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d y d l t i o e i H o c h o s c S n S s o e ' i h r n t t g e c i a u e r d d H h l i o s T e r ll h P i t g s C d t H e i h t r g g u r i in Q e b L t b h n y l t & u t A e e L for all stages s H i t a c S f G 5 o o 7 S n rs e re o y e r t ti it y at a a s la e he i r P h T oc e re T e ss iv nt rs us A n e ye o e U C Pla ph tr ow re m ea re t R at Pu h nt n he es l T e Fro T nc ica C re eak ma us ff eat rs P for M an Th aye Per rard B Exit e Pl asus he he ire entr Peg y S l T ool F w C atre ciet oo Sch t Ro The newsrs So Sch n e High Fro manc Playe igh tholic ollegePerfor town st H ert Ca ain Cabbit Sheep lhur St Alb Mo Yuenltlow R uild l Coa School e aRdoercsk yO ne Players G estiva ve Lake Musical Theatre Assoc briodsgitee HSti gJahmes Phleaayt rRe on Theatre PLAY F ers Sla iatiSoghnoeSepcrpsh aorofd LCeothmp y Scorpio Tadow Theatre Visi rray inter Play ouse Theatreer s R oPslsa y rths e aRlt ra ep i Sd o cF Wiierte tTashkeiawtirne Sh rs Fort McMu illow rriage H e Play olilneg eA T Theatre Society/Water Works Playe d W l Ca e Tre eerfro Crm Re hoo Pin Rede D Pe h Sc eatre nt o f th Hig Th tme y th oup epar dem be Gr s D ca liza ers Art A E lay ing ol en y P rm ho ue ne rfo Sc Q d Pe h ew ge ig D olle H C or eer ni d D Ju Re lic o th inside a C in ev K t S What’s New at Theatre Alberta 3.

Tales from the Stacks 3.

Meet the Board 4. Kickstart in the Arts 5. The Show Must Go On? 7. Franco-Albertan Theatre 8. Leaving the Drama on Stage 11. Albertans Abroad 12. Widows & Orphans 14. The Buzz 15.

STEVE JODOIN IN COW-BOY POETRÉ, PRESENTED BY L’UNITHÉÂTRE. STORY ON PAGE 8. PHOTOGRAPH BY ED ELLIS 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. 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 (300 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 necessarily reflect those of Theatre Alberta. check-in Office and Library hours Monday to Saturday, 10:00 am – 3:00 pm Holidays Office and Library closed December 22–January 2 An important milestone (Christmas/New Year’s) and February 16–18 (Family Day). for Theatre Alberta took place at the end of September.Safe Stages, our resource binder Theatre Alberta News for health and safety in theatre and developed in collaboration with Alberta Employment, EDITOR Jill Connell [email protected] Immigration and Industry, was officially launched in both and . DESIGNER Carey van Eden [email protected] And grand occasions they were! We were fortunate to have both the Northern and Southern Submission deadlines and publication dates January 25 for February 29, 2008 Jubilee Auditoriums offer to host the launches. As approximately 80 of us sat on the stage of April 25 for May 30, 2008 the Jube in Edmonton with the house providing a stunning backdrop, I really did have one July 11 for August 22, 2008 October 17 for November 21, 2008 of those moments when the stars aligned and all was right with the world. Advertising rates Safe Stages has been an immensely challenging project and it was wonderful to celebrate its Back Cover (11” high x 6.5” wide) $275 Full Page (9.5” high x 7” wide) $200 launch with so many supporters. Half Page (4.625” high x 7” wide) $120 Quarter Page (2.25” high x 7” wide) $80 We were so pleased to host special guests Janet Sellery, Health and Safety Manager of the Ads are booked on a first-come, first-serve basis and space is limited. Book ad space at least one month Stratford Shakespeare Festival of Canada and Monona Rossol, President and founder of prior to the submission deadline.

Arts, Crafts & Theater Safety and Health and Safety Director for IATSE Local 829 in New Theatre Alberta Board of Directors York. I found them to be both inspiring and challenging. They provided an affirmation If you have questions or concerns regarding Theatre Alberta, you are welcome to contact Theatre Alberta Board members. that what we had accomplished was important and useful, while letting us know that there Officers PRESIDENT remains a great deal more work to do. Mary-Ellen Perley ~ Edmonton [email protected] VICE PRESIDENT They spoke eloquently and passionately about the importance of health and safety and Jane Heather ~ Edmonton [email protected] TREASURER provided us with real impetus to continue moving forward with the hard work of creating Russell Thomas ~ Fort McMurray [email protected] policy and providing ongoing training. SECRETARY David Owen ~ Edmonton [email protected] It is heartening to learn that Safe Stages is having an impact not only in Alberta, but Directors Gail Hanrahan ~ Lethbridge [email protected] also across Canada. We know that B.C.’s Safety and Health in Arts, Production and Karen Johnson-Diamond ~ Calgary [email protected] Entertainment (SHAPE), who were so generous about allowing us to draw from a number Andrea Martinuk ~ Edmonton [email protected] Steve McHugh ~ Wetaskiwin [email protected] of their excellent publications, are hoping to use some sections of Safe Stages for a new Kevin McKendrick ~ Calgary [email protected] Steve Penman ~ High River [email protected] publication. Janet Sellery recently told us that she was using Safe Stages for some of her Harold Truckle ~ Red Deer [email protected] teaching work at the National Theatre School, University of Waterloo, and York University. Staff EXEC U TIVE DIRECTOR Marie Gynane-Willis [email protected] Timing is everything and with the completion of this phase of Safe Stages, long-time Theatre OFFICE ADMINISTRATOR Alberta employee, Keri Ekberg, resigned from her position as Program Coordinator. In some Kate Mahoney (Janice Hoover on leave) [email protected] ways her departure made sense—Keri had played a crucial role in the development and writing PROGRAM COORDINATOR of Safe Stages and we had just finished the launch. Keri’s contribution to Theatre Alberta over Vanessa Sabourin [email protected] PROGRAMMER the past five years has been most significant. Although we are sad to see her go, we wish her Jill Connell [email protected] ADMINISTRATOR every success in her new job as Artistic Associate at the Citadel Theatre. Julie Sinclair [email protected] LIBRARIANS We warmly welcome Vanessa Sabourin as Theatre Alberta’s new Program Coordinator. Solveig Anderson and Brenda Sutherland [email protected] Vanessa brings a wealth of theatre training with her, a background as a professional actor, FINANCIAL ADMINISTRATOR and a recent 6-month stint as an Administrative Intern at the Centre for Performance Zenovia Adams Research in Aberystwyth, Wales. Change of address information and undeliverable copies to: Theatre Alberta Society 3rd Floor Percy Page Centre December and a myriad of festivities is almost upon us. As I think about 2008, I hope the year 11759 Groat Road, Edmonton AB T5M 3K6 brings excellent health for our provincial theatre community and a plethora of opportunities for Phone: (780) 422-8162 Fax: (780) 422-2663 Toll Free: 1-888-422-8160 [email protected] the making and consumption of great theatre. www.theatrealberta.com

MARIE GYNANE-WILLIS. EXECUTIVE DIRECTOR

2. winter 2007 WHAT’S NEW AT THEATRE ALBERTA

THE EVOLUTION OF PLAY MEET MADDY—CANADA DAY FIRECRACKER!

