18.19 Season Brochure

season sponsor

art performed

18.19

Every moment we spend in a theatre is a moment we choose not to be somewhere else.

At some point we make that choice: perhaps the day before, or a week, or many months previously when we peruse the theatre’s brochure and think to ourselves — oh, that looks interesting, I think I’d like to see that, I ought to be free that third Thursday in March...

Yet here’s the irony: every moment we spend in a theatre, we also choose to go somewhere else — whether the mood is upon us or not — to go somewhere unknown, imagined by others, wherever that somewhere is where someone else has chosen to take us.

But this is what we have chosen — this is what we choose. We choose stories, we choose poetry, we choose this experience of life encapsulated, a small piece of life condensed and offered up, not like a sacrifice, but as a gift, a handshake, a reaching out. On that third Thursday in March — whether the mood is upon us or not — we choose to be the recipients of a story, of stories, and somehow even to participate in them, as no story exists without a listener, no performance without an audience, no emotion without a human being to receive it, distill it, and be thus moved. To be displaced.

Selfie: Matthew Jocelyn

I love to feel displaced. I love not knowing, and then discovering unexpected worlds beyond that awaken even more unexpected worlds within.

Just as, in my work as artistic director, I do so love displacing, offering these moments, these voyages, these breaths that fill our lungs with unexpected air.

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Such too is the appetite of those artists — many of them familiar companions of these past nine years — who will displace us this season: Robert Lepage, Crystal Pite and Jonathon Young, Akram Khan with writer Jordan Tannahill, Kim Collier with Daniel Brooks, Sandra Laronde, Chris Abraham, Njo Kong Kie, playwright Lucy

Kirkwood, director Estelle Shook, choreographer Hofesh Schechter.

And such is the very fibre of those many other artists joining us afresh this season: Peggy Baker and her musician accomplices from Arcade Fire, Pierre Guillois and his posse from France, Portuguese actor/director Tiago Rodrigues, theatrical disrupters Sook-Yin Lee and Zack Russell, directors Eda Holmes and Ravi Jain.

Even Shakespeare displaces us so as to experience the wonders of and in High Park, guided this year by directors Tanja Jacobs and Frank Cox-O’Connell.

Canadian Stage now occupies a very special place on the world map of contemporary performance. The extended family of exceptional artists who grace our theatres, the dedicated team at Canadian Stage, and you, the ever-curious, ever-supportive audience, have all made this possible. It has been deeply meaningful for me to be a part of this, and as we launch my farewell season, I now look forward to joining you as a fellow spectator as the Canadian Stage adventure continues to push the boundaries of performance and to delve into the very heart of our collective humanity.

Matthew Jocelyn Artistic + General Director 3

S HAK E S PE AR E I N H I G H PA R K

William Shakespeare Romeo and Juliet directed by Frank Cox-O’Connell a midsummer night's Dream directed by Tanja Jacobs written By

Now in its 36th season of outdoor theatre magic, Shakespeare in High Park presents adventurous adaptations of two of the Bard’s most popular and enduring works. The tragic romance of Romeo and Juliet and the frolicking comedy of A Midsummer Night’s Dream immerse you in tales of rebellious love in the face of authority — the best way to spend a summer night in Toronto.

“A must-see summer attraction in Toronto and one of the most successful festivals of its kind in Canada” – The Globe and Mail

JUNE 28 – SEPTEMBER 2, 2018

romeo and juliet + a midsummer night’s dream

H I G H PA R K A M P H IT H E AT R E

t h e a tre

PAY-WHAT-YOU-CAN | RESERVE ONLINE Romeo & Juliet: Tue, Thu, Sat @ 8 pm Dream: Wed, Fri, Sun @ 8 pm

A CANADIAN STAGE PRODUCTION IN COLLABORATION WITH THE DEPARTMENT OF THEATRE, SCHOOL OF THE ARTS, MEDIA, PERFORMANCE & DESIGN AT YORK UNIVERSITY

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WHAT DO WE OWE THE FUTU RE ?

the children canadian PREMIERE

In a remote countryside cottage, two retired scientists live a seemingly quiet life in the aftermath of a devastating catastrophe at a nearby nuclear power station. When an old friend and colleague unexpectedly turns up at their door, they soon discover the shocking reason for her visit, forcing them to confront their responsibility for past actions and to make a difficult choice about future generations.

