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WEST SIDE STORY PRESENTED BY MEDICINE HAT

MUSICAL THEATRE. GAIL WHITTEN AND MIKE WASKALIK. STORY ON PAGE 8

PHOTOGRAPH BY EMMA BENNETT, COURTESY OF MEDICINE HAT NEWS inside

What’s New at Theatre Alberta 3. Tales from the Stacks 3. Calling the Next Sharon Pollock 5. Meet the Board 5. Calgary’s PCC Conference 7. Medicine Hat Community Theatre 8. RADA’s Performance Breath 11. Conference

Wendy Lill on Dramatizing 12. in a Time of Change

Dry Martini 14.

News from Alberta’s Drama 15. Festivals

The Buzz 15.

10 Theatre Alberta is the Provincial Arts Service Organization (PASO) for theatre in Alberta, dedicated to the growth and development of the Alberta theatre community and all its constituencies. Theatre Alberta News is a publication of Theatre Alberta issued four times a year. Contribution of notices, news and articles about theatre are welcome, as well as high quality (350 dpi or higher) photographs. Theatre Alberta News also accepts signed letters to the editor but reserves the right to refuse any material it considers inappropriate. The opinions and views expressed are those of the writers and do not check-in necessarily reflect those of Theatre Alberta. Office and library hours Monday to Saturday, 10:00 am – 3:00 pm I love it when things change. Holidays Office and Library closed April 6–9 (Easter), Fresh beginnings, new opportunities, a blank slate and endless possibilities that inspire. and May 19–21 (Victoria Day). Out with the old and in with the new. Embrace the unknown! Submission deadlines and publication dates April 27 for June 1, 2007 At the same time I hate it when things change. Embrace the unknown?? Yuck. Better the July 20 for August 24, 2007 October 19 for November 23, 2007 devil I know than the devil I don’t. Moving out of my comfort zone, extra demands and January 25 for February 29, 2008 challenges that are added to my already busy schedule. Sometimes it means letting go of Advertising rates Full Page (9.5” high x 7” wide) $200.00 things that have been good and not knowing exactly what will take their place. But as we all Half Page (4.625” high x 7” wide) $120.00 know, nothing stays the same—including the provincial government. Quarter Page (2.25” high x 7” wide) $80.00 Please supply high-resolution files Alberta now has a new Premier, Ed Stelmach. The word “culture” has returned as the title of (at least 350 dpi at actual size) in greyscale or black and white. Prices include GST. Ads are booked on a one of the 18 Ministries formed by Premier Stelmach—Alberta Tourism, Parks, Recreation first-come, first-serve basis and space is limited. Book ad space at least one month prior to the submission deadline. and Culture—and this newly formed ministry has a new Minister, Hector Goudreau. While it’s definitely encouraging to see the word “culture” reinstated in a Ministry portfolio title, Theatre Alberta Board of Directors If you have questions or concerns regarding Theatre Alberta, and while Minister Goudreau has already let the arts community know that we should you are welcome to contact Theatre Alberta Board members. expect an increase to the Alberta Foundation for the Arts budget, we shouldn’t expect a Officers PRESIDENT doubling of it. Is this to be our fresh beginning, our endless possibility? Tanya Ryga ~ Red Deer [email protected] VICE PRESIDENT Karen Towsley ~ Calgary [email protected] It is truly important that we help Premier Stelmach and Minister Goudreau further develop TREASURER Wendy Punter ~ Cochrane [email protected] their knowledge of the provincial arts scene. Their increased understanding of the full spectrum SECRETARY of artistic work going on in this province is essential to keeping the arts healthy and vibrant. David Owen ~ Edmonton [email protected] I hope every arts group in Alberta, rural and urban, grass roots to professional, performing, Directors Jane Heather ~ Edmonton [email protected] literary, and visual arts, is inundating both of these gentlemen with letters as well as Andrea Martinuk ~ Edmonton [email protected] Harold Truckle ~ Red Deer [email protected] invitations to attend their events. Because only through getting to know the arts community, Steve McHugh ~ Wetaskiwin [email protected] by participating in it as artists or audience, do you begin to understand, appreciate, and value Gail Hanrahan ~ Lethbridge [email protected] Mary-Ellen Perley ~ Edmonton [email protected] it. Write to them about the kind of artistic work you are involved in and how it affects your Russell Thomas ~ Fort McMurray [email protected] world and the world around you in terms of quality of life and fiscal impact. Johanne Deleeuw ~ Calgary [email protected] Staff EXECUTIVE DIRECTOR The winds of change have also blown through Theatre Alberta. It’s official—Sam Varteniuk Marie Gynane-Willis [email protected] OFFICE ADMINISTRATOR is now the ‘former’ Theatre Alberta Programmer. We miss his outstanding programming Janice Hoover [email protected] work, dry sense of humour, great tech skills, and last but not least, his handyman abilities. PROGRAM COORDINATOR Keri Ekberg [email protected] One of Sam’s significant contributions was his work on our website—he took it forward PROGRAMMER light years. He is now working at the Citadel on the Student’s Club and we wish him well. Jill Connell [email protected] ADMINISTRATOR I am delighted to welcome Jill Connell as our new Programmer. She is a playwright with Julie Sinclair [email protected] LIBRARIANS a strong and diverse theatre background, who recently completed a Masters degree at the Solveig Anderson [email protected] University of New Brunswick. Jill is the new editor of the newsletter and will soon be Brenda Sutherland [email protected] FINANCIAL ADMINISTRATOR launching our e-newsletter. Zenovia Adams Change of address information and undeliverable copies to: Finally, don’t forget to celebrate World Theatre Day on March 27th. Started by UNESCO Theatre Alberta Society 3rd Floor Percy Page Centre in 1962, World Theatre Day is an opportunity for theatre people to celebrate the power of 11759 Groat Road, Edmonton AB T5M 3K6 theatre on a local level while knowing that we are part of a bigger global celebration. Tell Phone: (780) 422-8162 Fax: (780) 422-2663 Toll Free: 1-888-422-8160 [email protected] your audience, tell your actors, tell the general public, post a sign, insert the UNESCO www.theatrealberta.com message (easily found on the internet) into your program.