We’re delighted to report that our fifth annual Madeline Josephine came rushing into the world on July 1, 2007 at 7 lb PlayWorks Ink theatre conference event, 8 oz. We suspect her two year old brother Thomas should be able to do co-presented with Alberta Playwrights’ Network, was a magnificent success! From the majority of the babysitting. Meanwhile, Theatre Alberta Administra- November 1-4, the Glenbow Museum in down- tor Janice Hoover has been on maternity leave since late June, claiming town Calgary was overrun with 70 participants, to be occupied with something. Congratulations to Janice & Al! Not all 16 instructors and special guests, four casts and of us look this cute in a pink rabbit jumper. crews, and many a supporter in the audience, as theatre practitioners from across Alberta took part in workshops, play readings, panel discussions, and socials.

Featured guests Morwyn Brebner and Kevin Kerr were intelligent, inspiring, and generous, both performing outstanding readings at our opening reception and dishing out insights and advice in workshops and panel discussions throughout the weekend. Read our upcoming Spring newsletter for a reminder of Morwyn’s frank and fabulous Keynote Address—an event met with furious note-taking, intermittent SEASON’S laughter, and lengthy applause. Theatre Alberta would like to thank our Play- GREETINGS Works Ink instructors and special guests for giving generously of their time and creativity at FROM THEATRE ALBERTA such a busy time of year. We would also like to Here we are in front of our Charlie Brown Christ- express our admiration for this year’s PlayWorks mas tree and equally brown Percy Page Centre. Ink participants—your curiosity, commitment, Left to right, our all-star women’s improv team: and passion (most notably during a ribald after- hours theatre trivia game) make PlayWorks Ink Kate, Solveig, Julie, Brenda, Marie, Vanessa, and an exciting place to be. Jill. Missing: the elusive accountess, Zenovia.

TALES FROM THE STACKS

FEATURED COLLECTION More than twenty scripts introduce readers performances, and concerts throughout the Magpie; Having; Hunger Striking to universal themes about family, community, year. Includes 20 original reader’s theatre scripts Three plays by Kit Brennan (1999) kindness, and responsibility. This book has excellent for teaching younger children. Three plays from award-winning playwright proven to be a tremendous favourite amongst Kit Brennan that explore secrets, obsessions, upper-elementary and junior high students and DONATIONS and desire through the stories of three women: in adult literacy and ESL programs. Thank-you to Jeff Page for his generous donation Bernice, the victim of small-town repression, of Three One-Acts by David Lindsay-Abaire. Sarah, a former anorexia sufferer, and young Invitation to Reader’s Theatre: A guidebook Erin, whose epileptic seizures leave her scared for using Reader’s Theatre to celebrate WINTER HOLIDAY CLOSURE and vulnerable. holidays and special events The library will be closed and the drop-box by Helen Raczuk and Marilyn Smith unavailable from December 22, 2007 to January FEATURED READER’S THEATRE RESOURCES Invite your students to a life-long love of read- 2, 2008. We’ll re-open on Thursday, January 3, ing as you experiment with rhyme, rhythm, and Invitation to Reader’s Theatre: Celebrating 2008 at 10 am. fun. Through collaboration and sharing, your stories of our Canadian heritage by Helen Raczuk and Marilyn Smith students will naturally develop a broad range of Folktales, fairytales, and legends from around the reading strategies. The themes in this resource happy holidays world have been adapted for reader’s theatre. will help you prepare for school assemblies, — Brenda & Solveig

theatre alberta news 3.

MEET THE BOARD Gail Hanrahan, Board of Directors

Gail is a director, actor, dramaturge, teacher, and creator. She moved from Quebec to Calgary where she spent many years directing and acting for independent and established companies such as Alberta Theatre Projects, Lunchbox, and Vertigo. In 2005, Gail became Assistant Professor in the Department of Theatre and Dramatic Arts at the University of Lethbridge. She has performed in television, film, and radio in both French and English. Currently, Gail is creating a clown-based show with Val Campbell, directed by John Turner.

Describe a show you’ve seen on an theatre, and making the process of theatre you lived with such compassion for your Alberta stage that has blown you away. the product. characters?” As I reflect on this question I see snippets of If you could change one thing about What do you tell your students about shows: an exquisite John Wright in Drawer theatre in Alberta, what would it be? a career in the theatre? Boy, Kate Hennig in The Blue Light, the Well, I hate to state the obvious but… I tell them to see as much theatre as they dynamism of Mieko Ouchi’s mind, the waves MONEY! Money begets freedom, freedom can in their own communities, in other cities, in The Old Trouts’ Pinocchio, a demolished begets creation, and creation begets art. in other countries, in other languages. See Laura Parken in Vincent, the sadness of the theatre you know you’re going to hate, is young and the old in Mesa, and Ronnie If you had the opportunity to ask going to offend your sensibilities, and is not Burkett swinging—or was it a marionette? that burning question of any theatrical personality—living or dead—what would your cup of tea. Drink someone else’s cup of What inspires you in your own work? it be? tea! Every time you see something new on I am inspired by theatricality—how theatre Wow! Just the thought of that is over- stage it opens up possibilities—for careers tells a story that is more than its narrative. I whelming… All I can think of is compassion. you didn’t think existed, theatrical spaces you love theatre that hits you in the gut, fills you Of Judith Thompson, Tennessee Williams, never would have imagined, and theatricality with imagery, and creates a world onstage Karen Hines, Michel Marc Bouchard, and that is far removed from the omniscient that is not your own. I love theatre-within- Athol Fugard, I would ask: “How have television. You will so rarely regret it.

4. winter 2007 BY JILL CONNELL . TA PROGRAMMER kickstart in the arts for Edmonton kids

It’s Thursday evening in Edmonton and the former Alex Taylor School on the eastern edge of down- town is bustling with activity. Inside the historic three storey brick schoolhouse parents wait in the snack room while their kids disperse for hip-hop, tap, art, drama, piano, drumming, and classes. In the drama class “On Stage!”, a dozen kids from the ages of 10-13 do a physical warm-up to the soundtrack of High School Musical 2, recite poetry from memory, and work on storytelling PHOTOGRAPH BY JILL CONNELL and collective creation skills in anticipation of an approaching December performance. The two drama instructors take an interest poll and discover that 100% of their students like Shakespeare. The dozen go on a field trip to the opening night of I, Claudia at the Citadel Theatre, prompting the instructors to consider how to do mask work in a classroom with only one mirror. This is ArtStart.