★★★★

S eptember 2 5 - O ctober 2 1 , 2 0 1 8

Lucy Kirkwood Directed by Eda Holmes

written By

berkeley street theatre

t h e a tre

“A richly suggestive and beautifully written piece of work. Lucy Kirkwood is the most rewarding dramatist of her generation” - The Independent

A CANADIAN STAGE AND CENTAUR THEATRE CO-PRODUCTION

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T H E B E AU T Y O F H U M A N I T Y T R A P P E D I N T H E V I O L E N C E O F WA R

xenos Directed, choreographed + performed by Written by

Akram Khan

Jordan Tannahill

– Toronto Star

“A masterpiece… eye-wideningly beautiful” – The Guardian (on DESH)

AN AKRAM KHAN COMPANY PRODUCTION PRESENTED BY CANADIAN STAGE Co-producers: Onassis Cultural Centre – Athens, The Grange Festival Hampshire, Sadler’s Wells London, New Vision Arts Festival Hong Kong, Théâtre de la Ville Paris, Les Théâtres de la Ville de Luxembourg, National Arts Centre Ottawa, The 20th China Shanghai International Arts Festival (CSIAF), Centro Cultural de Belém, Festspielhaus St. Pölten, Grec 2018 Festival de Barcelona, HELLERAU – European Center for the Arts Dresden, Edinburgh International Festival, Adelaide Festival, Festival Montpellier Danse 2018, Julidans Amsterdam, Canadian Stage Toronto, Romaeuropa Festival, Curve Leicester, The Music Center Los Angeles, Lincoln Center for the Performing Arts New York, University of California Berkeley, Danse Danse Montreal.

4 s h ows only

“One of the biggest names in British dance today”

october 1 8 – 2 1 , 2 0 1 8

In his highly-anticipated final solo performance work, world-renowned dance artist Akram Khan (DESH, TORO) unearths the experience of colonial soldiers in the First World War. Over 4 million non-white men were mobilized for the conflict, but if they did return home their stories were never told. Separated from their own histories, homelands, and countrymen, they became xenoi (foreigners). With text from acclaimed Canadian playwright Jordan Tannahill and movement that shifts between classical kathak and contemporary dance, XENOS reveals a story of loss, hope and human redemption.

Akram Khan. Photo: Nicol Vizioli

blum a a ppel t h e atre

d a nce

Sponsored by COLAS Dance programming supporter: Hal Jackman Foundation

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WHERE THE ANCIENT U N I V E R S E M E E T S DA N C E

trace Sandra Laronde

To know where you’re going, you need to have an origin. From our Berkeley Street Companyin-Residence Red Sky Performance (Backbone), Trace is a sumptuous new dance and music creation that explores Indigenous connections to ancestral beginnings. Inspired by Anishinaabe cosmology — our star and sky stories — Trace maps our history and our future evolution.

“Red Sky dance is a delight to the eye”

Jera Wolfe, Eddie Elliott. Photo: David Hou

– toronto star

“Powerful, hypnotizing, flawless”

world PREMIERE

OCTOBER 30 – NOVEMBER 11, 2018

Conceived + directed by

berkeley street theatre

d a nce

– The Dance Current (on Backbone)

A RED SKY performance PRODUCTION presented by CANADIAN STAGE BERKELEY STREET COMPANY-IN-RESIDENCE

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A T R A N S F O R M AT I V E M E D I TAT I O N O N H O P E I N A C H AO T I C WO R L D

grand finale Hofesh Shechter Internationally celebrated choreographer Hofesh Shechter’s (Political Mother) latest work is a spectacularly bold and ambitious production featuring ten dancers and six musicians. At once comic, bleak and beautiful, Grand Finale evokes a world at odds with itself, full of anarchic energy and violent comedy. Filtering this irrepressible spirit, Shechter creates a vision of a world in freefall: part gig, part dance, part theatre and wholly original.

