MAGAZINE FOR FRIENDS AND PARTNERS SPRING 2018
2018 | Shawfest.com
3
Contents 2
Getting to Know Them
6
Magic in the Making
10
From Canada, with Love
13
Reading Series
14
Intensive Reflection
16
Master Harold on Tour
17
Best Seats in the House!
18
Upcoming Events
20
News
21
2018 Ensemble
ONLINE To read this issue online, go to shawfest.com/shawmagspring2018 Shaw Magazine is a publication for the Friends and Partners of the Shaw Festival. Editorial Committee: Tim Carroll, Kate Hennig, Tim Jennings, Marion Rawson Artistic Director: Tim Carroll Executive Director: Tim Jennings Editor: Marion Rawson Design: Key Gordon Communications Production and Ensemble photography: David Cooper Photography Backstage and Niagara photography: Cosmo Condina Photography Special Thanks: Mary Clare Lamon, Katy Littlejohn, Heather Sargeson-Callara Your comments are welcome. Please call the Membership Office at 1.800.657.1106 ext 2556
Shaw Festival 10 Queen’s Parade Box 774 Niagara-on-the-Lake, ON L0S 1J0
For our American Friends: Shaw Festival Foundation P.O. Box 628 Lewiston, NY 14092-0628
1.800.511.SHAW SHAWFEST.COM Cover: Travis Seetoo, Vanessa Sears and Matt Nethersole in The Magician’s Nephew Right: Kyle Blair in The Magician’s Nephew with Lighting Department monitors in the foreground. Back Cover: Martin Happer and Fiona Byrne in Stage Kiss.
The Magician’s Nephew Production Sponsor:
Stage Kiss Production Sponsor:
“Of course, when you read the Narnia books, you can imagine anything ... We have imagined it one way; if you have read the book you may well say ‘Oh, I pictured it differently’. That’s part of the fun of it.” – Tim Carroll
GETTING TO KNOW THEM
BY KATE HENNIG
Clockwise from left: Deborah Hay in My Fair Lady (2011); Kate Hennig in Ragtime (2012); Michael Therriault in A Christmas Carol (2017). Next page from top: Deborah Hay in Cabaret (2014); Kate Hennig and Ric Reid in Gypsy (2005)
2
2018 | 1.800.511.7429
When Shaw Festival Associate Artistic Director (also a playwright and fellow actor) Kate Hennig (KH) sat down with Deborah Hay (DH) and Michael Therriault (MT), appearing together this season in Grand Hotel and The Magician’s Nephew, the result can only be described as delightful. KH:
How do you respond to the word ‘star’?
DH:
[scoffs]
MT:
[scoffs]
KH:
See! The exact same face!
DH:
younger actors, really – your job is to set an example – how to be professional, be an actor. KH:
And in Grand Hotel there’s so much going on all the time …
He just recoiled!
DH:
It’s a complete ensemble piece.
MT:
Honestly! I say, “Do you know I’m this far away from working at Starbucks?”
KH:
DH:
That’s the star – Starbucks.
MT:
It doesn’t have the same meaning in Canada, I think, that it has in the States. It does make me kind of go “Really? You think I’m a star? That’s kind of nice.”
…there are so many storylines that intertwine that it’s very hard to say there is a star, or there are a couple of stars. I tried to think of some other kind of label.
DH:
Like “old favourites” and “new favourites.” You don’t want to take away from the young people who are –
KH:
sensational!
DH:
Exactly! It could be ‘those you are familiar with’ and ‘those you will become familiar with.’
KH:
Do you guys feel like you are setting the bar in the room these days?
DH:
Yeah, I’m thinking of when we were younger at Stratford, looking to Tom [McCamus] or Seana [McKenna]–
MT:
The generosity –
DH:
Yes, the grace with which they performed and shared their knowledge and carried themselves and negotiated tricky situations in rehearsal – all of that stuff.
KH:
DH:
KH:
MT:
It’s a real compliment, isn’t it? But at the same time we respond with an “oh-my-god” face. It creates an expectation in a way that, if I were to think too much about it, it would inhibit me from taking the kind of risks that we need to take to continue to grow as artists. So, if people call you a star, and you’ve achieved that level in our industry, what is your responsibility? Is it an indication of something other than ego? That you’re respected, I guess. I always think if people are looking up to you – and I’m thinking of
2018 | Shawfest.com
3
KH:
From top: Michael Therriault in Me and My Girl (2017); Michael Therriault in Androcles and the Lion (2017) with Shawn Wright. Next page: Deborah Hay in Born Yesterday (2009) with Gray Powell.
Would you say that now that you provide that example, do you feel the weight of that? Is there a sense of accomplishment in leading by example?
MT:
I think there’s just something nice because you feel a bit like an older sibling, in a sense, in a room like that. You can empathize really, and say “I can see you’re just nervous”— to help alleviate that.
DH:
To be a support if it’s needed.
MT:
I’m going to go back to that star thing. I mentioned Brian Bedford the other day to someone who is 25 and he said, “Who’s that?” I was shocked, but you realize that star thing is kind of personal. He’s a star to me … because I love what he did.
KH:
And I think that’s why people call both of you stars because they love what you do. In that way, as much as you respond with an icky face, it’s a genuine affection people have for both of you, certainly. So … What’s the difference between doing a play and doing a musical?
4
MT:
I think people don’t give musicals enough respect, to be honest with you. That’s the biggest bee in my bonnet. To me, it’s like Shakespeare! You can pull apart a score and there’s something there that’s happening underneath. It’s poetry! It’s one of the highest art forms, in my mind, when it works well. I have very strong feelings about that.
DH:
I feel like music is the only art form that can actually bypass the brain. It doesn’t have to filter through the brain into the heart. It can go straight there and then get processed through the brain. So when you’re watching a musical and you’re experiencing things directly, emotionally, and also intellectually in the audience, I think that’s really profound. And you can experience that with great text as well.