MARIE GYNANE-WILLIS. EXECUTIVE DIRECTOR

2. spring 2007 WHAT’S NEW AT THEATRE ALBERTA

EMERGE 2007 DRAMAWORKS & ARTSTREK Registration begins soon! Calgary: Monday, April 16 at Dramaworks is a summer theatre workshop program for adults that One Yellow Rabbit’s Big Secret Theatre takes place at the Citadel Theatre in Edmonton; it has been running Edmonton: Monday, April 23 at the in the province since 1959. This year the program runs during the Citadel Theatre first two weekends in July—each weekend includes both beginner Emerge is Theatre Alberta’s annual general and advanced workshops for performers, directors, designers, tech- audition event for graduates of post-secondary nicians, playwrights, and more! Check with your local community acting programs across the province. Participa- theatre or employer about subsidizing your trip to Dramaworks tion is by invitation only. this summer. Workshop Weekends: July 5-8 & 12-15 Professionals—Please mark your calendars. If you have not received an official invitation, contact Keri for information at Artstrek is Alberta’s residential summer theatre program for teens [email protected]. that takes place at Red Deer College. Over the course of the week students will explore acting, voice, movement, sound/music, design, and directing. This year’s curriculum will focus on Lee MacDougall’s CALL FOR ARTSTREK SUPERS! stage adaptation of Who Has Seen the Wind by W.O. Mitchell—a classic Canadian story about growing up on the prairies. Calling all Artstrek alumni with leader- Exploration I (ages 13-15): July 8-14 ship skills and enthusiasm, and who Exploration II (ages 16-18): July 15-22 just can’t let a good thing go! These programs fill up quickly—register early to avoid disappoint- Artstrek Supervisors are selected from ment! See our combined Dramaworks/Artstrek brochure applicants who have previously for details (if you didn’t receive a brochure, contact Theatre Alberta and we’ll send one your way). attended Artstrek, have been away from For more information call 1-888-422-8160 or visit www.theatrealberta.com. the program for at least one year, and who are 19 to 25 years of age. To apply, SAFE STAGES send a theatre/employment resume, Safe Stages, Theatre Alberta’s new occupational health and safety resource cover letter, and headshot/photo to for theatre companies and workers/volunteers, is at the printers! Copies of [email protected] or Safe Stages will be distributed throughout the province in the spring. Visit Theatre Alberta www.theatrealberta.com for information about the official launch of the 3rd Floor Percy Page Centre resource or to request a copy. 11759 Groat Road ANNOUNCING TA eNEWS, Theatre Alberta’s New Electronic Newsletter Edmonton AB T5M 3K6. Theatre Alberta has decided to gather its courage and join the movement of proliferating enewslet- Application deadline is April 13th. ters. With standing columns such as Shows Opening This Week, Auditions, Jobs, News, and Advocacy For more information contact us at Updates, TA eNews will provide subscribers with timely, province-wide theatre news on a bi-weekly [email protected] basis. But fear not, this new-fangled electronic newsletter has no designs on replacing its long-lived or 1-888-422-8160. print predecessor (which you are currently reading). TA eNews has come into being as an effort toward building a more informed and cohesive theatre community across Alberta. Watch for our première issue in an inbox near you, or visit www.theatrealberta.com to subscribe.

TALES FROM THE STACKS

FEATURED PLAY FEATURED REFERENCE RESOURCE DONATIONS Half Life by John Mighton (2005) Dramatists Sourcebook Thank you to Celia Penman and the Windmill Two nursing home residents, both in their 80s, 23rd Edition (2004) Theatre Players for their generous donation of meet and fall in love, rekindling what might have More than 950 opportunities for playwrights, the CD and script for the musical Nine. been a wartime romance. Had they previously translators, composers, lyricists, and libret- SUGGEST A PLAY TITLE IN APRIL met somewhere else under different circum- tists, including script-submission procedures stances? Why is their love so troubling for their for 380 professional theatres, 137 prizes, and Theatre Alberta’s library will be asking our children? Indeed, the light at dusk is sometimes scores of publishers, fellowships, residen- members to suggest new scripts for library warmer and more enveloping than that of the cies, developmental programs, agents, service acquisition sometime in April. Keep an eye on midday sun. Characters navigate between being organizations, state arts agencies, and reference your email for further details. and appearance, between cowardice and disso- publications. The Dramatists Sourcebook is luteness. The play is a poetic and moving medita- thoroughly indexed and contains an invaluable tion on identity, aging, and the nature of memory. calendar of submission deadlines. Includes the What shines through when memory fades away? “Simple Working Guide for Playwrights” by Winner of the 2005 Governor General’s Literary Tony Kushner. Award in Drama.

theatre alberta news 3.

Publications Mail Agreement Number 40051164 Return undeliverable Canadian addresses to: Edmonton AB T5M 3K6 Theatre Alberta 11759 Groat Road, 3rd Floor,

4. spring 2007 BY ALBERTA PLAYWRIGHTS’ NETWORK. TA ASSOCIATE ORGANIZATION calling the next Sharon Pollock... S haron Pollock began to write plays in even has the largest cash prize in Canada, 1971, while pregnant with her sixth child. providing the Grand Prize winner with $3500 Lord knows how she found the time, but she and the Discover y prize winner with $1500. did. Her first play, A Compulsor y Option, won Are you a student who has written a the Alber ta Playwriting Competition. Now play? Do you know of a young talent that I’m not suggesting that you have six kids, needs to be uncovered? How about a young but I do suggest that you enter the Alber ta person who simply needs to be encouraged Playwriting Competition. to keep telling stories? Send this young Who knows, you might be the next playwright our way! Brad Fraser and win the competition five times. APN introduced the Alber ta Student Or you might be like Stephen Massicotte Playwriting Contest in the centennial year and find the contest uncovers your ver y own to find the next generation of voices. There M a r y’s Wed d i n g. Or you might end up like are cash prizes for the first, second, and third Vern Thiessen and discover a year from now that your ver y own Apple has been r unning for place winners. twelve months non-stop in Poland. The Alberta Playwriting Contest deadline is March 31st These are but a few of the distinguished annually; the Alberta Student Playwriting Contest dead- alumni from the Alber ta Playwriting line is May 31st annually. For further information and Competition—the longest-r unning provincial entry forms, visit www.albertaplaywrights.com or call playwriting prize in Canada. The APC the Alberta Playwrights’ Network at 1-800-268-8564.

MEET THE BOARD Russell Thomas, Board of Directors

Russell Thomas is the Manager of Recruitment & Communications at Keyano College in Fort McMurray. A ﬁerce advocate for the arts, Russell spent six years as publicist and marketing coordinator for Keyano Theatre and as an arts columnist for the Fort McMurray Today. He has been the volunteer President of the Fort McMurray interPLAY Festival for the past decade and was Director of Culture for the 2003 Alberta Seniors Games. Russell’s favourite acting roles in recent years include Crazy Ole Maurice in Beauty and the Beast, Roat in Wait Until Dark, and Biff in Death of a Salesman, all with Keyano Theatre. Originally from Kamsack, Saskatchewan, Russell lives in Fort McMurray with his wife Heather and sons Dylan (7) and Ben (3).