Photo: Rahi Rezvani

A Hofesh Shechter Company production PRESENTED BY CANADIAN STAGE Commissioned by Georgia Rosengarten. Commissioning Partners: Sadler’s Wells, Théâtre de la Ville-Paris / La Villette-Paris and Brighton Dome and Festival. Co-Commissioned by Colours International Dance Festival Stuttgart, Les Théâtre de la Ville de Luxembourg, Romaeuropa Festival, Theatre Royal Plymouth and Marche Teatro / Inteatro Festival Together with Danse Danse Montréal, Hellerau-European Center for the Arts Dresden, Dansens Hus Oslo, Athens and Epidaurus Festival, Home Manchester and Scène Nationale D’albi.

Grand Finale is generously supported by the International Music and Arts Foundation

5 s h ows only

“Choreographic fireworks… Set, music, pounding percussion and dancers’ bodies soaring high, the apocalypse of Grand Finale shakes the compass of tribal dance.

A must see.” – le monde

N ovember 1 4 - 1 8 , 2 0 1 8

Choreography, Direction + Original Music by

blum a a ppel t h e atre

d a nce + music

Dance programming supporter: Hal Jackman Foundation

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B ased on true (and untrue) stories

written By

canadian PREMIERE

Duncan MacMillan

with Jonny Donahoe Directed by

Estelle Shook

Ice cream, rollercoasters, the smell of old books — as a mother battles chronic depression, a child creates a list of everything that makes life worth living. As time passes and the list grows, what began as a naive attempt to deal with tragedy becomes an epic chronicle of life’s small joys. Staged in an in-theround setting, this touching, funny and intimate solo piece charts the lengths we will go for those we love.

★★★★ Photo: Kristopher Roller

“Heart-wrenching, hilarious...possibly one of the funniest plays you’ll ever see, full stop.” – The Guardian

NOVEMBER 27 – DECEMBER 16, 2018

every brilliant thing

berkeley street theatre

t h e a tre

Critic’s Pick - New York Times Critic’s Choice

- Los Angeles Times

A CANADIAN STAGE PRODUCTION

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M O L I È R E F O R T H E 2 1 S T C E N T U RY

tartuffe Molière Ranjit Bolt directed by Chris Abraham

blum a a ppel t h e atre

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written by

Translated by

J a nu a ry 1 3 - 2 7 , 2 0 1 9

Vice becomes virtue in Molière’s timeless satire of religious hypocrisy - or is it the other way around? Falling under the spell of sly con artist Tartuffe, wealthy bourgeois Orgon risks his estate and his family to harbour the piousseeming vagabond; but when their guest finally reveals his true colours, the household is thrown into chaos.

Chris Abraham’s production presents Molière’s dark comedy through a contemporary lens, deftly exploring how truth becomes blurred in the quest for power.

★★★★ “I’ve never seen a funnier Tartuffe than this one… a shameless laugh-fest.”

– The Globe and Mail

★★★★ “Hilarious performances from a stacked Stratford Festival cast led by the sublime Tom Rooney… a big hit”

best of 2017 – globe and mail, Toronto star

A STRATFORD FESTIVAL PRODUCTION PRESENTED BY CANADIAN STAGE, CROW’S THEATRE, GROUNDLING THEATRE COMPANY AND DAVID versus GOLIATH PRODUCTIONS The production is generously supported by Laura Dinner & Richard Rooney

Tom Rooney. Photo: Lynda Churilla

– Toronto star

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SHAKESPEARE REMIXED

prince hamlet William Shakespeare Ravi Jain

Ravi Jain’s remixed, reimagined, and bilingual Prince Hamlet features a cross-cultural, genderbent cast, challenging conventional ideas of who gets to tell this story. Struggling with the death of his royal father and his mother’s hasty re-marriage to his uncle — and murderer of the king — Hamlet undertakes the harrowing task of avenging his father’s untimely death. Combining spoken word and American Sign Language, this groundbreaking production creates a fully integrated retelling for both hearing and Deaf audiences.