ArtStart is a program run by E4C—one house,” says Raya. “They teach you all these of Edmonton’s longest-standing human cool things that explain a lot about art and service organizations, based on four core drama, and I couldn’t get that at the school values: courage, compassion, connection, and that I was at.” commitment. Each of their programs employs For parents without disposable income, these four Cs to advance positive individual, ArtStart is an opportunity for their children family, and community life, including to pursue their talents. “We have access to affordable housing, parenting training, mental extra-curricular activities that we normally ARTSTART DRAMA STUDENTS WARM-UP IN “ON STAGE!” health services, youth and women’s shelters, wouldn’t have had access to,” says Raya’s mom and arts education. Valerie. “Between the classes and getting The program found its beginnings several tickets to various venues, it gives Raya and all two worst-funded aspects of society—the years ago when the E4C board of directors the kids a social and educational experience— arts and social services,” says Konopaki, who identified the need for an arts program something to do besides sitting at home and is always seeking donations of equipment, for children who otherwise might not get watching tv.” professional artists’ time, and tickets to arts exposure to music, dance, drama, and visual Raya and her classmates have attended venues. These days she’s also hunting for arts. A pilot program was launched with 15 several shows organized through ArtStart and corporate sponsorship—part of E4C’s long- kids and a few volunteers, whose enthusiasm provided by the Kids Up Front Foundation, term vision to expand the program. and swelling numbers made it evident there including Penelope vs. the Aliens!, Hannah’s “ArtStart currently has 88 kids enrolled, was a much larger need for a low-cost, high Suitcase, and I, Claudia—all at the Citadel with a waiting list of over 30,” says Konopaki. quality arts program in Edmonton. Theatre. ArtStart also has a scholarship “One of our plans for the future is to have ArtStart has now been an official E4C program where other local arts organizations two or three ArtStart sites around Edmonton program for two years. “Your typical arts class provide ArtStart students with free training: so the programs can accommodate a greater costs upwards of $100/month once you factor Harcourt House and the Edmonton School number of kids and are more accessible to in instruction, costumes, and supplies; for of Ballet are both sponsoring promising families that don’t have a car.” most ArtStart families that income is needed ArtStart students this term. For Konopaki, the more kids ArtStart for rent, food, or clothing,” explains ArtStart Now enrolled in her first year at Victoria can reach in a meaningful way, the better: Coordinator Cadence Konopaki. ArtStart School of Performing and Visual Arts, Raya “Some of the young artists we have might end aims to offer the same quality of instruction has access to all sorts of artistic learning up becoming professional artists or patrons as you would find in City-sponsored classes opportunities. Nonetheless, she still chooses of the arts. Others might become graphic or other arts conservatory programs in to come to her ArtStart classes on Thursday designers or public speakers—there are so Edmonton—the only difference being that nights. Between the subsidized classes, field many positive ways the arts influence our lives ArtStart families pay a subsidized rate or have trips to theatres, performance opportunities, that we aren’t aware of.” the program fee waived entirely. and scholarships, ArtStart is hard to beat. For 11 year-old ArtStart student Raya Unfortunately, like all arts programs, ArtStart provides affordable, accessible, and professional- quality lessons in Drama, Dance, Visual Art, and Music Pachal, this is a good thing. “You get to funding is a constant struggle. “I always laugh to children aged 7-14 from low-income families.To do stuff that you couldn’t do around your because my program is a combination of the volunteer or donate, visit www.e4calberta.org.

theatre alberta news 5.

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

6. winter 2007 BY JANET SELLERY. HEALTH AND SAFETY MANAGER, STRATFORD FESTIVAL the show must go on? A HEALTH & SAFETY WAKE-UP CALL…

This past September, 140 technicians, stage managers, students, and theatre people attended the launch of Safe Stages—an occupational health and safety resource for the Alberta theatre JANET SELLERY community and joint initiative of Theatre Alberta and Alberta Employment, Immigration and Industry. Janet Sellery, Health and Safety Manager at the Stratford Festival of Canada, was a consultant to the Safe Stages project and one of the key writers of the document. She was also recently selected as “Health & Safety Manager of the Year” by Canadian Occupational Safety magazine. Below is an excerpt from her inspiring address at the Safe Stages launch, on September 24th in Edmonton and September 25th in Calgary.

I began work in stage management at So what do you do to make sense of have something very special to protect. When the Stratford Festival in 1985 and ten years an experience like that? Soon after the I began to create our program, I was met later an incident there propelled me into accident, I began giving health and safety with some resistance. Some people said that safety in a serious way. An actor fell nine feet chats for each acting company at Stratford to all of this health and safety would destroy from the balcony of the Festival stage during discuss their rights and responsibilities and art: “We’re special, we’re different, we’re not a technical dress rehearsal of the Scottish ensure they knew how to report health and a factory.” I agree, we’re not a factory. But play. She had become disoriented during safety concerns. In 1999, our new Director it is not acceptable to me that our artists, the apparition scene as her mask limited her of Human Resources persuaded senior craftspeople, and support staff should be any vision. She had serious injuries including less protected than a factory worker. Quality a fractured skull, broken shoulder, broken of life for people who work in the arts is of ribs, and a punctured lung. She was off prime importance. work for more than four months but made TheSafe Stages binder has a section that a full recovery and is still a member of the describes the challenges that we encounter company. I was an Assistant Stage Manager when working on health and safety in the on that show, gave first aid, and was involved theatre. I have experienced every one of those with the Ministry of Labour investigation challenges. Artists must take creative risks in my role as Worker Co-chair of our Joint every day and they must understand when a Health & Safety Committee. creative risk crosses the line and becomes a In some ways, this was a textbook safety risk. Theatre people live by the saying production. The Stage Manager and I had “the show must go on” and it can be difficult worked together for twelve years, the Director to get people to speak up about health and was approachable and highly safety conscious, safety concerns. My approach is not to say and I was working at a large theatre with SET DESIGN WITH GUARDRAIL. ILLUSTRATION RE- “no” to anything, but to make sure people many resources available. In fact, I had PRODUCED FROM THE SAFE STAGES BINDER. stop, identify the risk, get information and requested stage time for the apparition scene support, and take adequate precautions to with full tech, costumes, and masks the management that health and safety needed to control that risk before going ahead. morning prior to the tech dress. We worked become a stronger focus, so with no formal Today’s Safe Stages launch in that sequence for over an hour, gradually training, I made the transition from “squeaky Alberta is more than a celebration of an adding in each element and asking the actors wheel” to Health & Safety Coordinator. accomplishment—it’s also a call to action, repeatedly if they felt comfortable. But why get involved in health and a beginning or a renewal of the health and The Stage Manager and I believed that safety? You’re busy and resources are stretched, safety programs in your theatres. This can we had taken all the necessary precautions, so why would you take this on? Maybe you become another binder gathering dust on a yet this terrible incident still occurred. Seeing need to comply with legislation—you’re shelf, or it can be a working document that an actor bleeding on the stage and hearing concerned about orders, jail time, and the helps you find a starting point and guides you the ambulance turn on the siren as it leaves is possibility of criminal charges. You may along. I will be honest with you—there are no something you never forget. We didn’t know also be concerned about costs due to fines, shortcuts, the real work belongs to you. if she would live. The next day, many people lawsuits, and worker’s compensation. made their way to the stage management office While legislation and potential costs Safe Stages contains best practices, forms, and resources that are applicable to all companies, managers, techni- to say that they should have spoken up about are important, in my opinion, the most cians, artists, volunteers, and students in the theatre their concerns. The sense of responsibility is compelling reason for the arts community industry. The resource is available in print from Theatre enormous and the guilt is immense. to focus on health and safety is because we Alberta or online at www.theatrealberta.com.

theatre alberta news 7.