KH:
I compare Shakespeare to musical theatre all the time. When you get to a place when the speech can’t hold the emotion anymore, then you speak in poetry, then you sing. Then it has to move to another level.
DH:
The ramp up, the skill set that’s required to rehearse a musical – when we speak of people underestimating what musicals are – it’s one thing to be doing a scene in a play but, I mean, just the other day: it’s the first time we’re going through the scene, the scene is underscored, we have to finish the scene at a certain point [in the music], the underscoring is influencing the scene, then we break into some dance moves, then we act a bit more, and then we’re singing … it reminds me of when I was learning to drive a car. You’re sitting in the car, and you’re thinking, “How?” Because everything is compartmentalized, nothing is synthesized. You’ve got the wheel and the break and the clutch and your brain’s just like wahhhhhh! And all of a sudden it goes shoom … and it’s all one thing.
KH:
Have the two of you ever worked together before?
2018 | 1.800.511.7429
MT:
We have! We did The Two Noble Kinsmen together at Stratford. And we also did As You Like It.
DH:
And we did the Henry sixes.
MT:
That’s right!
DH:
But we haven’t had a lot of scenes together.
MT:
No.
DH:
As in any scenes! Well, we had a few in The Two Noble Kinsmen, like big group scenes.
MT:
Yeah, but nothing –
DH:
No fight scenes.
KH:
No necking.
DH:
No combat, no necking.
KH:
So it’s a good working relationship between the two of you then? Well, you’re not going to say no, are you?
DH:
I’m somewhat fond of Michael.
MT:
Well, you know –
DH:
Long pause!
KH:
Does it change your approach about doing a piece when you know someone that you care about is going to be in it?
MT:
It just gets you more excited to be in the room and start up. It’s so comforting to have old pals in the room. I was just thinking about that with the younger people. That’s something we can offer. We’re much more comfortable with the majority of the people in the room, so we can reach out and help make them feel comfortable. That first day when we had to get up and do scenes, I was so happy to be doing them with Deb. It was so much fun!
DH:
It was really fun.
MT:
And immediately easy to be brave.
DH:
Because there’s trust there. And also, when I think of Michael, I think of such a gift: a real generosity and spirit of play. And also selflessness in the best sense of that word. Those qualities, for me, make for a really beautiful rehearsal. Because there’s an equality and a generosity that allows for really exciting things to happen.
2018 | Shawfest.com
MT:
That’s sweet. One of my nicest memories – I have such great memories of Stratford – but my very first rehearsal of Camelot that first year, I remember Tom McCamus coming to talk to me, including me. That’s the kind of thing – the little things – that I will always be so grateful for.
DH:
It’s funny that you talk of Tom. It was after seeing a production that Tom McCamus was in at the Grand Theatre – I think it was called Warm Wind in China – and after I saw him in that piece, I thought, “I want to do this. I want to do what he does.”
KH:
What was the quality of that performance that attracted you, Deb?
DH:
It was so intimate. He brought us all in. It’s hard to describe but it was just something about what he gave us.
MT:
I think one of the main things we want as human beings is to connect and not feel alone. I think people come to the theatre and go, “I’m not alone. I empathize with that and I had a connection.”
KH:
That’s what a star is. Someone who gives you that intimacy. We leave the theatre somehow knowing that person like we never knew them before – and maybe never will again. I think that’s why people keep coming back to see the two of you: they’ve had an experience with you where you’ve given them something wonderful to come back for.
Production Sponsor:
5
MAGIC
IN THE BY: KATY LITTLEJOHN
MAKING TAKE A PEEK AT SOME OF THE FABULOUS CREATURES OF NARNIA FOR THE MAGICIAN’S NEPHEW, FROM COSTUME DESIGNER JENNIFER GOODMAN. YOU MAY RECOGNIZE ONE OF THE CREATURES FROM THAT OTHER NARNIA STORY, THE LION, THE WITCH AND THE WARDROBE.
6
2018 | 1.800.511.7429
WHEN WAS THE LAST TIME YOU ALLOWED YOUR IMAGINATION TO RUN AWAY WITH YOU? The Shaw’s 2018 season began with the retelling of the beloved C.S. Lewis novel, The Magician’s Nephew directed by Tim Carroll (TC) and adapted for the stage by Michael O’Brien. Chronologically, it is the first story in the series and shows us how Narnia came to be. The ambitious yet understated set design by Douglas Paraschuk combines the power of the audience’s imagination to transform something as ordinary and familiar as a cardboard box into a magical world of endless possibilities, with state of the art projection design by Cameron Davis, lighting by Kevin Lamotte, music by Claudio Vena, movement and puppetry by Alexis Milligan and playful costumes by Jennifer Goodman. The story that Narnia lovers will be familiar with is framed as a story within a story, as told by two children caught up in the excitement of moving day. Surrounded by moving boxes, the children create the tale of young Digory from Victorian London and his friend Polly, who are thrown into a mysterious new world, which turns out to be Narnia at the moment of its creation. Jennifer articulates the concept: “The visuals are centred around the idea of playing pretend. An ensemble of actors, called Dream Detectives, help Polly and Digory build the story they’re inventing.” Everything from sets to props to costumes are designed to transform mundane cardboard boxes before our eyes, partially reliant on ingenious engineering and partially on our own ability to believe in magic. Jennifer and the extraordinary team in our Wardrobe Department began with the concept of building a world from a child’s imagination and have created a masterpiece of visual and evolutionary storytelling that seamlessly coordinates with all other aspects of the production design. Jennifer explains: “We start by seeing an unformed version of London created out of boxes … and further on we see how their imagination transforms it.” So too with the costumes, which must simultaneously exist in the storyteller’s world of paper and scissors and the magical world of Narnia. What promises to be a moment of delight for audiences is the first sight of Narnia’s animal residents. The Dream Detectives appear wearing origami-like masks, bridging the literal world of the storyteller and the imagined world they dream up. The extraordinary masks, adapted from designs by UK company Wintercroft, are crafted out of Wonderflex, a moldable plastic that has the appearance of paper but with added durability. Sixteen creatures, from pandas to beagles to an elephant whose trunk is a series of isolated vertebrae which move with its wearer, bring Narnia to life before our eyes.