FEBRUARY 6 – 24, 2019

written By

adapted + Directed by

berkeley street theatre

t h e a tre

“This is no ordinary Hamlet… remixed, reinvigorated avant Bard for our times” – Toronto star

Ensemble. Photo: Bronwen Sharp

best of 2017 – Toronto star, NOW magazine

A WHY NOT THEATRE PRODUCTION PRESENTED BY CANADIAN STAGE BERKELEY STREET COMPANY-IN-RESIDENCE

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A C A N A D I A N I CO N + G R A M M Y AWA R D -W I N N I N G M U S I C I A N S

who we are in the dark Composition + Live Music by

Choreographed by acclaimed Canadian dance artist Peggy Baker, who we are in the dark offers the immediacy of daring contemporary dance, supercharged live music, and sophisticated design elements from artists working with pigment, projection, and light. Jeremy Gara and Sarah Neufeld, both members of Grammy Awardwinning rock band Arcade Fire, are joined on stage by seven extraordinary dancers in a work that explores and illuminates shifting identities, betrayals, secrets, and intimacies played out in the dark.

“One of Canada’s most renowned dance artists” – The globe and mail

world PREMIERE

a Peggy Baker Dance Projects production Presented by Canadian Stage In collaboration with Fall For Dance North

4 s h ows only

Kate Holden, David Norsworthy. Photo: Jeremy Mimnagh

Jeremy Gara + Sarah Neufeld of Arcade Fire

FEBRUARY 21 - 24, 2019

CONCEPT, CHOREOGRAPHIC COMPOSITION + DIRECTION BY

Peggy Baker

blum a a ppel t h e atre

d a nce + music

A co-production of The CanDance Network Creation Fund, Danse Danse, National Arts Centre, The Banff Centre and Fall for Dance North in partnership with Canadian Stage and supported by The Canada Council for the Arts Dance programming supporter: Hal Jackman Foundation

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A M A S T E R F U L N E W WO R K F R O M T WO B O L D I N N OVATO R S O F DA N C E A N D T H E AT R E

revisor Created by

Crystal Pite + Jonathon Young

From the creators of the internationally acclaimed Betroffenheit (winner of the Olivier Award for Best New Dance Production) comes a new dance/theatre work about corruption, farce and the forces of radical change.

Young adapts an archetypal comic plot to generate the score for Pite’s stunning choreography. As dialogue and dance come in and out of alignment, Revisor is moved by its own opposing internal forces to create a theatrical expression of startling depth and complexity.

★★★★

m a rc h 7 - 1 6 , 2 0 1 9

A Kidd Pivot Production

blum a a ppel t h e atre

d a nce + t h e a tre

/4

“Devastating and powerful” – The Globe and Mail (on Betroffenheit)

“Raw... riveting drama... virtuosic dance” –The Guardian (on Betroffenheit)

Photo: Jason Rosewel

A KIDD PIVOT PRODUCTION PRESENTED BY CANADIAN STAGE Co-produced by Sadler’s Wells (London, UK), Théâtre de la Ville (Paris, France), Banff Centre for Arts and Creativity (Banff, Alberta), Canadian Stage (Toronto, Canada), DanceHouse (Vancouver, Canada), Dance Victoria (Victoria, Canada), Danse Danse (Montreal, Canada), and National Arts Centre (Ottawa, Canada).

This production is generously underwritten by an Anonymous Donor Dance programming supporter: Hal Jackman Foundation

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An INVESTIGATION INTO THE CE NSORSHIP OF ART AND THE ART OF CE NSORSHIP

unsafe Sook-Yin Lee + Zack Russell

In a town hall like no other, multimedia artist and broadcaster Sook-Yin Lee and playwright/ filmmaker Zack Russell invite the world’s most controversial creators (and their detractors) to untangle the anxieties and taboos that make some art acceptable and some art not. Developed in residence at Canadian Stage, Unsafe is a provocative and timely theatrical experiment.

M Arc h 1 2 – 3 1 , 2 0 1 9

Created By

berkeley street theatre

t h e a tre

Sook-Yin Lee. Photo: Yuula Benivolski

world PREMIERE

COMMISSIONED AND PRODUCED BY CANADIAN STAGE THIS PRODUCTION HAS BEEN GENEROUSLY UNDERWRITTEN BY SYLVIA SOYKA DEVELOPMENT SUPPORT PROVIDED BY PENNY AND ROBERT RICHARDS

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A L AU G H - O U T- L O U D S I L E N T CO M E DY

bigre

north ameri can PREMIERE

“Totally irresistible…

Laughs, laughs, and more laughs!”