What is your involvement in Theatre Alberta? McMurray for the past ten years. It excites development of the community, through its I was elected to the Board in 2006 as a Director me to create opportunities for artists to be programming, the theatre artists it brings to at Large representing northern Alberta. seen and appreciated. Our community (Fort town, and the opportunities it provides students McMurray) has received negative press across and community members to perform in a ﬁrst- What do you consider to be the biggest North America for being bereft of culture class venue. challenge for theatres and theatre artists (Chatelaine, Washington Post, et al.). When If you could hang out with any theatrical in Alberta? we create opportunities for musicians, actors, personality—living or dead— for one night, I t i s t h e s a m e o l d s t r u g g l e o f t r y i n g t o g e t a visual artists, and dancers to emerge from the who would it be? What would you do? c o n s e r v a t i v e g o v e rn m e n t t o i n v e s t i n t h e a r t s . shadows, we are often overwhelmed with talent I’ll pretend to be a politician and answer To b e t h e m o s t e c o n o m i c a l l y v i b r a n t p ro v i n c e and creativity. the question I wanted you to ask. I’ve been i n t h e c o u n t r y y e t h a v i n g t h e l o w e s t p e r c a p i t a What role do you feel theatre plays in your fortunate to work with and learn from some f u n d i n g f o r t h e a r t s i s d i s g u s t i n g . T h a n k G o d community? tremendous Alberta theatre artists: Tom t h e p ro v i n c i a l g o v e rn m e n t w a s a b l e t o ﬁ n d Peacock, Paul Gélineau, Jonathon Christenson, $ 2 0 0 m i l l i o n f o r h o r s e r a c i n g , o t h e r w i s e i t Keyano Theatre has been Fort McMurray’s Roger Schultz, Douglas Abel, Robert Shannon, w o u l d b e re a l l y e m b a r r a s s i n g t o b e a n A l b er t a n ! community theatre for over 25 years. It enjoys and James MacDonald, just to name a few. I am a tremendous subscription base of 2,000 in awe of their creative ability. To enjoy a cold What inspires you in your own work? people and a reputation for producing quality beer and rousing conversation with any of them I’ve been involved with an arts festival in Fort shows. It plays a tremendous role in the artistic would be an honour.

theatre alberta news 5.

BRINGING BACK THE OLD, RINGING IN THE NEW

Here’s where we roll out the welcome NEW MEMBERS RENEWING MEMBERS mat to all our new and renewed Individuals James McGowan Individuals Lindsey Kurpjuweit Maria Smythe H. A. Kostash School Emily Allison Ryan McKinley Ken Agrell-Smith Dale Lee Kwong Eugene Stickland Hatterland Children’s members for the period from Oct 1, Tanessa Andres Stephanie Medford Kristine Barnes Brendan Lavery Glenda Stirling Theatre 2006 through Dec 31, 2006. Don’t Danielle Arseneau Catherine Medynski Patrice Barnes Megan Lawrence George Stone Innisfail Town Theatre Tiffany Ayalik Simon Mizera Colleen Bishop Ellen Leavitt Allan Stoski John Maland High see your name here? That’s probably Dean Bareham Jaclyn Nestman Jacquelyn Bland- Barbara Mah Vicki Stroich School David Boda Charles Netto Lawrence Shannon Maliteare Brenda Sutherland Kaleidoscope Theatre because you joined the organization Melissa Boisvert Astrid O’Farrell Anita Bonstrom Stefanie Maltais- Vern Thiessen of Drumheller in one of the other nine months, or Peter Boychuk Erin Odell Reneltta Bourque Bayda Theo Thirsk Society Carla Brundage Alan Parish Sean Bowie George Mann Mike Thompson King’s Players you bought a two-year membership Ken Chapman Dan Perry Cara Brown Greg Martin Michelle Thorne L’Unithéâtre Steven Charlton Katarina Purich Nan Bruntjen Clem Martini Sam Varteniuk Leave It To Jane and aren’t due for renewal until next Jill Connell Eric Rose Marty Chan Conni Massing Ivan Villafuerte Theatre year. Just keep your eyes peeled and Megan Craig Michael Rose Diane Conrad Jenny McKillop Chrissy Walli Leduc Drama Society Wendy Doerkson Amanda Rudanec Bill Daugherty Terry Middleton Glenda Warkentin Louis St Laurent you’ll surely see your name in an Edmond Duggan Samantha Rumball Mark Doskoch Adam Mitchell Candace Widdiﬁeld School upcoming issue! Terry Ecklund Lise Ruthardt Lynn Eaton Christy Morin Rebecca Wohlgemuth Medicine Hat Firehall Anna Fodchuk Barbara Schmid Dolores Ewen Gary Murray Sonia Zimmerman Theatre Brad Goddard Lise Schultz Kelly Frewin Sandra Nicholls New Brigden Drama Jesse Gordon Robert Smale Travis Friesen Wolfgang Groups Club A warm and sincere thank-you Christina Gover Kaitlin Splane Stacy Fysh Noethlichs Alberta High School Northern Crossing to the following for their generous Mary Graham Anne Swist Isabella Garvey Lorenzo Pagnotta Drama Festival Music/Drama Society Josh Hanson John Teghtmeyer Paul Gélineau Carmen Paterson Association Prime Stock Theatre contributions to Theatre Alberta: Melissa Heagy Erika Walter Marie Gervais Rachel Peacock Archbishop Jordan Company Rosio Hechavarria Michelle Warkentin Charles Goulet Chantal Perron High School Pumpjack Players/ Alex Hawkins, Wendy Lill, Amanda Franco Imbrogno Phay Wills Logan Greschner Vanessa Porteous Banff Centre Whitecourt Drama Rudanec, Erika Walter, Rocky Moun- Sammantha Isaman Jessica Wood Becky Halliday L Marilyn Potts Churchmice Players Society Belinda Jackson Sarah Wood Crystal Hanson Nancy Rakovszky Concordia College Red Willow Players tain College Theatre Arts Department, Natasha Joachim Jeff Woodward Alex Hawkins Dana Rayment Eastglen High School Rocky Mountain Kelsey Johnson Joan Hawkins Alanna Rinkel Empress Theatre College and King’s University College. Dennis Kaufmon Groups Derek Headrick John Rusich Society The Rogue Players Carmell King Calmar Drama Club Jane Heather Cari Russell Epcor Centre for the Slave Lake Musical Kelsey Krogman Crystal Park School Sheila Humphrey Dawn Sadoway Performing Arts Theatre Association Arun Lakra Lord Beaverbrook High John Hutchison Jeannie Sarrazin Foremost Theatrical Stage Left Productions Bob Legare Two Hills Performing Julie Ishida Matt Schaffer Society Storybook Theatre Louise Leroux Arts Society Ron Jenkins Scott Schreiner Free Will Players Society Wendy Lill Marisa Jordan Meredith Scott Friends of the Two Hills High School Ryan Mattila April Killins Julie Serger Majestic Theatre University of Calgary Shirley Konrad Margaret Shone Fut in the Hat Theatre Vegreville Composite welcomeAaron KrogmanbackJulie Sinclair Guild School