From top: Travis Seetoo as Digory; The Dream Detectives.
While on stage, the magic appears with just a spoken word from the mysterious lion Aslan, but creating stage magic isn’t as easy. Jennifer Goodman and Monica Viani of Monica Viani Custom Millinery Wardrobe have spent hours on each mask, perfecting Wintercroft’s templates for the stage. Strawberry, the London cab horse who is pulled into Narnia with Digory and Polly, will be one of a few animal characters whose mask has been redesigned for better functionality. “While these are beautiful and vibrant masks, you still crave the nuance you get from seeing an actor’s face,” explains Jennifer. Their solution is crafting a version of the original design that operates like a welder’s mask, allowing actors with speaking parts to connect with audiences.
2018 | Shawfest.com
7
Strawberry’s transformation is one of the best examples of TC’s vision of a world evolving throughout the play. Beginning as a Dream Detective, actor Matt Nethersole carries Strawberry through the process of becoming the mighty Narnian beast, Fledge, by first picking up a horse-shaped cut-out and fastening it to his head. As the storyteller’s vision clarifies, the audience witnesses Fledge take shape with increasingly sophisticated headpieces, and, on Aslan’s command, sprout wings and carry Digory and Polly off on a daring quest. Fledge was a complicated project when it came to its design. Jennifer admits to temporarily leaving him in her so-called denial pile — at least until the rest of Narnia’s look was finalized. At the three-week mark however, Fledge was well underway to becoming one of the most spectacular moments on stage this season. On writing this, Fledge’s wings are still under construction. Wardrobe Cutter and self-challenged Wings Engineer, Truly Carmichael, is getting ready to test her design.
“I THINK THE FIRST TIME FLEDGE OPENS HIS WINGS WILL BE QUITE WONDERFUL. THEY’RE BIG, 12 FEET ACROSS. THEY WILL BE MAGNIFICENT.”
“The latest hiccup is discovering how the feathers fold back in. It functions a little bit like a fan,” Jennifer says prior to the test. The feathers, which are actually large pieces of Tyvek — a material used in construction to wrap houses — folded around metal frames, require a specific amount of breathing room between them: not too much and not too little, just enough to allow easy and controlled movement by the actors. “I think the first time Fledge opens his wings will be quite wonderful. They’re big, 12 feet across. They will be magnificent.” Truly’s work is a cycle of trial, error and troubleshooting. What was initially designed to be 14 feathers across, morphed into 20, to more easily accommodate the folding mechanism. Measurements were recalculated and materials rethought. Through trial and error and sheer persistence, Truly has produced a fully-functioning, massive set of wings with the ability to expand and contract. On stage, the Narnian animals have varying levels of completeness, with Fledge in his final form being one of the most fully realized. But none is more complete than Narnia’s creator, Aslan. In the books, Aslan is a lion and King of Narnia. For this pivotal role we have a lion of an actor: Kyle Blair has already played in fourteen Shaw Festival productions over seven seasons including Me and My Girl in 2017. As Aslan, Kyle is dressed in a fantastic tailor-made coat with a collar that is the image of a majestic lion’s mane — achieved through a notable lack of fur. “He’s quite magical,” says Jennifer: “We were looking at some furs but the feathers were just so fabulous,” explains Jennifer. The unique fabric that makes Aslan’s mane is a single metre of netting with rows of leather and feathers picked up on a shopping trip in New York City. The effect of the unexpected choice is perfect: a quintessential lion. While the collar crafts a grand and other-worldly lion for the audience, Jennifer has given the coat a militaristic cut, referencing Digory’s father who is on duty in India, grounding Aslan as the father figure Digory craves and further connecting Narnia to the children’s life in London. Using cashmere and mink, tailor Cheryl Hughes worked her own brand of magic by crafting a gorgeous double-breasted overcoat executed perfectly for Kyle as well as for Aslan. Kyle is especially looking forward to putting the finished coat on for the first dress rehearsal: “A first dress is always an exciting day because we gain so much information about the characters and the world we are playing in. I am especially excited to see how things in Narnia take shape!” Actors put a lot of work into a character before
8
2018 | 1.800.511.7429
ever seeing their costumes, let alone wearing them, but there’s a sense of completion once the character is dressed. Kyle says, “Wardrobe is such an important part of our story telling … it inspires our creativity as actors. The way a costume makes me feel and move can be very useful as I build a character.”
Previous page: The Ensemble as the animals of Narnia with Vanessa Sears as Polly. This page: Kyle Blair as Aslan.
Like the rest of the set, costumes for The Magician’s Nephew began with the concept of fashioning stories out of folded paper and allowing the imagination to build an entire world. Though the storyteller’s narrative is painted with colour and brought to life through costumes, projections, music, choreography and lighting, it is up to you to conjure your inner child and truly see it. This season’s most magical production is, ultimately, a brilliant exercise in rediscovering the magic of theatre and the power of your own imagination.
Production Sponsor:
DEVELOPMENT OF THIS PRODUCTION MADE POSSIBLE BY CHRISTOPHER AND JEANNE JENNINGS.