uniquement albertain/uniquely Albertan

BY GENE KOSOWAN. WRITER

not only offer audiences a cross-section of ALBERTAL’UniThéâtre REALITIES what other Francophone theatre companies are up to, but it also helps him to gauge FROM A FRENCH PERSPECTIVE where L’UniThéâtre fits in the mosaic of Francophone theatre in Canada. Another There’s little argument that Edmonton- indicator for Cournoyer is L’UniThéâtre’s based L’UniThéâtre is unique to Alberta. reception on stages outside of Alberta: As the province’s only professional French- “Recent successes with Cow-boy Poetré and speaking theatre company, its seasons include Fort Mac in , , Caraquet, and a slate of mainstage productions, theatre for show that we do have an exportable young audiences, a touring component that product,” says Cournoyer. “And we’re most PHOTOGRAPH BY ED ELLIS hits a variety of communities in Wild Rose exportable when we stick to our roots.” Country, and a provincial French-language Cournoyer is also taking advantage of Junior and High School Drama Festival. Edmonton’s immigration influx, brought on But there’s also a poignancy associated by Alberta’s petroleum-fueled economic boom. with the company that’s been striking a “We have more Francophones in our chord with audiences the past few years: theatre from other provinces than we do from L’UniThéâtre’s reputation for staging Alberta,” he says. “When these newcomers productions that reflect the province’s attend shows they want to see not only who JOEY LESPÉRANCE, STEVE JODOIN, AND CRYSTAL we are, but an element of themselves. And colourful past and present. Recent PLAMONDON IN COW-BOY POETRÉ BY KENNETH productions like Cow-boy Poetré and Fort BROWN, TRANSLATED BY LAURIER GAREAU. that element is huge. We’re not just Franco- Mac, which packed houses both locally and Albertan, we’re Acadian, Québecois, and French nationally, demonstrate how theatre can offer “Mitchell’s son actually said, ‘My father from other provinces and countries; we’re a compelling perspectives on Alberta’s rich and would be nothing but proud to know that melting pot of what’s happening nationally.” one of his books was being translated into rocky heritage. That said, Cournoyer faces challenges in French,’” Cournoyer recalls. To Daniel Cournoyer, plotting such a attracting Francophones of African descent This Alberta focus continues to be daring path is a no-brainer. “L’UniThéâtre’s and families with English and French mixes reflected in L’UniThéâtre’s current season with programming demonstrates a deep to their theatre space at La Cité Francophone. a Francophone mounting of Einstein’s Gift (Le For the latter crowd, L’UniThéâtre offers commitment to creating new works that are cadeau d’Einstein)—a Governor General award- English synopses of every play at the door inspired by Alberta realities,” he says. winning play by Edmonton’s Vern Thiessen. and is considering adding electronic subtitles That inspiration has been Cournoyer’s Einstein’s Gift has previously been to some runs this season. He’s encouraged by vision ever since he became Artistic Director translated into German and Polish, but not the results of Théâtre français de that of L’UniThéâtre in 1996. His early endeavours into French. “Being the first company to do boosted subscriptions by 25% on the strength with the company included provincially- a French version of Einstein’s Gift is a great of adding English subtitles. themed events like Les Contes Albertain opportunity for us,” says Cournoyer. “But But no matter which way Daniel and children’s theatre like Les chats retombent it’s also a little puzzling, considering the Cournoyer meets these challenges, he’ll stick toujours sur leur pattes (Cats Always Land on Canadian landscape was originally founded to a fundamental principle that has made their Feet) by Josée Thibeault—a play about by English and French cultures; for whatever L’UniThéâtre a success: “I think theatre comes a Baie Comeau, Québec girl who befriends reason, Thiessen’s play had never been from the heart. Theatre is a human journey. a Venezuelan child while taking French translated into French.” If you can’t tell a human journey and feel the immersion at a school in Fort McMurray. L’UniThéâtre also hosts touring Franco- emotion within it, then you don’t have a play.” L’UniThéâtre has also tackled issues like the phone productions from across the country, gradual disappearance of grain elevators from including this year’s ground-breaking season Gene has been writing about the arts ever since he was the the prairie landscape in Dans les bras d’un géant opener L’homme invisible (The Invisible Man) original editor for both SEE Magazine and Vue Weekly (In the Arms of a Giant) by Manon Beaudoin by Ottawa’s Théâtre de la Vieille 17, marking in the 1990s. He writes for a number of local, regional, and U.S. publications and occasionally does an Arts & and presented French translations of Connie the first time a bilingual production has been Culture column for Avenue Magazine in Edmonton. Kaldor’s Dust & Dreams and W.O. Mitchell’s staged in L’UniThéâtre’s 15-year history. He runs Fat Cat Media Relations with his wife Brenda. The Black Bonspiel of Wullie McCrimmon. Cournoyer believes these touring shows www.lunitheatre.ca

8. winter 2007 uniquement albertain/uniquely Albertan

BY RONALD TREMBLAY. L’UNITHÉÂTRE MEMBER

The 1970s and 1980s brought yet another L’UniThéâtreFRANCO-ALBERTANS CELEBRATE kind of energy to Alberta’s artistic community, as an influx of people riding the oil boom THEATRE further nourished the Francophone theatre scene. Original, groundbreaking works sprung heatre has always been an essential fixture cultural differences were amplified in the into existence with La Boîte à Popicos—a T new company driven by Ontario-born Suzette of French Canadian culture. Since the very process. Theatre became a rallying pointpar first documented play performed on North excellence for the French Canadian community. Lagacé-Aubin. One of Ms. Lagacé-Aubin’s American soil in 1604—Marc Lescarbot’s Le Prior to the advent of television and early, and most precious, collaborators was Masque de Neptune in Port Royal—the French movies, theatrical events were crucial for Gilles Denis, a teacher who has inspired many Canadian community has revelled both on networking, socializing, and entertainment. of his pupils to become active in the theatre stage and in the audience. But even well into the electronic age, business. (One of his protégés is L’UniThéâtre’s Francophones are born performers. Franco-Albertans were still flocking to the current Artistic Director, Daniel Cournoyer.) Francophones are patrons of the arts. theatre in large numbers. Between 1940 and Popicos’ strategy took a fantastic spin when Canadian Parents for French, followed Even before Alberta became a province, as 1968, several plays were staged every year the first French Canadian pioneers were slowly by a growing number of theatre companies percolating into the North-West Territories, throughout Alberta’s French-speaking plays were being staged somewhat haphazardly. community, the best known being Le In 1898, the first cercle dramatique (as they Théâtre Français d’Edmonton and Le Cercle were called in la langue de Molière) came Dramatique Saint-Joachim. into being. Theatre troupes were also sprouting in In the 1930s, plays staged and/or written rural communities, even if their activities PHOTOGRAPH BY ED ELLIS by Francophones began currying favour with were more limited in scope. St. Paul’s Cercle national audiences as well. In 1935, the first Dramatique showcased the husband and wife original Franco-Albertan play, Bon sang ne team of Jules and Adèle Van Brabant. Jules

