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2020 Visitors Guide a Storied Past, a Glorious Future: a Season to Celebrate the Elixir of Power
2020 VISITORS GUIDE A STORIED PAST, A GLORIOUS FUTURE: A SEASON TO CELEBRATE THE ELIXIR OF POWER Irresistible – that’s the only way to describe the variety, quality and excitement that make up the Stratford Festival’s 2020 season. First, there is our stunning new Tom Patterson Theatre, with ravishingly beautiful public spaces and gardens. Its halls, bars and café will be filled throughout the season with music, comedy nights, panel discussions and outstanding speakers to make our Festival even more festive. In the wake of an election in Canada, and in anticipation of one in the U.S., our season explores the theme of Power. Recent years have seen a growing acceptance of the naked use of power. Brute force is in vogue on the world stage, from international trade to immigration and the arms race – and, closer to home, in elections, in the workplace and even in social media engagements. Through comedy, tragedy, song, dance and farce, the plays and musicals of our 2020 season explore the dynamics of power in society, politics, art, gender and family life. In our new Tom Patterson Theatre, we present the two plays that launched the Stratford adventure in 1953: All’s Well That Ends Well and Richard III. The new venue is also home to a new musical, Here’s What It Takes; a new movement-based creation, Frankenstein Revived; and a series of improvisational performances – each one unique and unrepeatable – called An Undiscovered Shakespeare. But the fun isn’t all confined to one theatre. Our historic Festival Theatre showcases two of Shakespeare’s greatest plays, Much Ado About Nothing and Hamlet, as well as Molière’s brilliant satire The Miser and the first major new production in decades of the mischievous musical Chicago. -
Queer Women and Non-Binary Artists Resisting an Emptied Stage
Placefull Spaces: Queer Women and Non-Binary Artists Resisting an Emptied Stage by Laine Yale Zisman Newman A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Drama, Theatre and Performance Studies Centre for Sexual Diversity Studies (collaborative program) Women & Gender Studies Institute (collaborative program) University of Toronto © Copyright by Laine Zisman Newman 2018 Placefull Spaces: Queer Women and Non-Binary Artists Resisting an Emptied Stage Laine Zisman Newman Doctor pf Philosophy Centre for Drama, Theatre, & Performance Studies University of Toronto 2018 Abstract For marginalized queer artists, inequitable distribution of and access to performance space impact both the development process and production of artistic works. While a lack of ongoing or resident performance space for women’s productions in Canada has been documented (see, for example, Rina Fraticelli; Rebecca Burton; and Michelle MacArthur), less research has been conducted on queer women’s and non-binary artists’ experience of space in the industry. Theatre and performance scholars (see, for example, Gay McAuley, Una Chaudhuri, Jill Dolan, and Laura Levin) have provided the groundwork for exploring the relationship among theatre sites, identities, and productions; and queer geographers such as Natalie Oswin, Julie Podmore, Catherine Nash, and Kath Browne have developed invaluable theories and methodologies to unsettle the assumed neutrality of space. However, few scholars have brought these fields together, particularly in the context of performance in Canada. This doctoral project applies queer and feminist theories of geography to queer women’s and non-binary artists’ performance to explore how insecure and inequitable access to physical space affects both experiences of finding one’s place in the theatre industry and articulations of an imagined place on stage. -
There Will Be No Intermission 2018