BUT WAIT, THERE’S MORE! Become a Dream Detective One hour pre-show workshop Get hands-on and help create The Magician’s Nephew. Participate in an actor-led workshop where you will build a keepsake prop, create a soundscape and learn a song that will be part of the performance. Don’t miss this unique opportunity to get closer to the action. Fun for all ages! $5 with ticket to a performance. Call 1.800.511.7429 to book
2018 | Shawfest.com
9
Sarena Parmar
From Canada, With Love
By: Marion Rawson
Sarena Parmar has adapted Chekhov’s classic The Cherry Orchard. Set in the Okanagan Valley of British Columbia, The Orchard (After Chekhov) is based on her own family’s experience, and is a uniquely Canadian and personal interpretation of a beloved play. Read on to learn a bit more about what inspired this production – a World Premiere for the Shaw Festival – from director Ravi Jain (RJ) and first time playwright Sarena Parmar (SP). 10
2018 | 1.800.511.7429
MR: Why choose to adapt The Cherry Orchard? RJ: It’s Sarena’s life: she grew up on an orchard in Kelowna. Her family were farmers. She’s also a classical theatre person; she trained at National Theatre School and always loved the classics. She loved these plays but felt excluded from them. Often audiences don’t associate people of colour with the classics: these plays happen at a certain time and in places of predominantly Caucasian people and tend to be viewed only through one lens. SP: Yes, it was my personal connection to farming but I thought too, if we’re going to update this play then we need to see ourselves in it and we are Canadian. The classic plays have always resonated with me but, like a lot of people, I feel like there’s a barrier: maybe it’s the aristocratic social class or maybe that Russia is so far away. But the themes that Chekhov dealt with about leaving childhood homes, about loss and memory, that’s universal.
MR: Do you have a theory on why Chekhov continues to be staged and adapted around the world? SP: All of his characters have this longing underneath everything. They’re wishing for something better or they have desires that they can’t act upon and sometimes — most of the time — they can’t even speak about. That’s what drew me to him. I found that very powerful. Also the way he captures the little moments of life, the trivial things. I think that resonates with a lot of people. We just try and get through life as best we can and have a good laugh about how sad and ridiculous it is: “laughing through the tears” is one of his famous stage directions. RJ: I think that he wrote about a time that was in great change. It resonates with me so much right now. Politically, we’re in a time of great change. Power and privilege is being questioned and addressed, and in all of his plays he’s engaging with so many issues around power, privilege and class and it feels so relevant.
MR: And the setting for Sarena’s play – the 1970s in Canada – are there parallels to that time? RJ: What’s so unique about what Sarena has done is that she’s really pointed to a time of great change in this country’s history: around ideas of immigration and Canada defining itself as a multicultural society, which was a really important and huge shift in thinking that did create fear for a lot of people. Sarena makes it relevant to us, the people in the theatre who are seeing it. She contemporizes it in a Canadian context and one that is immediate and relevant versus setting it in 1900s Russia.
2018 | Shawfest.com
Ravi Jain
11
MR: Is there something you would like audience members to know before seeing the play?
SP: This play is also a love letter to where I grew up and how I grew up. My family came to the Okanagan Valley in 1967. It was a predominantly Caucasian community – there was a census for that area that I looked at when I was a kid, that showed 95% Caucasian and 5% Other. That 5% represented Japanese, First Nations and South Asian people. The South Asians — mainly Punjabis — were there because it’s very fertile farming land and in Punjab there are a lot of farmers. The Japanese were there because of the internment camps of World War II, some of which were in the Okanagan Valley. And then there’s a large, prominent First Nations population there. I wanted the play to reflect the misfits, those “others”. I’m very proud of the part of Canada that I come from and wanted to showcase it.
MR: Why “After Chekhov” in your title? SP: I wanted to create a relationship with Chekhov’s The Cherry Orchard. The adaptation straddles both the original and the new. What happens after Chekhov? How do we absorb these beloved characters and make them relevant to us here and now? Themes that resonated with me were about loss and longing and confronting a changing world. In the case of my adaptation, the impending demographic change after Pierre Trudeau’s multicultural policy and influx of immigration. I think the most beautiful thing about Chekhov is how well he observed life, with all its randomness, joy and sadness crashing up against each other. I think memories are the same way; they are melancholic and utopic all at the same time. It was liberating to honour both sides, the light and the shadows, with an irreverent humour and heart.
MR: Does it matter if the audience knows the original Cherry Orchard? SP: I think there’s something for everybody. We’ve been doing workshops with actors who know The Cherry Orchard really well and some who don’t know it at all. The first group have a special relationship to it: recognizing a character or line or certain situation. It’s kind of an extra gift to them. Actors who weren’t familiar with the original gravitated towards the more contemporary themes such as assimilation in Canada. Either way, audiences will get something out of it.
“
This play is also a love letter to where I grew up and how I grew up.
”
RJ: What’s so exciting is that the interpretation is so intelligent and unexpected: it provides an opportunity to really see a story that we all know and has been around for over a hundred years, through a unique lens. I think it will be really surprising for some people. Also, it’s Sarena’s first play, which is amazing: the incredible, herculean effort of her first play. A lot of people doubted her at the start. Tim Carroll (Shaw Artistic Director) was great because he believed in what she was trying to do and it really was a validation for her of this journey of six years. I think that she should be really proud of what she was able to accomplish. It’s tricky terrain to navigate. SP: We cut down our orchard because my family moved into office jobs. It happened a few years after I finished theatre school – so not long after I’d done The Cherry Orchard – and although my family never faced foreclosure, I remember thinking, “Oh, I understand now. This is the closing of a chapter”. It was a huge, historical closing of a chapter for Russia with the fall of the aristocracy. For my family it was more personal. My ancestors were farmers in India — it was what we had done forever — and in Canada for two generations: cutting down the orchard felt like we severed one of our final ties to India. The more I work on this play, the more I realize how unique my perspective is, and I’m so excited to share it with Shaw audiences.
Also, we’ve been able to showcase the jokes and humour of the original. Because of the Russian context or the heightened language, a joke in the original might get lost. It’s been really lovely when we’ve had staged readings to hear the audience laughing. By setting it in Canada the characters and dialogue become very relatable. Production Sponsor:
Supported by:
12
2018 | 1.800.511.7429
Reading series 2018 “The Reading Series will showcase two pieces that might end up in a future season, or they might just be companion pieces to shows we are already doing. Either way, they help us to provide a wider range of nourishment for our hungry audience.” – Tim Carroll, Artistic Director
Redpatch
Gnit
by Raes Calvert and Sean Harris Oliver July 14 | 11am Jackie Maxwell Studio Theatre
By Will Eno September 30 | 11am Jackie Maxwell Studio Theatre
2018 marks the final year of the First World War centenary commemorations. Over four thousand First Nations soldiers volunteered to fight and die for Canada during that war. Redpatch is a new Canadian play about a young Metis solider from the Nuu-chahnulth nation of Vancouver Island, who volunteers to fight for Canada. Set in both the battlefields of France, and in Canada, Redpatch follows the experiences of this young soldier as he endures the horrors of war.