– Le Figaro

Molière Award for Best Comedy (2017)

Photo: Fabienne Rappeneau

france’s tony award

a pril 1 1 - 2 1 , 2 0 1 9

Pierre Guillois, Agathe L’Huillier + Olivier Martin Salvan Directed by Pierre Guillois Co -written + created by

berkeley street theatre

t h e a tre

Two men live next to each other on the top floor of an apartment building. One is maniacally neat, the other a manic slob.

One day a beautiful young woman moves into the room down the hall… and all hell breaks loose. A painfully funny story of the disastrous unravelling of day-to-day urban life, performed entirely without words, France’s smash hit “mélo-burlesque” Bigre bursts at the seams with twisted gags and brilliant physical comedy in the tradition of Buster Keaton and Jacques Tati.

A COMPAGNIE LE FILS DU GRAND RÉSEAU PRODUCTION PRESENTED BY CANADIAN STAGE IN COLLABORATION WITH THÉÂTRE FRANÇAIS DE TORONTO

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AN ESSENTIAL C A N A D I A N S T O RY

887

back by popular demand

Ex Machina / Robert Lepage

★★★★★ ★★★★ /5

– Toronto Star

m ay 3 - 1 2 , 2 0 1 9

At once mesmerizing and deeply moving, Robert Lepage’s spectacular 887 is one of this country’s greatest solo stage works, created and performed by one of our greatest storytellers. From his childhood in 1960s Quebec City, Lepage charts the social and political moments that shaped both our country and his identity. An unforgettable theatrical experience told with cinematic flair and stunning design, 887 is a must-see Canadian masterpiece.

blum a a ppel t h e atre

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/4

– The Globe and Mail

“Glittering…Wondrous...

Raw emotional force” - THE NEW YORK TIMES (CRITIC’S PICK)

Robert Lepage. Photo: Erick Labbé

AN EX MACHINA PRODUCTION PRESENTED BY CANADIAN STAGE Commissioned by the Arts and Culture Program of the Toronto 2015 Pan Am and Parapan Am Games. In co-production with le lieu unique, Nantes, La Comète - Scène nationale de Châlons-en-Champagne, Edinburgh International Festival, Århus Festuge, Théâtre de la Ville-Paris, Festival d'Automne à Paris, Romaeuropa Festival 2015, Bonlieu Scène nationale Annecy, Ysarca Art Promotions, Pilar de Yzaguirre, Célestins, Théâtre de Lyon, SFU Woodward's Cultural Programs, on the occasion of Simon Fraser University’s 50th Anniversary, Vancouver, Le Théâtre français / English Theatre, Centre national des Arts d’Ottawa, Le Théâtre du Nouveau Monde, Montréal, Tokyo Metropolitan Theatre, Théâtre du Trident, Québec, La Coursive - Scène nationale La Rochelle, Canadian Stage, Toronto, Le Volcan-scène nationale du Havre, The Brooklyn Academy of Music, New York, The Bergen International Festival, the Barbican, London, Holland Festival, Amsterdam, Chekhov International Theatre Festival, Moscow, Les Théâtres de la Ville de Luxembourg, La Comédie de ClermontFerrand, scène nationale, Onassis Cultural Centre, Athens, Théâtre de Liège.

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R e q uiem of O ur D igital Age

created By

Njo Kong Kie Xu Lizhi

set to the poetry of

Chinese poet Xu Lizhi writes about his life making electronic parts on an assembly line in a factory in Shenzhen, China.

Powerful, haunting and gut-wrenching, Xu’s words give ​voice to millions of migrant workers around the globe whose existence is often forgotten. The world premiere of this Chinese song cycle by the composer of Mr. Shi and His Lover and Picnic in the Cemetery pays tribute to the life​of Xu Lizhi and countless others ​ whose unseen struggles provide the amenities of our digital lives.

“an engaging, provocative evening for mind and ear”

m ay 1 6 - 2 6 , 2 0 1 9

ı swallowed a moon made of iron

berkeley street upstairs

music + t h e a tre

world PREMIERE

Photo: Mikael Aldo

- NOW magazine (on Mr. Shi and his Lover)

A Music Picnic & Point View Art production presented by Canadian Stage BERKELEY STREET COMPANY-IN-RESIDENCE

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A S TO RY C A N L A S T FOREVER IN OUR MINDS

by heart Tiago Rodrigues

Tiago Rodrigues. Photo: Magda Bizarro

“So deep, so intelligent and so magnificent that we come out of it profoundly moved” - Le Figaro

“A lesson in word power”

5 s h ows only

In By Heart, Portuguese playwright and actor Tiago Rodrigues teaches a Shakespearean sonnet to 10 people from the audience.