There will be no intermission 2018 GMC CANADA PHONE 780.486.3333 Visit us online at westerngmcbuick.com 184 Street & Stony Plain Road, Edmonton, AB Western GMC_5.25x8.25f.indd 1 2018-03-19 3:00 PM A Crow’s Theatre and Segal Centre for Performing Arts Production In partnership with 2b Theatre Company WE ARE NOT ALONE Written & Performed by Damien Atkins Featuring: Damien Atkins Directors: Chris Abraham & Christian Barry Design Consultant: Julie Fox Lighting Designer: Kimberley Purtell Sound Design: Thomas Ryder Payne in association with Dylan Green, Peter Balov, and Christian Barry Stage Manager: Kate Porter Production Manager: Daniel Oulton Apprentice Production Manager: Jenna Harris Theatre Network Production Manager: Scott Peters Technical Director: Tyler Ferguson THEATRE NETWORK • 3 THREE LITTLE PIGS PUBLISHING LTD would like to acknowledge 32nd Anniversary Live at the Roxy programme is published by Three Little Pigs Publishing Ltd. The Publisher Doug Miron for their assistance with the production Assistant to the Publisher Maggie Miron of this program. Program Coordinator Carol Houghton Three Little Pigs Publishing Ltd. Advertising Sales Doug Miron Three Little Pigs Publishing Ltd. Program and Advertising Design Tiina Andreakos Program Director Jeff Pesaruk Printed by Ion Print Solutions Celebrating 32 years of playbill publishing. Three Little Pigs Publishing produces programs for the Edmonton Arts Community as well as a variety of other programs in the Edmonton area. Edmonton’s longest serving playbill publisher. All rights reserved. Any reproduction in whole or in part is strictly prohibited without the permission of Theatre Network and Three Little Pigs Publishing Ltd. The Audience is Reading. -
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. -
The Merry Wives of Windsor 2019 House Program.Pdf
SUPPORT FOR THE 2019 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN AND CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY JANE PETERSEN BURFIELD & FAMILY, BY DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE AND BY DR. M. LEE MYERS 2 DIRECTOR’S NOTES A COMMUNITY TRANSFORMED BY THEATRE BY ANTONI CIMOLINO The Merry Wives of Windsor is the only play Shakespeare set in his own contemporary time and place. Yet it somehow has the feeling of a memory play. Ben Jonson accused Shakespeare, his friend and rival, of having “small Latin and less Greek,” and this play features a Latin lesson taken by a struggling young student named Will. Might the rural, small-town community in Merry Wives be modelled on the Stratford of the playwright’s youth? We can’t know that for sure, but we can certainly see that the hero of this play is the community, and that community is led – by example, at least – by two remarkable women. Alice Ford and Meg Page, the BRIGIT WILSON (LEFT), SOPHIA WALKER, GERAINT WYN DAVIES (INSET) “merry wives” of the title, take whatever ill fortune offers them and, through wit, differences. Shakespeare has a deep love wisdom, and brio, ensure a happy outcome for the underdog and the marginalized. for themselves and those they love. Here, the oddballs, eccentrics, and This brilliant comedy about harassment, foreigners do not merely find inclusion jealousy, and revenge tames through but also drive positive change in the laughter the green-eyed monster that community by virtue of their diverse views. -
THE DEVILS DISCIPLE 2021.Indd
THETHE DEVIL’S DEVIL’S DISCIPLE DISCIPLE 2021 Ensemble ARTISTIC DIRECTOR Tim Carroll EXECUTIVE DIRECTOR Tim Jennings ASSOCIATE ARTISTIC DIRECTOR Kimberley Rampersad DIRECTORS Philip Akin • Molly Atkinson • Tim Carroll • Craig Hall • Kate Hennig • Eda Holmes • Kimberley Rampersad MUSIC DIRECTORS / COMPOSERS / SOUND DESIGNERS Ryan deSouza • John Gzowski • John Lott • Paul Sportelli • Claudio Vena CHOREOGRAPHY / MOVEMENT / PUPPETRY / FIGHT DIRECTION Julio Fuentes • Alexandra Montagnese • Allison Plamondon • John Stead DIALECT CONSULTANT Alicia Richardson DESIGNERS Judith Bowden • Rachel Forbes • Gillian Gallow • Michael Gianfrancesco • Christine Lohre • Hanne Loosen • Ken MacKenzie • Joyce Padua • Ming Wong LIGHTING DESIGNERS Nick Andison • Louise Guinand • Mikael Kangas • Kevin Lamotte • Michelle Ramsay PROJECTION DESIGNER Cameron Davis STAGE MANAGEMENT Beatrice Campbell • Katie Fitz-Gerald • Ashley Ireland • Amy Jewell • Diane Konkin • Meredith Macdonald • Leigh McClymont • Annie McWhinnie • Théa Pel • Ken James Stewart • Allan Teichman • Dora Tomassi MUSICIANS David Atkinson • Andy Ballantyne • Erica Beston • Sasha Boychouk • Alex Grant • Tom Jestadt • Nancy Kershaw • Jason Logue • Ross MacIntyre • Shawn Moody • Christine Passmore • Anna Redekop • Tom Skublics • Rob Somerville THE ENSEMBLE Kaleb Alexander • David Alan Anderson • Damien GBS, BY MAX BEERBOHM. Atkins • Neil Barclay • Kristopher Bowman • Andrew Broderick • Fiona Byrne • Jason Cadieux • Julia Course • James Daly • Peter Fernandes • Kristi Frank • Patrick Galligan • Katherine -
Media Release Citadel's 50Th Anniversary Season Showcases Strong Edmonton Talent and Great Canadian Theatre
MEDIA RELEASE March 9, 2015 EMBARGOED UNTIL 8 PM MDT CITADEL’S 50TH ANNIVERSARY SEASON SHOWCASES STRONG EDMONTON TALENT AND GREAT CANADIAN THEATRE (EDMONTON) Many of Edmonton’s finest theatre artists will be front and centre in the Citadel Theatre’s 2015/2016 Season, officially unveiled Monday evening at a reception in the Citadel’s Club venue. The Citadel also is partnering with other renowned theatres across the country in staging world class Canadian productions in the coming season. The season opens with a blast on September 19th with Rick Miller’s visually stunning, performance/multi-media extravaganza BOOM. Miller, who wrote, directed and stars in this one man tour de force performance, provides audiences of all ages a mind-blowing review of the turbulent years of the post-war Baby Boom. The Citadel partners with the acclaimed Charlottetown Festival in presenting a thrilling new Canadian musical of truly Broadway proportions. Evangeline takes the Shoctor stage October 31st after a four-week run in Charlottetown. The book, music and lyrics for Evangeline were created by St. Albert native Ted Dykstra. The Citadel’s Bob Baker will direct the production. Josée Boudreau, a graduate of the Citadel/Banff Centre Professional Theatre Program, will play the lead role of Evangeline. “Josee is a shining star in Canadian theatre,” said Baker. “At the Citadel, audiences loved her luminous performances as Maria in Sound of Music and Belle in Beauty and the Beast. Her authentic Acadian spirit and incredible talent will enliven the heroic character of Evangeline.” Boudreau herself is excited about the new role. -
Nominated for the 2017 Governor General's Literary Award for Drama
Spring 2018 PLAYWRIGHTS CANADA PRESS ORDERING AND DISTRIBUTION IN CANADA SALES Canadian Manda Group 664 Annette Street, Toronto, ON M6S 2C8 p: 416.516.0911 | f: 416.516.0917 | e: [email protected] | w: www.mandagroup.com customer service & orders special markets t: 416.516.0911 t: 1.855.626.3222 | f: 1.888.563.8327 | e: [email protected] Ellen Warwick, National Account Manager, Special Markets (x240) national accounts t: 416.516.0911 Anthony Iantorno, Manager, Business Intelligence & Kristina Koski, Account Manager, Special Markets (x234) National Accounts (x242) Jessey Glibbery, Account Manager, Special Markets (x228) Peter Hill-Field, Director, Sales & Marketing (x238) regional accounts Chris Hickey, National Account Manager (x229) Iolanda Millar, Account Manager, British Columbia, Yukon & Northern Territories (604.662.3511 x246) Joanne Adams, National Account Manager (x224) Robert Patterson, Account Manager, British Columbia Emily Patry, National Account & Communications (604-662-3511 x247) Manager (x230) Jean Cichon, Account Manager, Alberta, Saskatchewan & Tim Gain, National Account Manager, Library Market (x231) Manitoba (403.202.0922 x245) Nikki Turner, Account Manager, Trade & Library Market (x225) Ryan Muscat, Account Manager, Ontario & Manitoba (416.516.0911 x230) David Farag, Sales & Marketing Coordinator, National Accounts (x248) Dave Nadalin, Account Manager, Ontario (416.516.0911 x400) Jacques Filippi, Account Manager, Quebec & Atlantic Provinces (1.855.626.3222 x244) DISTRIBUTION University of Toronto Press Inc. 5201 Dufferin Street, Toronto, ON M3H 5T8 p: 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. -
Stories So Big They Have to Be Sung!