6. spring 2007 BY MARTIN MORROW. TA MEMBER performance CALGARY’S PCC CONFERENCE

Some members call it a “nomadic produced by One Yellow Rabbit with the indie rock band, The Rheostatics. At the bazaar.” Others have dubbed it a “powwow.” University of Calgary, Alberta College of Art same time, the Rodeo also hosted The Shelter: But however they choose to describe it, and Design, and Calgary Arts Development Uqquaq, a work by Quebec’s Genevieve Pepin Performance Creation Canada is, in the Authority (among others), had a strong and Nunavut’s Laurentio Q. Arnatsiaq, which words of co-founder Michael Green from educational and community component, with melded dance, video, and art installation. One Yellow Rabbit, “an idea whose time has panels discussing civic and artistic communities More artistic collaborations of that come for certain.” and a meeting of performance educators. sort are starting to happen courtesy of PCC, Launched in 2004 at the Rabbit’s Capturing PCC’s freewheeling spirit, U of C says Green. “A lot of interesting work is being High Performance Rodeo festival in Calgary, drama professor Gerry Thurston, one of the created because people from across the country the biannual PCC is the first cross-Canada network’s co-founders, delivered his keynote meet for the first time here and get inspired by gathering dedicated to that growing address in the form of a visual collage. each other.” And, he adds, while the gatherings phenomenon, the creator-performer, and The organizers also spiced up the THE SHELTER: UQQUAQ WITH focusing specifically on interdisciplinary work. traditional conference format by integrating GENEVIÈVE PEPIN AND LAURENTIO Q. ARNATSIAQ. Since its kick-off, PCC has held conferences performances into some panels, with in St. John’s, Vancouver, Regina, Toronto, entertaining and revealing results. One, called and Whitehorse, and this winter returned to Indigenous Perspectives, became a kind of talk Alberta and the Rodeo for its seventh and most show, in which host Marrie Mumford, former ambitious event to date. artistic director of The Banff Centre’s Aboriginal Partly inspired by the Informal European Arts Program, coaxed songs and stories from Theatre Meeting (IETM), which Green has performers Lori Blondeau of Saskatoon and attended as curator of the Rodeo, PCC is a Margo Kane of Vancouver, while Calgary visual/ loose network of artists, producers, presenters, performance artist Terrance Houle showed us educators, and others involved in “performance how to make bannock and “Indian tacos.” In creation”—defined simply by Green as “art another, Q&A, Darren O’Donnell and Naomi performed by the artists who created it.” Campbell of Mammalian Diving Reflex trained That art could be the social-issue work the spotlight on members of the audience, who of Vancouver’s Headlines Theatre and the were invited onstage as interview subjects and “social acupuncture” experiments of Toronto’s obligingly fielded questions ranging from the Mammalian Diving Reflex, or the aerial intimate to the silly in a demonstration of the acrobatics of Edmonton’s Firefly Theatre and kind of interactive theatre the company calls the hip-hop tunes of Calgary’s Dragon Fli social acupuncture. OLIVIER SAMSON ARCAND Empire—to name just a few of the eclectic There was also an opportunity to grill the participants in the seventh PCC conference, arts funding agencies, in a noon-hour session which drew close to 90 delegates and registrants with representatives of Canadian Heritage, from Calgary, Edmonton, and across Canada. the Canada Council, Alberta Foundation During the course of four days (January 4-7), for the Arts, and Calgary Arts Development PHOTOGRAPH BY they attended and/or participated in panels, Authority. Green says a lack of understanding performances, demonstrations, and information of interdisciplinary performance at one of those aren’t intended as a showcase, “it’s actually been sessions, while spending their off-hours agencies was among the reasons he started the case where many of my producing peers schmoozing in the infectious party atmosphere PCC. “I wanted it to be a mechanism whereby have been picking up shows from these events.” of the Rodeo. everyone gets to know each other and the The next PCC powwow takes place in Inclusiveness is key with PCC, hence discussion [of] performance creation could then Ottawa and Gatineau this summer. Green says the organizers plan to further emphasize the its broad and varied membership. “Our motto be lifted to a higher level,” he says. informality of the network and may scrap the is, ‘You’re a member if you say you are,’” says Clearly, the funders understand it now. panels altogether. “Maybe they’ll replace them Green. “Once you’ve attended one PCC, you’re They all provided grants to help cover the with something like Plato’s Symposium, where we’ll on the mailing list and invited to participate in conference’s $60,000 budget. all just sit around on a couch, get drunk and talk.” the steering committee if you like. The whole Of course, the Rodeo itself is big on To learn more about PCC, go to idea is to be as open and transparent as possible. interdisciplinary projects. This PCC gathering www.performancecreationcanada.ca. And that will hopefully lead to a generous coincided with the festival’s world premiere of Five Hole: Tales of Hockey Erotica, a theatre- sharing of ideas and opportunities.” Martin Morrow is an arts journalist, theatre critic, The content of each conference is literary-music collaboration between One and the author of Wild Theatre: The History of One determined by the hosts and this one, co- Yellow Rabbit, author Dave Bidini and his Yellow Rabbit.

theatre alberta news 7.

BY JILL CONNELL. TA PROGRAMMER Medicine Hat a theatre community about to ignite

1 2 3

Known as The Gas City, Medicine Hat has been in the unique situation of having a Hatter starts, they don’t stop until they’ve city-owned gas and electrical utilities since the early 1900s. This has resulted in a become a world-renowned puppeteer (Ronnie Burkett was one of the original people involved thriving economy and a long history of subsidized community theatre and cultural when Firehall Theatre began in 1976). facilities. And with support for the arts comes a flourishing of the arts… Yet despite all this opportunity, the founders of Fut in the Hat Theatre felt F amously described by Rudyard Kipling as go on!” Apparently an abundance of theatre something was missing. Canadian drama had having “all hell for a basement,” Medicine Hat’s opportunities in a relatively small community waxed and waned in Medicine Hat, but around vast reserves of natural gas certainly haven’t can lead to some creative casting and daring the year 2000 there was very little straight hurt its economy. But cash alone can’t produce leaps of performance. drama going on in town. Having just retired a play or execute a convincing kick-line. So I Lilas Litousky remembers seeing over from teaching drama, Karen Cunningham was set out in search of people. The kind of people 100 children at past auditions for Hatterland in withdrawal. So she called up a couple of her we’ve met before: a devoted, hard-working, Children’s Theatre. When she was unsuccessful old students, Julie Tracey and Jim Rissling, to theatre-loving kind of people. in getting a part, she doggedly went to see if they would be interested in staging Norm Tom Rooke lived in a variety of rehearsals with her older sister (who did get Foster’s Office Hours. different places from Toronto to Winnipeg, a part), and gradually memorized the play. “Medicine Hat loves its musicals—they but never got deeply involved in theatre until Come show time one of the actors fell ill, and will pack the place if you’re singing, and they arriving in Medicine Hat in 1990. Rooke is the six year-old Lilas was the obvious choice for a love comedies,” says Cunningham. “If you’re Director of Medicine Hat Musical Theatre’s last-minute substitution. not doing those kinds of things, you’ll need a upcoming May production of Stephen Twenty-five years later, Lilas is President smaller venue.” Sondheim’s A Funny Thing Happened on the of Hatterland, has five company directing Fut in the Hat chooses their shows out of a Way to the Forum—his third directing credit credits, and teaches a music program for desire to do them, and thankfully, there’s a desire with MHMT. toddlers through MH College. “Acting with on the audience’s part to see them. Fut in the Hat From costumers to hair designers, Hatterland helped propel me to my career path can usually count on an 80% sell-out level, and direction to admin, backstage to onstage, over 25 years later—all my theatre skills have seats really fill up when they get more risqué: everyone is a volunteer. Yet Rooke says he’s become life skills,” says Litousky. “Hatterland “We sold out Vagina Monologues last August, never fearful of choosing a particular show, as truly inspired me and still does!” and another one a couple summers ago—Norm there will always be new people coming out: “In It’s true you have to watch your step Medicine Hat, one thing that always blows me in Medicine Hat, lest theatre suck you in Foster’s Self Help,” says Cunningham. “There’s away is the amount of talent that’s here.” unawares. “Often people might not have even this thing about a guy who died with an erection Yet despite some excellent turnouts, thought of working in the theatre, but then so it sold out, go figure.” several companies recounted the dilemma someone says ‘You should do this, it’s a lot of Seven years later Fut in the Hat has 14 of performers being divided between shows. fun,’ and pretty soon you’ve got the bug,” shows under its belt, having just finished a run Rooke recalls being recruited into the male says Rooke. of Daniel MacIvor’s Marion Bridge in early dance chorus of MHMT’s 2005 production of For Derrick Ironside it started with February. Chicago: “I’m over 60 years old and I do not building sets. Then it was working backstage, In Medicine Hat, theatre springs up dance. So we had this old white-haired guy then stage management, then he “somehow everywhere you go…literally. Companies shuffling around on stage, but the audience wound up” up as Vice-President of Medicine seem to have claimed every performance space didn’t seem to mind. The show must Hat Firehall Theatre. And sometimes once possible, including the old city Fire Hall, Royal