While they commit the verse to memory, Rodrigues blends in stories of his grandmother, anecdotes from writers of note, and characters from world literature. As the piece unfolds, the mystery that binds these tales together is revealed. By Heart is about the importance of memory, of smuggling words and ideas in the safe hiding place of our brains and our hearts.

M a y 3 0 - june 2 , 2 0 1 9

Written + performed by

berkeley street upstairs

t h e a tre

– The Seattle Times

A TEATRO NACIONAL D. MARIA II PRODUCTION PRESENTED BY CANADIAN STAGE IN COLLABORATION WITH THÉÂTRE FRANÇAIS DE TORONTO Original creation by Mundo Perfeito

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AN IMMERSIVE CUTTING - EDGE M U LT I M E D I A E X P E R I E N C E

the full light of day

Gabrielle Rose. Photo: Brian Johnson

The Full Light of Day tells the story of Mary, an aging matriarch in a wealthy Canadian family.

As she approaches the end of her life, Mary is forced to contend with her husband's legacy and the misdeeds that brought her family money, privilege and prestige. A new film/ theatre hybrid from the same creative team behind 12.13's groundbreaking Tear the Curtain!

J une 7 - 1 3 , 2 0 1 9

Daniel Brooks director + co - creator Kim Collier

Writer + co - creator

blum a a ppel t h e atre

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“Ingenious… brilliant fusion of two enduring art forms” - The Globe and Mail (on Tear the Curtain!)

AN ELECTRIC COMPANY THEATRE PRODUCTION CO-PRESENTED BY CANADIAN STAGE AND LUMINATO Development and Producing Partners: Banff Centre for the Arts, Vancouver Civic Theatres, BMO Financial Group. Commissioning Partner: National Arts Centre Creation Fund.

Partners in Creation: Canada Council for the Arts New Chapter, Creative BC, University of Victoria PRESENTED AS PART OF THE 2019 LUMINATO FESTIVAL

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E d uc ation

Building Community Curiosity has no age limit. Our educational and community programs have been developed to give participants of all ages the opportunity to grow and connect through the performing arts.

Territorial Tales in rehearsal. Photo: Nathan Kelly

Pre and post-show chats, hands-on workshops and open-door forums enrich our programming for patrons, while expanded partnerships with local school boards mean we can bring the magic of live performance to more young people than ever before.

Our youth engagement series Territorial Tales offers young artists the chance to present their work to packed audiences at Shakespeare in High Park. After a highly successful premiere last season, the project is in the process of expansion for future seasons.

Sponsored by

LEARN MORE: canadianstage.com/online/community 37

S upport us

Inspiring Support With the incredible generosity of our engaged community of donors, Canadian Stage has developed into a vibrant home for multidisciplinary artistic performance.

Your support has enabled us to champion artistic innovators such as Jordan Tannahill and Britta Johnson, giving them the resources they need to reach unprecedented new heights – and to produce the work of established Canadian artists like Crystal Pite, Robert Lepage, Stan Douglas, and so many others.

DONATE TODAY Visit canadianstage.com/online/donate email donate@canadianstage.com or call 416.368.3110

Declatations ensemble. Photo: Alejandro Santiago

Your support has allowed us to increase accessibility significantly, providing better physical access and promoting subsidized ticket programs for students, arts workers and educators. You have helped us build and develop an exceptional offering of community engagement activities.

These are just a handful of ways in which we achieve our vision for Canadian Stage: groundbreaking performance; educational outreach and accessibility; and a thriving community in Toronto and beyond.

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Our comprehensive artist training platforms provide resources, mentorship and professional development opportunities for the next generation of artistic innovators.

a rtist tr a ining

Fostering the Future Canadian Stage + York University Now in its 8th year, our landmark collaboration with York University gives emerging and established theatre artists the chance to work in a large-scale professional theatrical environment.