40TH ANNIVERSARY SPONSORS FESTIVAL SPONSORS PRODUCTION SPONSORS PRODUCTION SPONSORS PUBLIC FUNDERS PUBLIC FUNDERS 15/16 OPERA SEASON Stories so big they have to be sung! Britten A MIDSUMMER NIGHT’S DREAM April 14, 16, 22, 24 / 2016 At the Royal Theatre In English with English surtitles NEW show added! Poulenc LA VOIX HUMAINE May 12, 14, 18, 20 at 7:30pm & May 22 at 2:30 pm The Baumann Centre for Pacific Opera Victoria 925 Balmoral Road A forty-minute one-act opera for soprano and piano Performed in French with English Surtitles Part of Uno Fest Call for tickets today! 250.385.0222 / 250.386.6121 www.pov.bc.ca SEASON ANNUAL OPERATING SPONSOR: GRANTS PROVIDED BY: BELFRY SPARK FESTIVAL 2016 ( Calendar Date Time Event Venue Price Friday, March 11 7:30 pm Betroffenheit Royal Theatre Saturday, March 12 7:30 pm Betroffenheit Royal Theatre Sunday, March 13 3:30 pm Hootenanny - Brooke Maxwell Belfry Lobby Free & the Time Machine Band 7:30 pm Betroffenheit Conversation Belfry Studio Free with Jonathon Young Tuesday, March 15 7:30 pm Huff (P) Studio A $27 7:30 pm Iceland (P) Mainstage $27 Wednesday, March 16 7 pm mini plays Free 7:15 pm mini plays Free 7:30 pm Huff (O) Studio A $27 7:30 pm Iceland (O) Mainstage $27 Thursday, March 17 7 pm mini plays Free 7:15 pm mini plays Free 7:30 pm Huff Studio A $27 7:30 pm Iceland Mainstage $27 Friday, March 18 7 pm mini plays Free 7:20 pm mini plays Free 7:40 pm mini plays Free 8pm Huff Studio A $27 8pm Iceland Mainstage $27 Saturday, March 19 7 pm mini plays Free 7:20 pm mini plays Free 7:40 pm mini plays -
Tcg Publications Catalog
TCG PUBLICATIONS CATALOG TCG BOOKS 53RD STATE PRESS AURORA METRO BOOKS CHANCE MAGAZINE LEAGUE OF PROFESSIONAL THEATRE WOMEN MARTIN E. SEGAL THEATRE CENTER PUBLICATIONS NICK HERN BOOKS OBERON BOOKS PADUA PLAYWRIGHTS PRESS PAJ PUBLICATIONS PLAYSCRIPTS, INC. PLAYWRIGHTS CANADA PRESS UBU REPERTORY THEATER PUBLICATIONS For over 50 years, Theatre Communications Group (TCG), the national organization for the American theatre, has existed to strengthen, nurture and promote the professional not-for-profit American theatre. TCG’s constituency has grown from a handful of groundbreaking theatres to nearly 700 member theatres and affiliate organizations and more than 12,000 individuals nationwide. TCG offers its members networking and knowledge-building opportunities through conferences, events, research and communications; awards grants, approximately $2 million per year, to theatre companies and individual artists; advocates on the federal level; and serves as the U.S. Center of the International Theatre Institute, connecting its constituents to the global theatre community. TCG is North America’s largest independent publisher of dramatic literature, with 13 Pulitzer Prizes for Best Play on the TCG booklist. It also publishes the award-winning AMERICAN THEATRE magazine and ARTSEARCH®, the essential source for a career in the arts. In all of its endeavors, TCG seeks to increase the organizational efficiency of its member theatres, cultivate and celebrate the artistic talent and achievements of the field and promote a larger public understanding of, and appreciation for, the theatre. For more information, visit www.tcg.org. 2-21 TCG Books is the largest trade publisher of dramatic literature in North America with a booklist that includes 13 Pulitzer Prize winners. -