If you loved our 2017 production of Middletown then you will love Gnit. Peter Gnit, a funny-enough but average specimen of humanity, makes a lifetime of bad decisions, on the search for his “True Self”, which is disintegrating while he searches. A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness. Gnit is a faithful, unfaithful reading of Henrik Ibsen’s Peer Gynt.
“Redpatch is personal yet universal and borderline mythological.” – Vancouverpresents.com
“After climbing the craggy peaks of Ibsen’s daunting play Mr. Eno has brought down from its dizzying heights a surprisingly crowd-pleasing (if still strange) work.” – New York Times
Raes Calvert
2018 | Shawfest.com
Sean Harris Oliver
Will Eno
13
Intensive Reflection
Ryan Cunningham, Grand Hotel, Oh What a Lovely War
By Gabriella Sundar Singh Before rehearsals begin each season, a group of young actors come to the Shaw Festival for what is known as The Intensive. Kate Hennig, Associate Artistic Director and Director of the Intensive, describes it not as a time to get things done, but as a time to let things happen. Gabriella Sundar Singh, a graduate of the University of Guelph and the National Theatre School in her first season with The Shaw, agreed to give us a glimpse into this experience.
Gabriella Sundar Singh*, O’Flaherty V.C., Secret Theatre
Krystal Kiran, Of Marriage and Men, The Orchard: (After Chekhov)
David Andrew Reid*, The Magician’s Nephew, Grand Hotel
Travis Seetoo, The Magician’s Nephew, Grand Hotel
The Intensive was nothing short of a dream come true for me. Two weeks of classes and training led by generous and open artists, in preparation for what is to come this season. A group of ten actors, including me, spent the weeks training and absorbing as much as we could. We began each morning with a voice class with Kate Hennig, to awaken our bodies in the space, in combination with a sweat-drenched movement class with Jane Johanson, to engage our spatial awareness. This training is an actor’s bread and butter, and primes the mind and body to absorb what is to come. Our afternoons were filled with dream-like moments, from chats with Christopher Newton, former Artistic Director of the Shaw Festival, to scene study with actor Fiona Byrne, singing with Music Director Paul Sportelli and classes with our Artistic Director Tim Carroll. The focus of much of our time was the idea of ‘ensemble’ and
14
Emily Lukasik, The Magician’s Nephew, Grand Hotel
Vanessa Sears*, The Magician’s Nephew, Grand Hotel
Shawn Ahmed, Of Marriage and Men, The Orchard: (After Chekhov)
2018 | 1.800.511.7429
over the course of The Intensive it became remarkably real. I could not help but be blown away by the talent, generosity and genuine willingness of everyone to be present in the work, and to share moments of discovery with us, giving us a taste of what life at the Shaw Festival might be like. Days were long but truly fulfilling, including tours of the shops in Virgil, where the props and sets were being designed and constructed. But our exploration of the Niagara region and our community was just beginning! We visited the British Methodist Episcopal Church in St. Catharines, where Harriet Tubman and many other African Americans fled to escape slavery. Along with Jeremiah Sparks, Shaw actor and Gospel Choir leader, our group gathered under moonlight to sing gospel, give thanks, and experience our community’s history. We even had the opportunity to complete an Escape Room in St. Catharines, where the ten of us worked together, through joy and laughter, to beat the clock with fifty-five seconds to spare, and gained immense insight into how to work as a team. Our time in The Intensive concluded with a pop-up performance, led by Kate Hennig, in partnership with the Niagara-on-theLake Public Library. Our focus of the night was “Words of War,” an exploration of war in all its contexts. We created a ‘chooseyour-own-story’ theatre experience, where we ten actors were scattered throughout the Library, performing a new piece, song, reading, dance or experience, changing every five minutes. Each patron could freely move around the space and catch glimpses of the performances, with the result that no two audience members would walk away with the same experience. The theme of war and its effects continues on into our 2018 Season at the Shaw Festival, and this thoughtful and dynamic exploration will prepare us for what we will undergo in rehearsals. “You are enough.” Kate Hennig, and the wonderful artists she brought into the space, repeated this phrase throughout our two weeks. I was so touched by the value our coaches put on the need to be proud of our work, to own what we put forward, to fail and fail beautifully. That is to say: there is no right and wrong, there is just the work we do. This simple concept allowed the actors in The Intensive to be daring in their choices, to act instinctively, and to create some amazing work. It will be a pleasure to see how we all grow and create this season, and we look forward to sharing these Shaw moments with you.
2018 | Shawfest.com
The Slaight Family Academy
Rong Fu*, Stage Kiss, The Orchard: (After Chekhov)
Programs such as The Intensive were made possible thanks to an extraordinary gift from The Slaight Family Foundation. Their commitment in 2009 to give The Shaw $5 million over 10 years to support professional development initiatives for the Company was described at the time as transformative. It was transformative because it formalized and reinforced our training programs as The Slaight Family Academy. These Academy programs are now at the very centre of Artistic Director Tim Carroll’s vision for The Shaw:
Madelyn Kriese*, The Magician’s Nephew, Grand Hotel
“I have been tremendously impressed, both by the work the Academy does now, and by its potential to develop our artists in the future. Having appointed the wonderful Kate Hennig as Associate Artistic Director, I’ve already begun to build on these initiatives and have even more plans for the future, especially with respect to developing Two Way Actors and a more human, connected theatre company. “For now our task is to continue to develop The Slaight Family Academy at the Shaw Festival as a sought-after training opportunity for the best young talent in Canada, and each year, that training begins with The Intensive.”