Each year, a diverse group of graduate and undergraduate students share their talents on stage, backstage and on the creative teams for Shakespeare in High Park, working alongside leading theatre professionals.

The capstone of this partnership is a two-year MFA graduate program offering highly specialized, advanced training in large-scale theatre directing that integrates studio work in York’s academic setting with creative projects at Canadian Stage.

Shakespeare in High Park in rehearsal. Photo: Nathan Kelly

RBC Emerging Artist Program With the generous support of the RBC Foundation, Canadian Stage offers residencies, vital mentorship, developmental support, networking opportunities and professional resources to support the career development of our city’s emerging theatre artists.

The Director Development Residency is an opportunity for young stage directors to explore strategies and approaches to contemporary performance, while our Company in Residence program is designed to offer opportunities and resources for a Torontobased independent company in their early years.

LEARN MORE: canadianstage.com/online/artist-training 41

ju n e july Oct o b e r

sunday

monday

tuesday

wednesday

thursday

friday

saturday

sunday

1 july p Dream 8

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1 january 2019

2

3

4

5

6

2

3 p R&J 8

4 p Dream 8

5 p R&J 8

6 p Dream 8

7 p R&J 8

8 p Dream 8

7

8

9

10

11

12

13 p tartuffe 8

9

10 p R&J 8

11 p Dream 8

12 o R&J 8

13 o Dream 8

14 R&J 8

15 Dream 8

14

15 16 17 18 p tartuffe 8 p tartuffe 8 0 tartuffe 8 tartuffe 7

19 20 tartuffe 2/8 tartuffe 2

16

17 R&J 8

18 Dream 8

19 R&J 8

20 Dream 8

21 R&J 8

22 Dream 8

21

22 tartuffe 8

23 24 tartuffe 1/8 tartuffe 8

25 tartuffe 7

26 27 tartuffe 2/8 tartuffe 2

23

24 R&J 8

25 Dream 8

26 R&J 8

27 Dream 8

28 R&J 8

29 Dream 8

28

29

30

31

1 february 2

30

31 R&J 8

1 august Dream 8

2 R&J 8

3 Dream 8

4 R&J 8

5 Dream 8

4

5

6 p hamlet 8

7 O hamlet 8

8 hamlet 7

9 10 hamlet 2 / 8 hamlet 2

6

7 R&J 8

8 Dream 8

9 R&J 8

10 Dream 8

11 R&J 8

12 Dream 8

11

12 hamlet 8

13 14 hamlet 1 / 8 hamlet 8

15 hamlet 7

16 17 hamlet 2 / 8 hamlet 2

13

14 R&J 8

15 Dream 8

16 R&J 8

17 Dream 8

18 R&J 8

19 Dream 8

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19

20

21 R&J 8

22 Dream 8

23 R&J 8

24 Dream 8

25 R&J 8

26 Dream 8

25

hamlet 8 26

20 21 o we are 8 hamlet 1 / 8 hamlet 8 27 28

22 we are 7 hamlet 7 1 march

23 we are 8 hamlet 2 / 8 2

24 we are 2 hamlet 2 3

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28 R&J 8

29 Dream 8

30 R&J 8

31 Dream 8

1 september 2 R&J 8 Dream 8

4

5

6

7 8 o revisor 8 revisor 7

9 revisor 8

10 revisor 2

24

25 26 27 28 p children 8 p children 8 0 children 8 children 7

29 30 children 2/8 children 2

11

12 p unsafe 8

2 children 8

3 4 children 1/8 children 8

5 children 7

6 7 children 2/8 children 2

18

19 unsafe 8

14 0 unsafe 8 revisor 8 21 unsafe 8

15 unsafe 7 revisor 7 22 unsafe 7

16 unsafe 2 / 8 revisor 8 23 unsafe 2 / 8

17 unsafe 2

1 october

13 p unsafe 8 revisor 8 20 unsafe 1 / 8

8

9 children 8

10 11 children 1/8 children 8

12 children 7

13 14 children 2/8 children 2

25

26 unsafe 8

27 unsafe 1 / 8

28 unsafe 8

29 unsafe 7

30 31 unsafe 2 / 8 unsafe 2

15

16

17

20 21 xenos 8 xenos 2 children 2/8 children 2 27 28

2

3

4

5

6

7

children 8 23

19 xenos 7 children 7 26

1 april

22

18 0 xenos 8 children 1/8 children 8 24 25

8

9

10

11 0 bigre 8

12 bigre 7

13 bigre 8

14 bigre 2

29

30 p trace 8

31 p trace 8

1 november 2 o trace 8 trace 7

3 trace 8

4 trace 2

15

16 bigre 8

17 bigre 1

18 bigre 8

19 bigre 7

20 bigre 8

21 bigre 2

5

6 trace 8

7 trace 1

8 trace 8

9 trace 7

10 trace 8

11 trace 2

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23

24