8. spring 2007 1 MONSTER IN THE CLOSET BY HATTERLAND CHILDREN’S THEATRE PHOTO COURTESY OF MEDICINE HAT NEWS 2 LITTLE SHOP OF HORRORS BY MEDICINE HAT MUSICAL THEATRE AND MEDICINE HAT COMMUNITY THEATRE COMPANIES FIREHALL THEATRE PHOTO COURTESY OF MEDICINE HAT NEWS 3 MISERY BY FIREHALL THEATRE PHOTO COURTESY OF THE ESPLANADE Medicine Hat Musical Theatre (MHMT) was established in 1960 4 CHICAGO BY MEDICINE HAT MUSICAL THEATRE and has been producing annual musical theatre productions ever PHOTO COURTESY OF MEDICINE HAT NEWS since. Hatterland Children’s Theatre started up in 1965 and has involved children aged 6-17 in over 100 plays and musicals. Medicine Hat Firehall Theatre Society joined the scene in 1976, starting out as Lunch Box Theatre and progressing to everything from full-length plays, a theatre community about to ignite interactive dinner theatre, pantomimes, and musicals. Fut in the Hat Theatre Guild sprung up in 2000, tackling two shows a year of primarily bold Canadian dramas.

In a city with just over 56,000 residents, Medicine Hat also boasts count- less other opportunities to get involved in theatre, including Prism Players Theatre Association, GasLight Theatre Guild, Theatrics, three theatre- involved high schools, an annual ADFA One-Act Play Festival, and theatre training through Medicine Hat College.

Canadian Legion, Golf and Country Club, of head-butting before it came to be. We’re a and they did an amazing job.” church basements, and public library. hockey town and people here love their sports.” But theatre moves quickly in Medicine Two venues stand out as being core Luckily, Esplanade Artistic Director Paul Hat, and the Esplanade will soon lose its theatre spaces over the years: the Medicine Heywood managed to program a delightfully cachet as the town’s newest theatre facility. A Hat Cultural Centre with its intimate 106-seat varied première season: from a double-bill joint venture between MHMT and Firehall Black Box Theatre, and the 500-seat Medicine of Canadian comedians Cory Mack and Theatre, a brand-spanking new 10,000 foot Hat College Theatre. Mike MacDonald to the Shanghai Circus to facility is due to open later this year, providing However, these spaces aren’t always ideal: Canadian rock and roll legend Randy Bachman, rehearsal space, workshop space, storage space, major productions at the MH College Theatre different interest groups were gradually lured office space, and party space for community don’t have access to a fly gallery or backstage through the Esplanade doors. theatre groups. space, and would often require building a “At first people were very apprehensive Firehall and MHMT have cooperated about the building—there was the stereotype larger stage. Some companies have spent days on storage and equipment use for many years: that it would be just ballet and symphonies,” reshaping the lecture-style theatre into a venue “It’s a progression that’s a long time coming,” that meets their needs. says Heywood. “Now they’re responding in says Ironside. In the spirit of cooperation, On October 22, 2005 all this changed, as droves, coming out to all different sorts of Firehall and MHMT jointly produced Little the Esplanade Arts & Heritage Centre opened productions.” Shop of Horrors last fall at the Esplanade, the its doors and introduced two new theatre With 62,000 theatre-goers in a single year proceeds of which will go towards equipping spaces: a 700-seat Main Stage, and a 150-seat and over 55 sold out performances, Heywood’s their new workshop. Studio Theatre, giving Medicine Hat theatre main concern is finding enough qualified Meanwhile, Fut in the Hat has no groups access to a 50-foot proscenium stage, full technicians to staff these blockbuster events. plans to abandon their intimate Black Box fly tower, orchestra pit, floor traps, state-of-the- This infusion of touring groups certainly Theatre for the Esplanade. Fut in the Hat art sound and lighting booth, and box office. hasn’t detracted from community productions: instead applied for and received a $27,000 The Medicine Hat theatre community “Since the introduction of the Esplanade, our Community Facility Enhancement Program was by and large strongly supportive of the theatre lifestyle has exploded. Our cultural centre idea to build the Esplanade—there was no is booked more than ever now,” says Litousky. grant to refurbish the Black Box Theatre—an equivalent performance space in town that In fact, community theatre groups amount that was matched by both the City could accommodate larger touring groups often draw the most considerable Esplanade and the College, adding another $60,000 to and highly technical shows. This world-class crowds: MHMT’s production of Chicago (Nov. the pot. The final improvements (including theatre meant big-name performers were now 2005) sold out eight performances, while their new seating, lighting, and a paint job) were touring Medicine Hat, creating a veritable (yet production of Little Shop of Horrors (Oct. 2006) completed this past summer. metaphorical) cultural explosion. with Firehall Theatre sold out five. From the young to the seasonably Despite the possibilities this facility A cast of 43 Hatterland performers matured, Medicine Hat’s theatre community presents, not everyone was delighted at the managed to fill over half the Esplanade seats represents many things: a network of friends, prospect of spending 27 million city dollars in three consecutive performances of Mother a stepping-stone to professional opportunities, (in addition to $42 million in federal and Goose, Inc. (Dec. 2005). “The kids had a blast,” thrilling ways of creating and expressing stories… provincial grants) on a space for the arts. says Litousky, who directed the show. “Because “We’re all amateurs here,” says Rooke, Litousky remembers the Esplanade being a it’s a bigger theatre, some people were a little “and we do it for what amateur means—for the big issue in the community: “There was a lot hesitant that kids could fill such a big stage, love of the sport, the game, the theatre.”

theatre alberta news 9.