*THE SHAW IS GRATEFUL FOR THE GENEROUS SUPPORT TO OUR EMERGING ARTISTS BY:
15
Shaw goes on tour with “Master Harold”…and the Boys When “Master Harold”…and the Boys finished its run in the Court House Theatre in 2016, it was difficult for everyone involved – cast, crew and audience – to say goodbye to such an exceptional and powerful production. Which is one reason why the award-winning production returned to the stage with its original cast and creative team for a 2018 winter tour. The show ran for a total of 24 performances at the Segal Centre in Montreal from January 21 to February 11, before making its way to Shea’s Performing Arts Center in Buffalo for three performances from February 16-18. Altogether, the “Master Harold” tour attracted 5000 patrons. “Master Harold”…and the Boys won multiple awards for The Shaw and Obsidian Theatre, including: two Dora Awards for best actor (André Sills) and best director (Philip Akin); and three Toronto Theatre Critics Awards for best actor (André Sills), best director, (Philip Akin) and best supporting actor (James Daly). The 2018 tour of “Master Harold”…and the Boys was presented by The Shaw in association with Obsidian Theatre in Toronto and Black Theatre Workshop in Montreal.
“The cumulative effect of Fugard’s writing, coupled with three firstrate performances, is absolutely compelling.” – Jim Burke, Montreal Gazette
“It was a riveting performance of an outstanding play … not a single wasted word or sentence.” – Peter Kerr, The Montrealer
Production Sponsors:
16
AT TO R N E Y S
LLP
2018 | 1.800.511.7429
Best Seats in the House!
By Tina Schmidt
When one thinks of the nostalgic and timeless Royal George Theatre on the main street, many words may come to mind – but it is unlikely that comfortable is one of those words. Though lovely to look at, the seating at the Royal George was not built to accommodate today’s audience, but we are happy to report over the course of this past winter we have made a dramatic update. All of the seating in the Royal George, both orchestra and balcony, has been replaced with wider and more comfortable chairs with higher backs. Though sleeker and more contemporary than their predecessors, they were selected with the aesthetic of The Royal George in mind and compliment the period décor with their lush red colour. We took this opportunity to add a few other upgrades. For example, now that you are able to bring your beverages into the theatre we’ve given you a place to rest them. These new chairs are all equipped with low profile cup-holders. Previously, the seat numbering would cause confusion at the Royal George, as it was listed on the left armrest of each seat, but no more. Like the Festival Theatre, the seat numbers will be listed in the centre of the seat pan which should make getting to the correct spot much more straightforward. The most important element of this upgrade is improvements to the accessibility on the Orchestra level. In advance of more significant renovations in the years to come, that will address some serious issues due to the age of the building, we have been striving to make this theatre more accessible to audiences, the chairlift being the most notable addition. In keeping with this goal, we now have several seats along the right aisle with panels that swing out
2018 | Shawfest.com
to more easily accommodate those with mobility issues who are able to transfer into a seat. For those who require a spot for a wheelchair, the end seat of eight orchestra rows is removable – significantly increasing the number of patrons in wheelchairs that we can accommodate, and hopefully making many of our guests feel more comfortable. If you wish to book these accessible seats, please call into the Box Office and discuss your request with a representative. The carpeting was also changed in the Royal George while we were updating the seats, and there are plans to refresh the face of the theatre with new doors and a fresh coat of paint - but the Royal George wasn’t the only theatre to receive a facelift over the winter months. Thanks to a Heritage Canada grant, over the past two years we have been able to address many things on our capital wish list, for both facilities and equipment, that had accumulated over time and we anticipate that we will be able to check them all off by the end of this year. Other notable projects include: new carpeting for the Festival Theatre, new equipment for audio and lighting, as well as projection (three of the four Festival shows this season involve projection). In addition, we are moving in a more green direction by
replacing the lighting in the houses and lobbies with LED lights. This will not only be more energy efficient, it will have favourable impact on our utilities as they do not produce heat. Of course for 2018 the most remarkable transformation will be the Jackie Maxwell Studio Theatre – though not all updates will be visible to our patrons. With a full repertoire of three plays in the Studio for the 2018 Season, we have begun to make some serious changes to what was once a bank of offices at the front of the Donald & Elaine Triggs Production Centre – converting them into dressing rooms and usable backstage space for the cast and crew. The theatre set-up itself will also be changing to a new configuration to allow for more seating, but will remain an intimate experience for the audience. With guiding values of Excellence, Inclusion, Compassion, Sustainability and Community we will continue to make improvements to our theatres to ensure everyone has the opportunity to come and experience the incredible work on our stages!
IMPROVEMENTS TO THE ROYAL GEORGE THEATRE SUPPORTED BY THE DEROY TESTAMENTARY FOUNDATION AND THE SHAW GUILD.
17
“After all, the wrong road always leads somewhere.” – Bernard Shaw, Preface to The Dark Lady of the Sonnet
The Shaw and Niagara: Explore it all
May Pre-show Talks MAY-OCTOBER | 7:30PM, 6:30PM ON SUNDAYS An introduction to the evening’s performance by a company member. Free
Bravo Niagara!
Shaw Garden Tour
MAY 26–27 | 7:30PM
SATURDAY JUNE 9 | 10AM
See singer/songwriter Emily Bear on Saturday and violinist Nikki Chooi with pianist Tony Yike Yang on Sunday at Stratus Vineyards.
Our spectacular annual garden tour in Niagaraon-the-Lake organized by the Shaw Guild. $25
bravoniagara.org
shawfest.com/gardentour or 1.800.511.7429
Tuesday Q&A
Spring Play by Play
Learn Bollywood Dance: with Krystal Kiran
Supported by The Guarantee Company of North America.