ment pas, written by Emma Morrier and Van Brabant was also one of the town’s most MIREILLE MOQUIN, STEVE JODOIN, JOEY LESPÉRANCE, directed by the Cercle Jeanne-d’Arc’s Alphonse colourful mayors. AND ISABELLE ROUSSEAU IN FORT MAC. Hervieux, won first prize at Calgary’s Festival In Edmonton, a new breed of theatre was Dramatique. emerging, led by Réginald Bigras, a student by the Edmonton Public School Board, Three years later, another play,Trois from Hull, Québec. He wasted no time in saw the mind-expanding possibilities of the Masques, would represent Alberta at a national putting together Les Collégiens Comédiens, company’s theatre for young audiences. This competition in London, Ontario. Although who staged mostly classic works by Molière seemed to coincide with the growing interest the story does not reveal if the piece garnered and other Old World playwrights, but also for French immersion schools. Within a few any awards, this event speaks volumes for showcased the talents of Québec playwrights years, La Boîte à Popicos was touring across French-language theatre at that time. These like Félix Leclerc. A few years later France Alberta and Canada. were times when cultural communities were Levasseur and Laurier Boucher founded Le In 1992, La Boîte à Popicos merged with jealously guarding their assets and when Rideau Rouge. Both troupes later united to Le Théâtre Français d’Edmonton to form revive Le Théâtre Français d’Edmonton (TFE), L’UniThéâtre. The new company directed by JOEY LESPÉRANCE AND STEVE JODOIN IN FORT MAC which had been dormant for the better part of Guylaine Normandin inherited the mandates of BY MARC PRESCOTT. a decade. In 1970, National Theatre School of both troupes and would cater to a wider and even Canada graduate Julien Forcier would become more sophisticated audience. Edmonton, and TFE’s first professional Artistic Director. eventually French Alberta as a whole, now had its Some of the names from that golden era first provincially-recognized theatre company. still constitute a Who’s Who of Francophone Ronald Tremblay has worked as a radio announcer, singer- theatre and several of these players are still songwriter, and producer. He has written extensively for radio as well as for publications in New Brunswick and

PHOTOGRAPH BY ED ELLIS quite active as writers and directors today. To those previously mentioned, we could add Alberta. He released his first recording Poésie pour le Poivre in 2002 and is presently working on a collection Léonard Rousseau, Gérard Guénette, Claude of short stories. Tremblay has also appeared on stage for Ouimet, and Laurent Godbout. Edmonton’s L’UniThéâtre.

theatre alberta news 9.

BRINGING BACK THE OLD, RINGING IN THE NEW

Here’s where we roll out the welcome mat to all our new and renewed members for the period from July 1, 2007 through September 30, 2007. Don’t see your name here? That’s probably because you joined Theatre Alberta in one of the other nine months or you bought a two-year membership and aren’t due for renewal until next year. Just keep your eyes peeled and you’ll surely see your name in an upcoming issue!

NEW MEMBERS RENEWING MEMBERS Individuals Jennifer Julien Individuals Carrie Hamilton Blaine Newton Angela Tran Front Row Centre Rapid Fire Theatre Adriana Amelio Emma Kent Kenneth Abernathy Danny Hangartner Laura Nichol Harold Truckle Players Red Deer College Nathania Bernabe Nadine Lennox Aaron Adams Josh Hanson Eric Nyland Michele Vance Hehir Gas & Light Scorpio Theatre Amber Borotsik Erik Lundeen Lynda Adams Kirsten Harvey Erin Odell Wade Weller Productions St Albert Children’s Morwyn Brebner Jeffory Magson Susan Beach Marilynne Hebert Jeff Page Jeff Woodward GasLight Theatre Theatre Clinton Carew Peter Moller Ruth Bieber Monica Herron Thomas Peacocke Grande Prairie Live St George of Shomee Jenna Nazarali Amanda Blair Janine Hodder Michael Peng Groups Theatre England Society Chakrabartty Sarah Pellandini Marilyn Bright Kelsey Holmgren Mary-Ellen Perley About Time Ground Zero Theatre Stage Hanna Meghan Cosenzo Arista Petkau Geoffrey Brumlik Cole Humeny Jessi Piggott Productions Heartland Arts Association Mieka Ellis Wendi Pope Charlotte Cameron Brenda Inglis Anne Pinder Stageworks Alexandra Price Alberta Lyric Theatre Troupe Society Connor Erickson Louise Casemore Craig Jensen Gerry Potter Academy of the Kelly Reay Alberta Opera Horizon Players Gloria Fedorchuk Cornelius Christian Kelsey Johnson Esther Purves-Smith Performing Arts Olukayode (K.K.) Alberta Theatre Association Amanda Graham Dave Clarke Nathaniel Johnson Andrew Raczynski Strathmore Theatre Sonuga Projects Hunting Hills High Terry Gunvordahl Lynn Cole Karen Johnson- Leilani Reum Players Guild Sheila Strychalski Ardrossan Junior/ School Tim Heins Alyson Connolly Diamond Cathleen Rootsaert TALES Calgary Susan Tuff Senior High School Ignition Theatre Georgette Holyk Hal Cook Amy Keating Isabelle Rousseau Theatre Network Philiana Wong Calgary Opera J. A. Williams High Melony House Linda Cornell Chris King Vanessa Sabourin Thorhild Central Canadian Badlands School Tyler Houseman Groups Patricia Darbasie Emily Klause Roger Schultz School Mannville and Area Christopher Hunt Ovations! Dinner Amy DeFelice Mary Jane Kreisel Jodie Schwartz Passion Play Town of Hinton Performing Arts Paul Johnson Theatre Ltd. Stephen Delano Phil Kreisel Shelley Scott Carriage House University of Alberta, Society Dale Dryer Teresa Layne Scott Sharplin Theatre Department of Jamie Dunsdon Andrew Lynch Erin Shier Catalyst Theatre Morpheus Theatre Drama A warm and sincere thank-you Elaine Elrod Norton Mah Samantha Slater Caviar Players Drama Mount Royal College Vision Theatre to the following for their generous Amy Erlandson Lianna Makuch Linette Smith Society New West Theatre Players Guild Northern Light contributions to Theatre Alberta: Deborah Ferguson Ryan Mattila Susan Smith Citadel Theatre Wetaskiwin Theatre Richard Flikkema Roberta Mauer Rebecca Starr CML Entertainment Theatre Society/Water Kenneth Abernathy, Dale Dryer, Jean-Pierre Fournier Phillips Diana-Marie Stolz ColdWater Theatre Peace Players Works Players Thomas Peacocke, Sharon Price, Stacy Fysh Carol Mayer-Kosch Jan Streader Concrete Theatre Pegasus Windmill Theatre Ignition Theatre, and Ovations! Tristan Gilmour Ian McFarlane Scott Swan Dewdney Players Performances Players Karen Goerzen Steve McHugh Jan Taylor Group Theatre Pine Tree Players Workshop West Dinner Theatre Ltd. Aaron Goettel Kevin McKendrick Russell Thomas Downstage Perfor- Playgoers of Playwrights Jesse Gordon Loretta McLaughlin Frank Tichy mance Society Lethbridge Theatre Christina Gover Karmen McNamara Michelle Todd Fort McMurray Pumphouse Theatre Danielwelcome Hall Randy Mueller Andrew Torry interPLAY Festival Society back

CELEBRATING TWO DECADES OF MEMBERSHIP

Theatre Alberta would like to take this opportunity to recognize our most unconquerable members—those who have stuck with us for over a decade (11-15 years), and those who have survived for nearly two (16-20 years). We searched our database back to its most ancient records and were delighted to find a considerable number of theatre-lovers who have supported Theatre Alberta and made us feel needed over the years! Thank you.