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10. spring 2007 BY JANE MACFARLANE. TA MEMBER an essential exploration of body, voice, and word RADA’s performance breath conference

A s careers in the theatre carry on, from JOHNSON STEPHANIE BY PHOTOGRAPH time to time one is compelled to take stock. Is there anything new out there in terms of approaches to actor training, specifically in terms of voice and speech? Where then, to further explore this concept and share in technique? This past fall, my colleague David Ley mentioned a conference at RADA Enterprises (the outreach arm of the famed Royal Academy of Dramatic Arts in London) on Performance Breath. The added advantage of speakers like Cicely Berry, Kristin Linklater, Patsy Rodenburg, and the teaching faculty at RADA made this the ideal opportunity at the appropriate juncture. Although Ms. Berry was ill and unable JANE DOING SOME PHYSICAL, ENGAGED BREATH WORK WITH STUDENTS AT MOUNT ROYAL COLLEGE. to attend, Ms. Linklater’s work made up for FROM L TO R: JANE MACFARLANE LEANING ON NADINE CIRANKEWITCH, MALLORY GALLANT LEANING her absence. My own training is based on ON MITCHELL VERIGIN. Linklater’s seminal work Freeing the Natural Voice, which she has recently revised and received from this session was confirmation that the tradition of conservatory training in expanded upon. Her work felt familiar, that it is what it is and I understand it fully. this country is as vital, contemporary, and essential, and contemporary. As a start to The respiratory surgeon who spoke about thorough as some of the esteemed programs the conference, it was a basic refresher and the lungs—how they function and disorders, around the world. I discovered that what I confirmation of the work that brought me to especially caused by smoking—was engaging bring to my classroom is absolutely on par this place. and had the best arguments against smoking with the work at RADA and the Central Following the opening remarks from I have heard. The reactions the body has to School of Speech & Drama and that my the principal of RADA, Nicholas Barter, there toxins and its instinct to save itself from the colleagues both at Mount Royal College and were two keynote addresses in the Vanbrugh inhaled smoke causes it to essentially shut across the province attend to their discipline Theatre, where RADA students have their down the mechanism needed to produce with a rigour that matches the theatre capitals public performances. The first was Catherine sound. This is a very simplified distillation of of world. Fitzmaurice who is a voice coach and trainer of his argument and, thankfully more and more, Towards the end of the conference in a her own method of Reflexive and Structured he is preaching to the converted. Discursive Workshop with Kristin Linklater Breathing. I have taken workshops with her Another speech was given by American and two RADA instructors, Ms. Linklater in the past and, while in theory (as presented voice teacher Rocco Dal Vera, whose research asked if there was a sense of legacy amongst in her keynote address) I find it to be a solid on breathing and emotion was very engaging the voice teachers in room. I certainly felt a philosophy, in practice I question its application and provoking. Dal Vera demonstrated that connection to her work and a belief that—as to the actor’s process. After the conference, I am by breaking down the physical responses a practice that leads to connection with text still left with the same questions. our bodies have to emotion and how those and the expression of ideas—it is valid and I did come across something new in responses influence breathing patterns, we the second keynote on the Accent Method, can provoke subconscious reactions in our essential to actor training. In the final panel by Dinah Harris and Sara Harris. The Accent audiences. This is a very simple explanation of with Kristin Linklater, Patsy Rodenburg, and Method is mainly applied by speech language a scientific approach to looking at emotional David Carey (the Head of Voice at RADA), therapists and singing teachers, and uses the states as being represented by respiration the sense of familiarity and connection to same diaphragmatic/abdominal breathing patterns, postural attitude, facial expression, their own experiences as trainers solidified to engage sound freely as is used for actor speech rate, voice quality, etc. In other words, my own convictions regarding what lies training. As it uses a more scientific approach body language. ahead. Sometimes, one just needs to trust to vocal practice and physiology/pathology, it My initial desire to attend the what one knows! is a path I want to research further in order to conference was to gain new knowledge, to enhance the ideas of embodied breath/sound. have that “ah hah!” moment where I would Jane MacFarlane teaches voice and speech in the Depart- ment of Theatre at Mount Royal College. She attended the The actual science of breathing had its find a new path to go down as both a teacher Performance Breath Conference at the Royal Academy of highs and lows at the meeting: the anatomy and as an artist/practitioner. This was not Dramatic Arts in London, England from January 4-5. and physiology is finite, therefore all I at all what I found. I did discover, however, www.rada.org

theatre alberta news 11.

BY WENDY LILL. TA MEMBER technology and the human condition dramatizing in a time of change

Theatre Alberta was honoured and delighted to host Wendy Lill as the keynote speaker at PlayWorks Ink 2006 in Calgary. The following is an abridged version of her keynote address, delivered on November 3, 2006.

N othing baffles me more than the research and reproductive technology are only The research is astonishingly expensive, yet description of DNA and the double helix. the most high-profile issues. We now have biotechnology is the fastest growing sector in John Mighton would probably just say I had the technology to develop artificial wombs to the country. What gets funded and researched bad teachers. Whatever. DNA hadn’t been separate women from reproduction, to implant is determined to a great extent by what will discovered yet when I was in high school. chips onto retinas to give us more than 20/20 have the greatest payoff in the end, and who And at some point you’ve got to get over vision, and to create nanodialysis units so small can afford the benefits of that particular drug the shortcomings in your education and just they can be implanted in the body. or enhancement. get on with it, because as David Suzuki and This is the environment in which Peter Knudtsson point out in their book we are now living and it is wonderful and One final point of Baylis’ stuck with me. Genethics—90% of all scientists who have ever miraculous. Scientists and biotech boosters like to lived are still alive, publishing and discovering But it raises important ethical questions. dismiss concerns raised about their work as today. None of this stuff is going to slow down What does it mean to be human in light of simply science fiction or crazy talk. anytime soon! all of these enhancements and replacements? But according to Baylis there is really How do we write plays that will be Would these things make me an exquisite relevant? The idea of “having done your piece of humanity or a freak? What does nothing we could imagine that is wilder research” is in itself somewhat of a folly. By it mean for persons with disabilities to than what is happening or being contem- the time you’ve written a line of dialogue, participate in a world where the quest for plated even as we sit here. something has probably changed. How do we excellence and perfection has become almost a shed light on the world we’re living in when the religion? Where do they fit in as “The Norm” I went to a conference of scientists at ground under our feet is constantly changing? keeps moving farther out of reach? the University of Arizona in Phoenix where In 1997, I became the Member of To sort out all these troubling issues that the topic being discussed was cross-species Parliament for my community of Dartmouth, had started to work their way into my brain, research. I was introduced as a playwright and Nova Scotia. During my years as an MP, I was I went to see a bioethicist. I found Francoise parliamentarian from Canada—couldn’t have the NDP critic for the Arts and for persons Baylis (Canada Research Chair in Bioethics been a much rarer bird than that. with disabilities. and Philosophy at Dalhousie University) in a I soon found out the debate is no longer about whether or not to do cross- In 2004, Parliament passed an Act tiny office in an old brick building on campus. species research, but whether there should be overseeing Human Reproductive Tech- A tiny office full of big ideas. any limits. The debate seems to focus on the nologies. The Act was put in place to safeguard Baylis had been on the ethical oversight brain and the gonads as the only problematic those who use assisted human reproduction body that guided the federal government in areas—everything else is open season. and those who are born of these technologies. the creation of their Human Reproductive At this conference I met Stuart In this country we now prohibit creating a Technology Act. Here are some of the Newman—a soft-spoken man in his early- human clone, genetically altering the germline, observations Francoise made on the passing sixties and definitely the skunk at the garden maintaining an embryo outside of the woman’s show: This latest technological revolution we party with this group. Newman is a biologist body beyond 14 days, creating human embryos are involved in—the genetic revolution—is from New York whose highly publicized solely for research purposes, and creating directed towards the human body. We are now efforts to gain a patent on a half-human, animal-human hybrids for reproductive able to extract pieces of human DNA and half-animal creation—a chimera—has caused purposes. The act had been ten years in the reproduce it, alter it, and transfer it to another a great stir. making because the issues are so controversial. human or to an animal. The technologies Newman had no intention of actually Despite the view that Question Period involving human reproduction are already creating such a creature, but instead wanted is like the school yard at the local Junior High, bringing about a profound cultural change. to raise the issue of human-animal chimeras I do believe that the House of Commons is There is a concept that still gets trotted and other types of biologically manipulated the biggest stage in the country and a forum out, that science is value neutral and therefore humans. He believes that we need binding for its most important ideas. cannot be wrong or right. However, Francoise restrictions in place to stop us from crossing The clash of religious, scientific, and Baylis made the point that there is a lot of troubling lines of species integrity. How political beliefs on issues such as stem cell “world view” built into stem cell research. will we as the human community handle