MAY 30–JUNE 1
SATURDAY JUNE 10 | 11AM
Calling all theatre lovers! Enjoy exclusive access to the creative minds who bring our productions to life plus four plays, three lunches, presentations, and parking. Price based on blue seating. From $440 | Shaw Friends $410
A unique opportunity to learn from a master Bollywood dance instructor – fun for all ages and fitness levels. Includes one hour dance class and performance of The Orchard (After Chekhov). $50 | $39 for youth
June
SUNDAY JUNE 10 | 10:30AM
Informal and informative sessions with Company members following Tuesday evening performances (except those marked P, O or OC and Mythos). Free
Niagara on the Lake Foodie Tour THURSDAYS – SUNDAYS IN MAY WEDNESDAYS – SUNDAYS IN JUNE THROUGH SEPTEMBER Embrace your inner foodie! Tour local restaurants and culinary retailers on a picturesque walk along the streets of Old Town. Vegetarian options available with advanced request. $65 per person niagaraculinarytours.com
Sip & Sizzle EVERY WEEKEND IN MAY Twenty-six regional wineries feature a unique wine and food pairing. Cheers! wineriesofniagaraonthelake.com
Scene Study Sundays LAST SUNDAY OF EVERY MONTH, APRIL–SEPTEMBER 10AM–12PM Delve into the actor’s process and explore a scene from our 2018 Season in this interactive, up-on-your-feet session. Led by a member of the Shaw Ensemble. $40 | Shaw Friends $35
18
For Members
Backstage Tour
SATURDAY JUNE 2 | 9:30AM Discover the secrets to bringing a play to the stage with a guided tour of the Festival Theatre’s many behind-the-scenes nooks and crannies. Free
Deeper Dialogues: GBS on Marriage
Coffee Concerts A Sunday morning concert performed by members of the Shaw Festival’s Orchestra at the Festival Theatre. Donations appreciated
Continue the Conversation Supported by Riverview Cellars Estate Winery and Pratt & Whitney Canada. Moderated discussions after Festival Theatre matinees (excluding Mythos). Free
White Effect Dinner
SATURDAY JUNE 2 | 11 AM
THURSDAY JUNE 14 | 7PM
Shaw had many opinions on marriage. Do you think he was right? $20 | Shaw Friends $15
Combines culinary delights, friendship and wine against the backdrop of beautiful Queenston Heights and the Brock Monument.
Post-Show Chats/ Reception For Members
niagaraonthelake.com or 905.468.1950
JUNE 7, 20, 28
Deeper Dialogue: The Power of Myths
Engage in exclusive conversations with the cast or creative teams after the Festival Theatre matinee performances (excluding Mythos). Free
SATURDAY JUNE 16 | 11AM Why are we still drawn to myths today? Offer your thoughts! $20 | Shaw Friends $15
2018 | 1.800.511.7429
St. Andrews Strawberry Festival
Niagara Lavender Festival
SATURDAY JUNE 16 | 9AM–3PM
A day of everything lavender including a tasting tent full of culinary lavender delights and cooking demos. Roam the flowering lavender field and pick your own blossoms, shop the market’s many unique vendors and tour the facility.
On the grounds of St. Andrews Presbyterian Church, enjoy strawberries in shortcakes, crepes, pies, milkshakes, and more plus a BBQ, silent auction, music and tours of the historic church. 905.468.3363
New Vintage Festival JUNE 16–24 | 11AM–5PM Over 35 Niagara wineries uncork their seasonal best alongside top local chefs preparing farmto-table favourites in the Grower of the Year’s own vineyard. niagaraonthelake.com or 905.468.1950
Artistry by the Lake JUNE 30–JULY 1 A juried show of over 80 artists and artisans in scenic Queen’s Royal Park. Free
JULY 7–8 | 10AM–6PM
niagaralavenderfestival.com or 905.682.0171
Learn Bollywood Dance: with Krystal Kiran SATURDAY JULY 14 | 11AM A unique opportunity! See previous listing for details (June 10). $50 | $39 for youth
The Reading Series SATURDAY JULY 14 | 11AM Allow your imagination to soar while our brilliant Ensemble members take you back to the basics: the script. $25 See page 13 for details
July
Coffee Concerts
Canada Day Celebrations
A Sunday morning concert performed by members of the Shaw Festival’s Orchestra at the Festival Theatre. Donations appreciated
SUNDAY JULY 1 | 8AM–10PM All-day free admission to Fort George, pancake breakfast and BBQ lunch in Simcoe Park, BBQ dinner at Fort George and fireworks in the evening. A family fun day! friendsoffortgeorge.ca or 905.468.6621
Cocktails with Kate FRIDAY EVENINGS IN JULY AND AUGUST Join our new Associate Artistic Director, Kate Hennig, on the beautiful Festival Theatre patio following Friday evening performances at the Festival Theatre. Cocktails ($) and casual conversation! Free
The Magician’s Nephew Backstage Tours THURSDAYS AND FRIDAYS IN JULY AND AUGUST | 11AM Discover the magic involved in the creation of Narnia. Fun for the whole family! $10 | ticket holders $5
St. Marks Cherry Festival SATURDAY JULY 7 | 9AM–3PM Now featuring a silent auction including concerts, dinners and vacation homes. BBQ breakfast and lunch served, designer and nearly new clothing, treasures, jewelry, music, bake table, children activities and, of course, cherries! 905.468.3123
2018 | Shawfest.com
SUNDAY JULY 15 | 10:30AM