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26

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28

12

13

14 0 grand 8

15 grand 8

16 grand 7

17 grand 8

18 grand 2

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30

1 may

2

3 o 887 7

4 887 2 / 8

5 887 2

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1 december 2 brilliant 2/8 brilliant 2

3

4 brilliant 8

5 6 brilliant 1/8 brilliant 8

7 brilliant 7

8 9 brilliant 2/8 brilliant 2

10

11 brilliant 8

12 13 brilliant 1/8 brilliant 8

14 brilliant 7

15 16 brilliant 2/8 brilliant 2

R&J - Romeo and Juliet Dream - A Midsummer Night’s Dream Children - The Children xenos - Xenos Trace - Trace Grand - Grand Finale

Brilliant - Every Brilliant Thing Tartuffe - Tartuffe Hamlet - Prince Hamlet We are - who we are in the dark Revisor - Revisor unsafe - Unsafe

Bigre - Bigre 887 - 887 Moon - I Swallowed a Moon by heart - By Heart full light - The Full Light of Day P - Preview O - Opening

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887 8 14

887 1 / 8 15

887 8 16 0 moon 8

887 7 17 moon 7

887 2 / 8 18 moon 8

887 2 19 moon 2

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22 moon 1

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24 moon 7

25 moon 8

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11 12 13 14 full light 8 full light 1/8 full light 8

1 june 2 by heart 5 / 8 by heart 2

7 8 9 o full light 8 full light 2/8 full light 2 15

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ju n e

27 28 29 30 p brilliant 8 p brilliant 8 0 brilliant 8 brilliant 7

24 unsafe 2

m ay

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3

a p r il

N o v e mb e r

saturday

30 p R&J 8

m a r ch

D e c e mb e r

friday

29 p Dream 8

2 01 9

a ugu s t

per form a nce sc h e d ule

thursday

28 p R&J 8

february

2 01 8

wednesday

27

january

42

tuesday

26

per form a nce sc h e d ule

monday

25 june

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Xenos, Grand Finale, Tartuffe, who we are in the dark, Revisor, 887, The Full Light of Day

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BERKELEY STREET THEATRE The Children, Trace, Every Brilliant Thing, Prince Hamlet, Unsafe, Bigre, By Heart, I Swallowed a Moon Made of Iron A

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BLUMA APPEL T H E AT R E 27 Front St. E. Our large-scale production space for over 25 years in the heart of downtown.

SHAKESPEARE IN HIGH PARK

Bluma Appel Theatre

Romeo and Juliet, A Midsummer Night’s Dream

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$25 donation* Sponsored by

UNDER 30

during performances)

Patrons 29 or under can access tickets for $29 with our C-Stage program. Valid proof of age required. Restrictions apply.

P W YC T U E S DAYS PWYC Tickets are available for Tuesday evening performances in person at the Box Office after 10am. Max. 2 tickets per person.

Subject to availability.

ABOUT YOUR TICKETS: All ticket prices include HST, all facility fees and service charges. Bluma Appel single ticket prices also include the Civic Theatres Toronto (CTT) service charge. All pricing is current at the time of printing and is subject to change. Artists and programming subject to change. Shakespeare in High Park premium tickets are by donation and include all taxes and fees. *Tax receipt will not be issued.

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H I G H PA R K A M P H I T H E AT R E 1873 Bloor St. W. Tucked away in the picturesque High Park, the Amphitheatre is our summertime home of Shakespeare in High Park. (Site only open

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BERKELEY STREET T H E AT R E 26 Berkeley St. The home of our artistic and administration activity. Houses two wonderfully intimate performance spaces.

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