12. spring 2007 CHIMERA BY WENDY LILL, DIRECTED BY MARY VINGOE. JOHN DOLAN, JOAN GREGSON, PHILIPPA DOMVILLE, GEOFFREY POUNSETT, DAVID JANSEN, DAVID FOX. BY WENDY LILL. TA MEMBER

PHILIPPA DOMVILLE, DAVID JANSEN.

PHOTOGRAPHS BY BY JOHN CURRID

the arrival of fabricated humans and near- cut right through to the imagination and positions. It’s about media circuses, political humans, organisms that previously existed engage it. spin doctors, stem cell research, survival of only in the realm of speculative fiction? Theatre is a place where you can think the fittest, gardening, runaway technologies, With commercial interests continually about life—Life with a capital L. It’s a dark and people full of regrets. I hope it all holds touting the benefits of such breakthroughs, place and it’s a safe place; it’s a time to let your together but I guess we’ll see soon enough. the production of quasi-humans for research imagination move, exercise, take risks, take I have just spent two weeks in Toronto or therapy isn’t far behind. Stewart Newman’s flight; it’s an arena to catch the spirit of the workshopping Chimera—two weeks with six case has since been thrown out of court, but time, to help shape it. actors and a director thrashing out the shape not before causing a stir, and not before firing In January 2007, my new play Chimera of the world. As the playwright, I love the a shot across the bow of the biotech and legal will be premiering at the Tarragon Theatre in idea that you just set the table, put the frame community in the U.S. Toronto. It is the product of my discussions around the discussion and then watch the So what does this all have to do with with scientists and ethicists and seven years in ideas start to fly from different perspectives. theatre? political life. I have always found that life is far less scary Theatre has always been about exploring The story is about a journalist who fuels when you have company on the journey. the universals, the eternal verities of the a debate about cross-species research to find Whether it’s global warming, human condition: birth, death, love, frailty, a cure for a disability and ends up having to hate, family, loyalty, good and evil. confront his own dark past with his disabled biotechnology, child abuse, or love, What a piece of work is man, how brother. The issue of cross-species research, theatre provides company and courage. noble in reason… What would Shakespeare the creation of novel beings—this spectre It has a role to play in making sense write if he were alive today? Or Bertolt particularly chills me, likely because I have of things. It sparks the imagination Brecht? We have a huge challenge ahead of witnessed the poor treatment of many so- and sets the discourse. us to dramatize the world we’re living in. Part called marginal people in our midst already. of the challenge in theatre is to try to combat Chimera looks at the idea of protecting So let’s start now. As the bioethicist says, the ennui, the indifference, the information the vulnerable and how everyone purports to let’s start the crazy talk, and see if we can make exhaustion, the sense of powerlessness, and be doing just that from diametrically opposed some great plays out of it.

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theatre alberta news 13.

BY CLEM MARTINI. TA MEMBER DRY MARTINI shedding a little light I f on occasion—say after reading a Resident P laywright spends half his/her time the membrane that divides the two. particularly gloomy newspaper headline, or writing and half his/her time engaged in Residencies at univ ersities are of after receiving the depressingly familiar results dramaturgical wor k with local playwrights, enormous benefit to ev ery one precisely because of a pr ovincial election—the world seems a students, and pr ofessional theatres. This they expose the particular strengths that grim and taw dry place, it may be useful to position is a v ery w elcome addition to the the academic and pr ofessional communities consider the few shafts of light that penetrate cultural landscape. It benefits not only the possess, and the places where their talents the deep dar kness, call attention to them, and theatre community in E dmonton, but the conv erge. O ne of the elements that a residency celebrate. cultural communities of Alberta and Canada at a univ ersity is best positioned to pr ovide a Case in point. For many y ears I’v e as w ell. playwright is that rarest commodity—time. railed that playwrights are unfairly excluded I say that this residency holds benefits Time to reflect and explore characters and fr om many of the writer-in-residence posts for Albertans and Canadians, but I am aware narrativ e and structure without an imposing established at post-secondary institutions that there are some misguided few who deadline. Residencies generate v aluable insights acr oss the country. For the bizarrest and most cannot see how what happens in an academic into the creativ e pr ocess for students hungry obscure of reasons, poets, nov elists, journalists, institution can hav e application or impact for fresh opinions and ideas fr om outside the creativ e non-fictionalists, chapbook generators, upon the br oader theatre community. This institution, but equally the playwright-in- and scribblers fr om ev ery div erse and obscure narr ow point of view sees theatre as it is taught residence is often av ailable to deliv er critique kind of literary genre other than playwriting in post-secondary institutions and theatre as and advice to writers who hav e not registered in hav e found themselv es invited to apply for it is practiced in pr ofessional theatres as two classes and are struggling on their own without these positions. P laywriting, like Cinderella in entirely distinct species separated b y a wide the benefit of mentorship. her plain cinder-besmir ched fr ock, has found chasm. O n the one side are wiz ened, world The Lee Residency isn’t brand new herself excluded fr om the ball. This reflects the w eary theatre pr ofessionals smoking cigarettes b y any means (it has already engaged one curiously wr ong-headed notion held in at least and staring cynically acr oss the divide. O n the P laywright-In-Residence, the celebrated some academic cir cles, that playwriting isn’t other side are the bookish theatre academics in playwright and nov elist Don H annah), but a genuine form of creativ e writing, but rather the caps and gowns, barely giving the divide one can see that the innov ativ e structure that something more like a collectiv ely agreed a second glance, immersed as they are in their this residency has chosen to employ represents upon notion that actors and directors accept, studies. a template that other univ ersities might w ell augment, and then burnish. It’s a false paradigm, of course. The two consider scrutinizing. It is especially w ell Well, at least one academic institution arenas are simply the yin and yang of the same endow ed, pr oviding a healthier stipend than is presently doing its bit to remedy this pr ocess. O ne only has to count the immense many other residencies currently do. It also unfortunate situation. I refer to the Lee number of y oung people that pass thr ough offers a commission to the playwright to P laywright-in-Residence position, housed the halls of post-secondary institutions generate a new wor k, and then further offers a at the Univ ersity of Alberta. This residency and then mov e on to form pr ofessional stage for the pr oduction of that commission. is made possible b y a gener ous endowment theatre companies, or design or act or direct Considered together, this package represents a created b y the Clifford E. Lee Foundation. for theatre companies in this pr ovince to v ery clev er, thoughtful, artful arrangement. It occurs on an annual basis and the selected understand just how permeable and delicate is In a w ealthy pr ovince that often feels curiously reserv ed about its support of the fine arts, the lev el of commitment and enthusiasm evidenced b y this institutional gesture is most IN MEMORIAM w elcome. O ne can only hope that this kind of James M av or Moore 1919 – 2006 spirit is catching. Mavor Moore will be remembered for his life-long dedication to the arts in Canada, An award-winning playwright, screenwriter, and no v elist, as a playwright, actor, director, producer, composer, administrator, and educator. He Clem M artini is a three time winner of the Alberta Writer’s Guild Drama Prize (Nobody of C onsequence, I llegal died in Victoria on December 8, 2006 at the age of 87. Entry, and A Three M artini Lunch), a Go v ernor Gen- Mavor Moore was a prolific writer, having authored over 100 plays, documentaries, eral Drama Nominee for his anthology A Three M artini and m u s i c a l s f o r s t a g e , r a d i o , a n d t e l e v i s i o n . H e a l s o f o u n d e d a w i d e v a r i e t y o f C a n a d i a n Lunch, and is the current president of the P laywrights Guild of C anada. H is trilogy of no v els, The Cr o w Chr- oni institutions, including the Canadian Theatre Centre and the Guild of Canadian cles, has been distributed wor ld wide, and translated into Playwrights, the Charlottetown Festival, and Toronto’s St. Lawrence Centre for the Arts. Dutch, German, Sw edish, and Japanese. An Associate Mavor Moore was named to the Order of Canada in 1973 and in 1999 was awarded a Pr ofessor of Drama at the Univ ersity of C algary, Clem liv es Governor General’s Award for lifetime achievement in the performing arts. in C algary with his wife and two daughters.