Governors Council Dress/Tech Rehearsals The choice is yours! Drop in on either a dress rehearsal or a technical rehearsal and get an even earlier glimpse of the process of bringing theatre to life. Doors open half hour prior to event. Sunday June 3: The Orchard (After Chekhov) Tech dress Jackie Maxwell Studio Theatre, 12pm
Sunday July 15: Henry V Tech run-through Jackie Maxwell Studio Theatre, 12pm
Saturday July 28: The Hound of the Baskervilles Dress rehearsal Festival Theatre, 7:30pm Founders Members and above (level $10,000+) can experience all three! Free. Book in advance: 1.800.657.1106 ext. 2208
Music of the Great War
Spring GC Weekend
FRIDAY JULY 20 | 11AM
JUNE 16–17
A WWI Sing Along! Join Shaw’s Music Department to learn about and sing the songs of WWI. $20 | Shaw Friends $15
Launching our exciting 2018 Season, a weekend filled with engaging events, creative workshops and unique opportunities to meet actors and the brilliant creative minds behind our productions. $250
Deeper Dialogues: Diversity in Theatre SATURDAY JULY 21 | 11AM What responsibility does theatre have to reflect the diversity of its society? Participate in the conversation. $20 | Shaw Friends $15
Friends Dress Rehearsal For Members
FOR SUSTAINING LEVEL ($600+) AND ABOVE AND CORPORATE PARTNERS SATURDAY JULY 28 | 7:30PM Enrich your Shaw Festival experience by attending the dress rehearsal of The Hound of the Baskervilles before it officially opens to the public. Free Governors Council & Premier call 1.800.657.1106 ext. 2208 to book
Plan your visit to The Shaw & Niagara: shawfest.com/plan-your-visit/ or niagaraonthelake.com To book Shaw events: 1.800.511.7429
19
News “We are thrilled to offer a warm welcome to our newest Governors Council members and Corporate supporters. Thank you!” – Tim Carroll, Artistic Director and Tim Jennings, Executive Director as of March 15, 2018
James Baillie & Elizabeth Kocmur BeauChapeau Hat Shop
Eugene Lundrigan & Tracey Remkes
Ronald D. Besse†
Dr. Robert & Mariette MacKenzie
Ronald James Boone
Anthony B. & Mary† S. Martino
Michael & Katie Bradie
John & Marg Mather
Douglas & Maureen Cameron
Richard McCoy†
Patrick & Vanda Carbone
Dr. Lisa Mikitch
Ms. Renee Castagnola
Mark Dawson & Wendy Millar
Roger & Susan Christensen
Mary Mogford & Tom Campbell
Glenna & Derek Collins
John Murphy & Joyce Macreadie
Harry M. Core
Bill & Lee Nelson
Delta Air Lines
Pamela & Richard Nowina
Michael† & Honor de Pencier
Lorraine Lee & Michael O’Bee
Dr. Delf Dodge & Mr. Timothy Dodson
Richard & Nadine Osborn
Mr. Bill Etherington
Deborah Pacinda
Sarah* & Tom Fabiani
Andrew & Claire Papierz
Gary & Valerie Foerster
Carole & Paul Pizzolante O.N.
JE & Michele Fordyce
John & Shirley Rednall
Dr. & Mrs. Robert A. Gaines
Margaret & Joseph Reynolds
Mr. Richard Gotlib and Ms. Virginia Kairys
Heather & David Ring
In memory of Bernice Graham
Susan & Peter Salomonsson
Ms. Elisabeth Harding
Linda Sauro
Ann Holcomb & Rene Bertschi
Ms. Suzanne V. Slater
Dr. & Mrs. C.E.M. Horning
Lynda & Stephen Tepperman
Susan A. Howard
Harriet Tunmer
Hummel Properties
Jack Walsh
Tim†† & Lisa Johnson
Carolyn J. Warner
Jay & Marni Kell
Dr. Michael & Margaret Westwood
Jean Lam & Paul Ostrander
Deborah & Derek Wolstenholme
Rai Lauge & Jo Holden
Ron & Kay Woodfine - Just Christmas
Elizabeth Lewis & Thomas Saunders
2 anonymous gifts
Dr. Harlan L. Lewis & Doris F. Wittenburg
††
Nancy Lockhart, Murray Frum Foundation
20
††
Come visit the Membership Services staff at our desk in the Festival Theatre Lobby! Open for one hour pre-show for every performance at the Festival Theatre, we would love the opportunity to meet you or answer any questions you may have.
Some of the Membership Services staff at the desk left to right: Matt Ratelle, Tim Czaban, Shelley McBain, Jeff MacKay, Daniel Lizzotti
Tuula & John Ross
Board Member Board Alumni * Shaw Company Member †
Check out Tim Carroll and Anthony Chase on WNED-HD for more information on our 2018 season. May 20 at 3:30pm May 21 at 10:30pm or go to wned.org/television
2018 | 1.800.511.7429
2018 Ensemble David Adams
Shawn Ahmed
Damien Atkins
David Ball
Neil Barclay
Kyle Blair
Kristopher Bowman
Andrew Broderick
Fiona Byrne
Julia Course
Ryan Cunningham
James Daly
Starr Domingue
Kristi Frank
Stephen Fry
Rong Fu*
Patrick Galligan
Élodie Gillett
Cameron Grant*
Martin Happer
Deborah Hay
Jeff Irving
Patty Jamieson
Claire Jullien
Krystal Kiran
Madelyn Kriese*
Jani Lauzon
Andrew Lawrie*
Allan Louis
Emily Lukasik
Yanna McIntosh
Marla McLean
Patrick McManus
Jeff Meadows
Natasha Mumba
Matt Nethersole
Sarena Parmar
Gray Powell
PJ Prudat
Kimberley Rampersad
David Andrew Reid*
Ric Reid
Tara Rosling
Ben Sanders
Kiera Sangster
Vanessa Sears*
Travis Seetoo
AndrĂŠ Sills
Gabriella Sundar Singh*
Pamela Sinha
Graeme Somerville
Jeremiah Sparks
Steven Sutcliffe
Sanjay Talwar
Jonathan Tan
Jacqueline Thair
*Supported by
Michael Therriault
Jay Turvey
2018 | Shawfest.com
Kelly Wong
Jenny L. Wright
21
10 QUEEN’S PARADE, BOX 774 NIAGARA-ON-THE-LAKE, ONTARIO L0S 1J0 CANADA SHAWFEST.COM
MAGAZINE FOR FRIENDS AND PARTNERS SPRING 2018
APRIL 4 - OCTOBER 28
Martin Happer and Fiona Byrne in Stage Kiss.
1.800.511.SHAW SHAWFEST.COM