11-15 YEARS (1992-1996) 16-20 YEARS (1987-1991)

Individuals Julie Ishida Central Alberta Kelsey Drama Club Pegasus Individuals Groups Lynda Adams Brendan Lavery Theatre Society Kompany! Dance Performances Douglas Abel Alberta Lyric Theatre Scott Bennie Annette Loiselle E.L.O.P.E. Musical and Musical Pumpjack Players/ Ken Agrell-Smith Banff Centre Deborah Bird Larry MacKillop Theatre Theatre Whitecourt Drama Mary Lou Armstrong Caviar Players Drama Mary Blackstone Barbara Mah École Secondaire L. A. Connection Society Shirley Konrad Society Elizabeth Bowering Andrea Martinuk Beaumont Theatre Company Ross Sheppard Roberta Mauer Peak Theatre Players Michele Brown Duane Mills Composite High Leduc Drama Society Composite High Phillips Rosebud School of Kathy Classen Wolfgang Noethlichs School Lunchbox Theatre School Betty Moulton the Arts Hal Cook Gerry Potter Foremost Theatrical Mannville and Area Sherard Musical Thomas Peacocke University of Alberta, Linda Cornell Marilyn Potts John Rusich Society Performing Arts Theatre Association Department of Erin Crealock Theatre 75 Jan Streader Drama Margaret Shone Grande Prairie Live Society Patricia Darbasie University of Shirley Tooke Walterdale Theatre Julie Sinclair Theatre McNally High School Amy DeFelice Stanley Stevenson Lethbridge Daniel van Heyst Associates Johanne Deleeuw Harry Ainlay Jan Taylor Victoria School of Mark Doskoch Composite High Musical Theatre Theo Thirsk Performing and Beth Dunbar School New Brigden Drama Visual Arts Karen Towsley Deborah Ferguson Hatterland Children’s Club Windmill Theatre Richard Winnick Jean-Pierre Fournier Theatre Northern Crossing Players Frank & Mary Glenfield Horizon Players Music/Drama Workshop West Marie Gynane-Willis Groups Association Society Playwrights Theatre Crystal Hanson Archbishop Jordan Hunting Hills High Northern Light Alex Hawkins High School School Theatre 10. winter 2007 thx for decades BY GRANT TOLLEY. TA MEMBER Leaving the Drama on stage

The Scene: Jubilee Auditorium PLEASE • Hats should never, ever, be worn in North. Left wing seat, good view of the any type of theatre. Especially 10-gallon stage, and I’m enjoying a tremendous TURN OFF ALL CELL cowboy hats, and, in my opinion, not amateur musical and dance production. even 2-litre ball caps. Ask politely if the Enter—late—the Spawn of Satan, PHONES AND BEEPERS hat in front of you could be removed. six years old, with his mother, Satan’s AND REFRAIN FROM • Assess the nature of the performance Bride, whose purse, dangling from and the age-levels that would best enjoy it. Suggest that children who her arm, hits everyone in my row in FLASH PHOTOGRAPHY. do not match your assessment might the head as she moves down her row better enjoy a different performance. in order to get to her two seats which WE CANNOT BE HELD • With the exception of popcorn at the are, of course, immediately behind me. RESPONSIBLE FOR cinema or Stampede Wrestling, snack Bride orders Spawn, out loud, to “sit foods can wait until intermission or there and shut up and watch the show REACTIONS TO SUCH LACK after the show. and don’t bother these nice people who OF CONSIDERATION. • Get in the habit of turning off your came here to see your cousin.” Really. electronic gizmos before you enter the It took Spawn approximately 15 theatre. Cell phones are a particular seconds to start pushing and kicking — MANAGEMENT curse of the theatrical world and the back of my seat. Now, it might not anyone who cannot spend an hour or two have been so bad if he had done it in without one probably should exchange his or time to the music, but as nearly as I her tickets for another form of entertainment could figure, the child needed some rhythm (perhaps Stampede Wrestling?). to drag down the row of annoyed-looking lessons. And maybe a few other kinds of OPEN YOUR MOUTH. Don’t be afraid heads who obviously disapprove of someone lessons, but I digress. to state, loudly, politely, and forcefully, if leaving in the middle of Their Cousin’s Show, I muster up my most disdainful glare, necessary, that someone’s behaviour is detract- probably just because he forgot to go to the complete with wrinkled brow and scowl, and ing from your enjoyment of the performance. back bathroom… Chances are that if Spawn’s behaviour is welcome turn to intimidate little Damien into ceasing I am not making this stuff up. and desisting. But it’s dark in the auditorium! distracting for you, it is also distracting to I suspect each and every one of us has had He can’t see my face! So, I quickly mutter others. The bad behaviour will usually stop. a similar experience, whether at the cinema, “please stop kicking my chair,” and turn (But not always. Sometimes you need a good theatre, opera, or Our Cousin’s Dance Recital. around to try to enjoy the show. place to hide the bodies.) But theatre is meant to be an educational Apparently some people can’t hear in the HONESTLY ASSESS ANY ILLNESS medium as well, so we must do our part to dark either. Plan B is being formulated as the you may have. If your cough or nose-blowing bring those like Damien Spawn into the next two minutes of incessant rock ‘n roll—my registers more than 9 on the Richter Scale, enlightened fold. seat, not on stage—goes on, unabated. Anger or if you have any illness involving the need But how does one deal with such wells up within me, and I finally turn to Bride for a new respiratory tract or an oxygen tent, aggravations without losing one’s head (or and ask, “Could you please have your son seriously consider giving your ticket to a taking off someone else’s)? How might we stop kicking the back of my seat?” deserving friend. train audiences to leave the drama on the Bride looks at me like I have two heads, MAKE A POINT OF THANKING stage where it belongs? and then ignores both of them. She does PERSONS in neighbouring seats for the good nothing, except tries to peer around me, as BE A GOOD AUDIENCE MEMBER behaviour of their children; positive reinforce- though I were a pillar blocking her view. YOURSELF. Learn the etiquette of good au- ment works wonders, and these youth may be Whereupon the woman seated right next to dience behaviour and teach it to anyone else role models for our future generations. me turns to me and says, “Sssshhh! We’re who accompanies you to the theatre. May the drama stay on the stage, where trying to watch the show.” • Arrive early. Remove all jackets, coats, it belongs. And may each of us do our part to I’ve been shusssshed! Me! armour, hats, or other wardrobe keep it there. Enjoy the show. I endure only two more minutes of the intrusions before the go down. back seat pile-driver before I become so angry • If for some reason you are late, watch on Grant Tolley is a theatre enthusiast and participant with that I rise indignantly from my seat to leave the monitor or stand at the back until an the Beaumont Drama Society. He is a former Theatre Alberta Board member, and has a secret laboratory in the theatre. Wishing, as I lurch down the sea appropriate moment arrives to be seated his garage where he is building a Damien-detector and of tangled legs in my way, that I had a purse (usually intermission). stun-ray gun.

theatre alberta news 11. thx for decades BY ROBERT CLINTON. TA MEMBER albertans abroad Rumour has it that, outside Alberta, there is a broad and fascinating land of peoples, places, and things. Join us as we accompany an Albertan on an adventure beyond our own nearly rectangular borders in . . . Should’ve did Every worker in professional theatre has a story to tell of not only an exciting or strange job, but also of a far off or exotic locale where they’ve earned that paycheque. How about: performing a show for an audience of chemists who read English better than they speak it, in a theatre tucked in the depths of a kilometer-long building with an automobile test track on the roof.