14. spring 2007 2007 NEWS FROM ALBERTA’S DRAMA THE BUZZ FESTIVALS news and notes fr om ar ound the pr ovince

ALBERTA HIGH SCHOOL DRAMA FESTIVAL EDMONTON ANNOUNCED CULTURAL CAPITAL Swim Alone, The Soldier Dreams, You Are Here, ASSOCIATION The City of Edmonton has been awarded the and In on It, as well as the last official da da Excitement is high as high school teachers and 2007 Cultural Capitals of Canada award in the kamera original production, A Beautiful View. students across Alberta are busy rehearsing over 125,000 population category—a testa- AATE CONFERENCE COMES TO CANADA their one act plays for presentation at AHSDFA ment not only to the hard work of the applica- The American Alliance for Theatre and Educa- zone festivals throughout the province. tion team (led by the Edmonton Arts Council), but also to the creativity and determination of tion’s 2007 conference is entitled Sea to Sky: The 2007 provincial festival takes place May Edmonton’s artists and arts organizations. Swimming Upstream—Spawning New Horizons. 10-12 at the Red Deer College Arts Centre— Headed to Canada for the first time, the confer- Cultural Capitals of Canada is a federal award ence takes place July 31-August 5 in Vancouver. a long-time supporter and venue for AHSDFA. program designed to promote arts and culture It is a festival unique to Alberta, where high in Canadian municipalities. This means not only For more information or to register, visit school students are recognized and celebrated recognition and prestige, but also a consider- www.aate.com. for their excellence and achievement in the able amount of cash: the Feds will contribute a performing arts. maximum of $2 million to the City of Edmon- TEACHING AWARDS FOR TWO EDMONTON ton, while the City itself plans to kick in another MEMBERS We welcome members of the general public to $1 million. On December 5, 2006, Prime Minister Harper attend the event and watch the amazing young These funds will go toward new programs announced the 2006 Prime Minister’s Awards talent in our province. associated with Edmonton’s year of Building for Teaching Excellence. Among the recognized For more information visit Connections, including Edmonton Explorations were two Edmonton arts educators (not to mention Theatre Alberta members!). www.provincialfestival.com or contact Grants, Edmonton Community Arts Projects, AHSDFA President Trina Penner at and Edmonton Arts Awareness and Marketing. Mary-Ellen Perley-Waugh received a Certifi- cate of Excellence for her work with grade [email protected] or (403) 347-1171. For such a big excitement there are still very few details… For the latest Cultural Capital news, 10-12 students at McNally High School, where keep an eye on www.edmontonarts.ab.ca. she teaches English language arts, world ALBERTA DRAMA FESTIVAL ASSOCIATION literature, and creative writing. This prestigious national award carries a cash prize of $5000, The ADFA 2007 One Act Play Festival is up and THEATRE 100 to be issued to Mary-Ellen’s school. running, as performers take the stage in nine A centennial project undertaken by received the regional Certificate regional festivals across the province. the Alberta Playwrights’ Network, Linette Smith Theatre 100: Celebrating 100 Theatre of Achievement for her work with grade 10-12 The 2007 Provincial One Act Festival takes Practitioners Over 100 Years has students at Eastglen High School in drama, place in High River on May 11-12. This event is finally hit the stands. This compre- performing arts, and dance, earning her school a non-competitive celebration of drama and an hensive book celebrates the contri- a cash prize of $1000. opportunity for members of community theatre butions of 100 Albertans who have groups to meet, exchange ideas, and grow made significant theatre achieve- CADA SUCCESS! creatively. ments over the past century. A The Calgary Arts Development Authority dazzling record of our province’s theatre history, (CADA) was successful in its proposal to reform Both participants and the public are invited to this book will be an invaluable tool in preserving the city’s arts granting system to the tune of take part in this dynamic festival. Alberta’s legacy for future generations. a $502,500 increase (approximately 20%), recently approved by City Council. This was For more information visit www.adfa.ca or Theatre 100 can be purchased by contacting APN a much-needed infusion, with municipal arts contact ADFA President Steve McHugh at (1-800-268-8564; [email protected]) funding in Calgary lower than in any other [email protected] or (780) 634-1898. or by visiting McNally-Robinson Booksellers in major Canadian city. The funds will begin to Calgary or the University of Alberta Bookstore address the critical shortfalls CADA identified in in Edmonton. their 2006 studies, and will provide an important funding increase for Calgary’s artists and GG FOR MACIVOR arts organizations. Despite some stiff competition from Morwyn Brebner, Lisa Codrington, LLOYDMINSTER: ART WITHOUT BORDERS Jason Sherman, and Drew Hayden Taylor, Every two years the Lieutenant Governor of the 2006 Governor General’s Literary Alberta Arts Awards (three prizes of $30,000) are Award in Drama went to Daniel MacIvor awarded to individual Albertans who have made for his collection of five plays entitled I outstanding achievements in and contributions Still Love You. to the arts. Although the 2007 nomination dead- Published by Playwrights Canada Press, line has already passed, it’s not too late to attend I Still Love You marks the twentieth an- the Gala event in Lloydminster and take part in niversary of MacIvor’s Toronto theatre company their two-day “Art Without Borders” festival. (in partnership with producer Sherrie Johnson) The Lieutenant Governor of Alberta Arts Awards da da kamera. The collection includes four of will be presented on May 26, 2007 in Lloydmin- MacIvor’s previously published plays: Never ster: www.albertaartsawards.shawbiz.ca.

theatre alberta alberta news 15.

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