized a social club called L’Ordre de Bon Temps and it was through the Ordre that Lescarbot mounted his entertainment, performed by members of the French colony disguised as natives and mythological beings. The purpose of the event was to celebrate the return of the colony's founders from a dangerous expedition. The site of the colony and the production was abandoned in 1607 and there is no other mention of theatrical activity until 1640, though it is more than likely that light- hearted entertainments were presented as a part of colonial life. The Neptune Inn, Quebec City, in the 18th century; the kind of gathering place which served as this country's earliest theatrical venues (National Archives) The Neo-Classics in the New World It is impossible to separate cleanly the rise of English-language and French-language drama in Canada, as the theatrical traditions are similar, and sometimes the English performed in French and vice versa, as is still the case in Canadian theatre to this day.
    [Show full text]