1825-EQ Summer 14 MAG.Indd
EQUITY QUARTERLY SUMMER 2014 EQ ACTING OUT THE QUEER ISSUE Making things perfectly queer A few words on acting out from our guest editor I’m always puzzled when I hear about a controversy surrounding the establishment of a Gay-Straight Alliance (GSA) in a high school. When I was in high school 30 years ago, we already had a GSA, but back then we simply called it “The Drama Club.” I can’t really remember why I first signed up for a drama class at Scona Composite High in Edmonton, but I do recall how life changing getting on stage was. Suddenly I was taking on new identities, exploring what acting really meant and doing my best to hone my skills at it. It was there that I would make some very profound friendships, with a group of people I’m in touch with to this day, including Equity members like Jennifer Tarver, Jane Spidell, Ingrid Kottke and the late Damian Bagdan. I worked on all the school plays and passionately threw myself into acting, while gaining enough comfort and courage to tell my friends that I was gay. I’ll never forget having my first stage kiss with Spidell in a brilliant one-act called Impromptu, a play written by Tad Mosel, a man I would later learn happened to be gay. When I graduated in 1983, I won the Scona Drama Award. Thus I have always identified the theatre as a place of exploration, freedom and liberation. After some soul- searching I left the idea of being an actor and instead pursued journalism (and a good thing that turned out to be such a financially stable business). -
A Christmas Carol
2015 A Christmas Carol BY Charles Dickens ADAPTED BY MICHAEL SHAMATA PRODUCTION SPONSORS 40TH ANNIVERSARY SEASON SPONSORS CALL 250.385.6515 TODAY | VICTORIASYMPHONY.CA VS HOLIDAY CONCERTS A Sentimental Christmas We’re just getting warmed up. december 11, 12 & 13 Handel’s Messiah 75TH ANNIVERSARY SEASON SPONSOR december 18 & 20 W AYNE S TRANDLUND AND Christmas with Holly Cole december 19, 8pm A Viennese New Year’s january 1, 2:30pm Artistic Director’s Notes Welcome to our production of A Christmas Carol. It’s beginning to feel a lot like tradition – and what a grand feeling that is! This story is immortal, and is also that rare classic whose message remains potent year after year after year. Dickens’ writing is so exceptional that no matter how many times I have directed A Christmas Carol – and it must now be close to 15 – I have never failed to be profoundly moved. Ebenezer Scrooge’s rediscovery of past joys, when his heart has been closed off for so many years, is a remarkable sight. That Scrooge is able to move beyond his injuries and resentments, and re-enter the world with humanity and love, is a hopeful and positive reminder to us all. What bliss to work on this piece again with Tom McBeath – one of our greatest actors – in the company of such rich talents as Jessica Hickman, Brian Linds, Amanda Lisman, Celine Stubel, Jan Wood, our new company members Geoffrey Ewert, John Han and Anton Lipovetsky, and back again as Tom’s constant companion on his journey through time, Gerry Mackay.