Faithful readers of this newsletter will and Maralyn Ryan—now the Should Have digging into the emotional richness beneath remember Daniel van Heyst’s article in the Theatre Company— lead us with unfailing the words and threading a complexity of ideas Winter 2005 issue heralding the arrival enthusiasm and perseverance, even through a into short, explosive scenes. Getting familiar of Roald Hoffman (Nobel Laureate in long winter and many rejection letters. with a set designed to collapse into luggage- Chemistry) for a workshop of his latest play, Plane tickets have been purchased to take sized boxes. Should’ve, at the King’s University College advantage of sales, so there’s some nail biting. Integrating in Edmonton. To cut straight past the chase, Michele smiles it all off, firm in her belief Paul’s music and rehearsals the workshop goes wonderfully and the that we will go. And, one day in April, Peter Rueben’s slides. A test audience before we’re public reading for a mixture of chemists, emails everyone with news: a big cheque has really ready and, suddenly, Daniel and his artists, and the curious is well received (quite arrived, enough to get us to and from Italy, wife Rhonda, our advance team, are gone enthusiastically by the scientists). It’s not rehearsed and with a set. A fairly delirious day with the set and we’re three actors, a director, often plays are written about scientists and all around. Oh: about that passport? and a stage manager in one last day of even less often are they about the pressing Suddenly our little theatre company rehearsal, pushing forward to…who knows. ethical dilemmas of the day with a call for lives and breathes. Daniel begins building At times like this the professionalism responsible action brought forward with the set. Reuben Mahaffy’s visual experiments of the group is evident—whatever happens clarity and passion. can be tailored to the show’s needs for video after a 21 hour flight, these people will put During the post-reading reception, and projections. A last draft of the play on a great show. And all the passports have Peter Mahaffy, teacher and indefatigable arrives from Roald. A website is launched arrived—visas from the Consulate, too! organizer of the conference, says, “We’re (www.shouldve.kcvs.ca). Designs are settled Torino is a lovely city. Playing host to thinking of another life for this play.” Peter is whenever we’re lucky enough to have our the world in the Winter Olympics has left it highly placed in the International Union of director in town. It takes how long to get a charming place with open arms welcoming Pure and Applied Chemistry (IUPAC) and a passport? travelers. The central core is spotless (among it turns out that their biennial international In mid-July we begin rehearsal at the continuous restoration of historical sites), conference is in August 2007. It also turns King’s University College, our physical home friendly, slow-paced (the home of Slow Food), out that it’s possible to stage a performance of and caretaker of accounting and payroll. stylish, elegant, and teeming with history, art, Should’ve following Roald’s keynote address. Stephen (director), Daniel (designer and and religion (the Shroud). An amazing city for a The conference is in Turin. production manager), Roald (playwright), first-time Continental traveler from the prairies. Cool. Reuben (videographer and projection Daniel and Rhonda have met with designer), Shannon Macelli (stage manager), Claudio Papalia, our local contact, theatre let’s go to italia! Paul Morgan Donald (sound designer), and brother, and translator. They’ve smoothed our Maralyn, Michele, and myself (cast members) way into the theatre, our rezidenza, and found In one paragraph, imagine a year of are all seated around the First Day’s big the trattoria which will be our meeting room international grant applications, rewrites, table; all a little giddy with the undeniably and favourite eating spot. Everyone has a job design, dramaturgy, and all the finicky details real destination of this rehearsal process: the to do and gets it done smoothly. We actors giving birth to a co-op theatre company Lingotto Centre in Torino. A little giddy, too, are very conscious of our appointment with demands. In this valiant effort Daniel, Peter, with two of us awaiting passports. an audience in three days…uh, what time is it Roald, Stephen Heatley, Michele Brown, Fast forward through rehearsals spent back home? Don’t think of jet lag.

12. winter 2007 albertans abroad PHOTOGRAPHS BY TED SHEHINSKI

SHOULD’VE COMPANY L TO R: MARALYN RYAN, SHOULD HAVE THEATRE COMPANY AT THE IUPAC OPENING RECEPTION IN TURIN, ITALY. STEPHEN HEATLEY, MICHELE BROWN, AND ROBERT CLINTON.

Our first full day, Rhonda guides us on characters, their voyages, our play. Do we ever and laughter ‘til later.) the busses south to the Lingotto Centre. It have enough rehearsal? No time to answer Roald intends Should’ve to wake people used to be the famous Fiat factory (hence the that dilemma—we’ve got a show tomorrow up—scientists, artists, and the curious. The test track on the roof) but now it’s a shopping at 5:30 PM. Back at the Rezidenza Borsolino play is an exhortation to think and feel mall and conference centre. We descend we meet for our customary (second night in compassion. He’s not only a smart man, he’s a to the theatre…and are flabbergasted. Not a row) kitchen party, feeling good knowing wise man. And he’s entrusted us with his story. by the red, plush seats or the cherrywood the tech’s all in hand. And knowing we’ve still Did the scientists “get it”? Up on stage, paneling. The room is almost a block long! got a hill to climb as actors. Line run-through in a pool of light within a vast darkness, it’s Our playing area is an intimate abstract of lying in bed before falling asleep. difficult to tell. Afterwards at the reception white tape in a symphony-sized sea of cherry. Performance day. We’ve got the theatre (Italians put on a good reception) the play has This is the largest performance space in Italy. in the morning for dress rehearsal. I find created a buzz. We meet PhDs from around Everywhere you go there’s a different “jet lag” really means “wooly mind in the the globe who are energized by the play. custom and rhythm to work teams, but it morning.” But everyone’s doing what they Although we never lack for conversation, I’m doesn’t take long for us to harmonize with can to make things easier for us (Shannon not sure they know what to think. Yet. The and her husband Alan are a stage play touches nerves. Perhaps now they could management team from heaven, tell us where they stand in the play’s bright performance day and with Rhonda and Tyler Irving light of question. pitching in we’re, well, spoiled). At the final banquet in a 13th century the Italian crew. Daniel’s lighting materializes. There’s nothing to do from shortly before castella, Dr. Giuseppe Della Gatta, the The set is reconstructed from suitcase-size. noon until Roald’s keynote address, so some conference organizer, stands before our table, The next day we’re fitted with wireless of us head back for a nap. Show Time: those toasts Roald and us with a fabulous wine, and microphones and they work perfectly. And we are our two big words—the culmination of says “thank you for speaking to scientists not have the stage. A couple of recent line runs a year. Maybe tomorrow we can actually pay from the outside, but to us, the way we feel.” have been a big help (do memory engrams attention to this lovely city. But tonight, we’ve fade crossing time zones?). come a long way to do our work. Once we’re in the taped-out lines of our Despite two rows of paparazzi snapping a job well done little cosmos, back with the music, the three photos, despite the cavernous auditorium and chairs, file cabinet, and tilting desk-cum- its inevitable reverb, despite English being a artwork, back with guidance and notes from second language for the greater percentage of Robert Clinton, a graduate of the National Theatre School of Canada, is six-time winner of the Alberta Playwriting Stephen, all the distraction of travel, new city, our audience, despite our jet lag…the show Competition, a stage and film actor, a musician on vari- language, gelato is dispelled. We’re rooted goes very, very well. ous stringed instruments, and a teacher. He rides a bicycle in Roald’s familiar story, our jobs, and our We give a crackling performance that fills year round. www.shouldve.kcvs.ca interaction. the huge hall with the story’s emotion and The tech-through goes smoothly. Lights ideas. It’s an exhilarating experience. We nail light, soundtrack fills the room at the right the show. (I revive an old rehearsal slip-up times, slide projections are as big as a barn. and substitute “Usher” for “Escher”—Michele And we’re getting back in touch with our and Maralyn, troupers, reserve their teasing

theatre alberta news 13.

BY MIEKO OUCHI. TA MEMBER WIDOWS & ORPHAN retreating S

I f you’re anything like me, you’ve probably My antidote? Watch an Iron Chef marathon breakfast. Admiration for them as writers, got about thirty balls you’re precariously for four hours, do a bit of writing, and forgive honed over years of studying their plays at attempting to keep in the air. This can include yourself. Creativity isn’t a tap you can just school made it hard to imagine I was at the family, a relationship, a day job, sitting on turn on and off… give yourself a break and same retreat. As I got to know them, however, a board, seeing plays, an attempt to have often ideas will begin to flow again. I quickly discovered they were as neurotic as something close to resembling a social life… You’re distracted by the sheer beauty of me… and guess what… normal fellow writers oh yeah… and writing. your environment. with the same issues and triumphs. So no one can blame us when we hear of One year, we had a writer’s roundtable The Turtle and the Hare… a writing retreat for imagining this will be the at Banff and discovered most writers fell into In the case of some of my fellow key to completing that next play. Time away two camps: “Curtains Open” or “Curtains playwrights, their prolific writing also sent me from the stresses of every day life to simply Closed.” “Curtains Open” were the writers into panic mode. I would see them printing “write.” A dream, right? Yes, but a dream with who enthusiastically threw their drapes up their new pages (all 47 of them) while a few potential pitfalls. open and wrote facing the postcard-perfect I looked over my meagre three page daily I’ve been lucky enough to attend the total. Harsh. Thankfully I have also learned Banff playRites Colony twice as a playwright, that everyone works at their own pace. Some and am currently acting in a TV series in the A few last words of wisdom: people quickly get everything down in a first semi-remote town of Squamish, B.C. where Make an index page.This is draft only to spend years rewriting, while I have romantically imagined using my days one of my favourite tactics to feel others write slowly but steadily. Just like you off as a self-managed writing retreat for one. like I’ve achieved something can’t compare careers, you can’t compare A chance to finish that elusive new play. on a tough writing day. I make writing speeds. Hm, we’ll see… A few last words of wisdom: In my humble opinion, the biggest pro of a list of my scenes with a short Make an index page. This is one of my any organized writers’ retreat is as follows: synopsis of each. I tell people this favourite tactics to feel like I’ve achieved They generally do everything they can to helps me see the big picture of my something on a tough writing day. I make a make sure you have as few distractions and as story (which it actually does), list of my scenes with a short synopsis of each. much time as possible to write. but this is the retreat version I tell people this helps me see the big picture of my story (which it actually does), but this There is often staff to clean your room… of alphabetizing your vitamins… heaven! Your meals are prepared for you… is the retreat version of alphabetizing your know what I mean? dessert at lunch again? Why not! You can go vitamins… know what I mean? to readings of others’ plays to get the creative Feel like you can leave your room. One of juices flowing and they usually have collegial the things I love most about being in Banff wine-fuelled evening get-togethers where you Rockies, tapping out scenes while elk fed is coming upon fellow writers churning out can chat with fellow writers about your day’s lazily below. The “Curtains Closed” group pages in the most unorthodox places like the writing, Kampai! But again in my humble (of which I am a charter member) on the lounge above the swimming pool, reading opinion, the potential pitfalls of these kind of other hand, emphatically shut their drapes scenes on the rooftop tennis court, or testing organized retreats are as follows: to the views, put on music, put up posters of dialogue in a practice hut next to a cellist They generally do everything they can to Venice or back alleys (depending on the play), doing scales. Remember: your room is not make sure you have as few distractions and as lit candles or their garbage cans… basically a prison… much time as possible to write. whatever was needed to make us forget we So, I’m in Squamish until February. Time If you’re like me, this sudden lack of were in one of the most picturesque towns in to go close my curtains, write that index page, chaos can completely freak you out. You North America. set the garbage can on fire, and get back to begin to feel the crushing weight of the idea You’re intimidated by the other writers also working on the elusive new play. that you must make the most of your time at the retreat. Mieko is an Edmonton-based playwright, actor, and there. This fear of not taking advantage of this I have found myself inexplicably director. She is currently acting in a TV series created by opportunity quickly grows to create the worst tongue-tied at the sight of certain Canadian playwright Ray Storey, called Search and Rescue. case of writer’s block you’ve ever experienced. playwrights sitting across from me at

14. winter 2007 WIDOWS & ORPHAN THE BUZZ news and notes from around the province S NEW MINISTER OF CANADIAN HERITAGE Arts ar e jointly r esponsible for the new granting ALBER TA LITERAR Y A W ARD FOR DRAMA ANNOUNCED Prime Minister Stephen Harper has appointed pr ogram, in cooperation with the Calgary Arts the Honourable Josée Verner as the new Development Authority and the Edmonton Arts W ell-known Calgary playwright, dir ector, and Minister of Canadian Heritage, Status of Wom- Council. Ther e ar e two grant application dead- actr ess Kar en Hines is now a two-time winner en, and Official Languages, switching places lines each year: December 1 and June 1. of the Gwen Pharis Ringwood A war d for Drama with the Honourable Bev Oda who has gone after her September 2007 win for her musical to replace Ms. Verner at International Coop- Hello…Hello (Coach House Books). NEXT GENERATION OF AR TISTIC LEADERS eration. First elected Member of Parliament in AND AUDIENCES DIALOGUES January 2006, Ms. Verner represents the riding GOVERNOR GENERAL NOMINATION FOR During the first half of 2007, the Canada Coun- of Louis-St. Laurent, in the Québec City area. THE DECEMBER MAN cil, pr ovincial and territorial arts funders, and The Canada Council for the Arts announced certain municipalities br ought together close NEW $6 MILLION ALBERTA ARTS GRANT Colleen Murphy’s play The December Man to 200 artists and arts administrators, aged 18 PROGRAM (L’homme de décembre) as one of the nomi- to 30, to engage in a conversation about their The Alberta Creative Development Initiative nees for the 2007 Governor General’s Literary work, challenges, and vision for the futur e. Nine is a new $6 million grant program for both in- A war ds in the English Drama category. Ms. dividuals and organizations, intended to further Dialogues with the next generation of artistic Murphy’s play r eceived its W orld Pr emier e dur- support the development of the arts in Alberta leaders wer e held in all r egions of the country. ing the Enbridge playRites Festival of New over the next three years. The Canada Council The full r eport on these discussions is now avail- Canadian Plays, under the dir ection of Alberta for the Arts and the Alberta Foundation for the able. www.50.canadacouncil.ca/en/futur e Theatr e Pr ojects’ Artistic Dir ector Bob White.

theatre alberta news 15.

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