Ovation Vol. 18 No. 5

T h e Roya l M a n i to ba T h e atr e C e n tr e

Vol 18 No 5

|

Mar/Apr 2011

Calendar Girls by

Tim Firth Miramax motion picture ‘Calendar Girls’ Written by Tim Firth and Juliette Towhidi

Based on the

Presented by arrangement with

David Pugh & Dafydd Rogers

Generously sponsored in part by

Message fro m the Artistic Director

While preparing for next year’s Romeo and Juliet,

look right for a role, and women in particular can find themselves falling into that treacherous chasm between ingenue and dowager.

our staff came across Stratford’s edition of the

Then along comes Tim Firth, writing a play that

production I directed with Peter Dews at the

celebrates the real-life women behind the calen-

festival too many years ago. On the cover, an

dar and, in the process, creating a range of richly

impossibly young Colm Feore and Seana McKenna

diverse roles for women who have the experience

look besotted and dewy and, I must say, destined

and years to bring this inspiring story to life.

for great things. I leafed through the book, past production photos of Stephen Russell, Richard Monette and Andrew Gillies, only to stumble on my own long-ago headshot near the back of the book.

Firth’s women remind us again that, as the early feminists said, the personal is political. Of course, those feminists might not have been referring to a calendar of nude women per se, but they would almost certainly have cheered on any woman

I won’t go into detail here about the differences

who defies authority to celebrate her body in all

between that photo and the man I am now, but

its ephemeral glory. Revolutionary acts don’t take

suffice it to say that I once had hair. One staff

place only in far-flung lands; they happen every

member tried to comfort me by mangling a line

day, in homes and offices and streets in every

from Calendar Girls: “The flowers of Winnipeg are

village and city, including our own. Every time we

like the men of Winnipeg. Every stage of their

meld courage and purpose, we are building what

growth has its own beauty, but the last phase

William Blake called “a new Jerusalem” in this

is always the most glorious.” I don’t quite feel

green and pleasant land.

I’m in the last phase yet, but I did appreciate the thought, and at least she didn’t say that I’d soon go to seed.

Yours always,

She got me thinking, though, about how lucky I am to be in a job where my age and appearance aren’t an impediment. Unlike me, actors have to

Mar/Apr 2011

3

T h e Roya l M a n i to ba T h e atr e C e n tr e

Theatre Abbreviation Legend

Arts Club ATF ATP BAM Belfry Blyth Broadway CBC Citadel COC CS Dora GCTC Grand LKTYP Mirvish MTYP NAC Necessary Angel Neptune NFB NTS PTAM PTE Rainbow RNT Royal Alex RSC RWB Segal Shaw SIR SNAC Soulpepper Stratford TA Tarragon TC TNB Toronto Free TPM TSO TVO U of M U of T U of W VP West End WJT WSO

Arts Club Theatre Company, Vancouver BC Atlantic Theatre Festival, Wolfville NS Alberta Theatre Projects, Calgary AB Brooklyn Academy of Music, NYC The Belfry Theatre, Victoria BC Blyth Theatre Festival, Blyth ON New York Theatre District Canadian Broadcasting Corporation The Citadel Theatre, Edmonton AB Canadian Opera Company, Toronto ON The Canadian Stage Company, Toronto ON Dora Mavor Moore Award, Toronto ON The Great Canadian Theatre Company, Ottawa ON The Grand Theatre, London ON Lorraine Kimsa Theatre for Young People, Toronto ON Mirvish Productions, Toronto ON Manitoba Theatre for Young People, Winnipeg MB National Arts Centre, Ottawa ON Necessary Angel Theatre Company, Toronto ON Neptune Theatre, Halifax NS National Film Board of Canada National Theatre School of Canada, Montreal QC Popular Theatre Alliance of Manitoba, Winnipeg MB Prairie Theatre Exchange, Winnipeg MB Rainbow Stage, Winnipeg MB Royal National Theatre, London, England The Royal Alexandra Theatre, Toronto ON Royal Shakespeare Company, Stratford-upon-Avon, England Royal Winnipeg Ballet The Segal Centre for Performing Arts, Montreal QC Shaw Festival, Niagara-on-the-Lake ON Shakespeare in the Ruins, Winnipeg MB St. Norbert Arts Centre, Winnipeg MB Soulpepper Theatre Company, Toronto ON Stratford Festival, Stratford ON Theatre Aquarius, Hamilton ON Tarragon Theatre, Toronto ON Theatre Calgary, Calgary AB Theatre New Brunswick, Fredericton NB Toronto Free Theatre, Toronto ON Theatre Projects Manitoba, Winnipeg MB Toronto Symphony Orchestra TV Ontario University of Manitoba University of Toronto University of Winnipeg Vancouver Playhouse Theatre Company, Vancouver BC Theatre District, London, England Winnipeg Jewish Theatre Winnipeg Symphony Orchestra

Black

MTC gratefully acknowledges the support of all corporate and individual donors and foundations, and the assistance of: CMYK

With the generous support of the Manitoba Arts Council

Pantone

We acknowledge the support of the Canada Council for the Arts which last year invested $5.9 million in the arts in Manitoba.

Nous remercions de son soutien le Conseil des Arts du Canada, qui a investi 5,9 millions de dollars I’an dernier dans les arts au Manitoba.

Vol 18 No 5

|

Mar/Apr 2011

The Royal Manitoba Theatre Centre 174 Market Avenue Winnipeg, Manitoba R3B 0P8 Box office: (204) 942-6537 Administration: (204) 956-1340 www.mtc.mb.ca For advertising inquiries tel: (204) 934-0309 e-mail: promo@mtc.mb.ca Printing: Premier Printing Ltd. Ovation is published six times per theatre season and has a total circulation of 115,000.

MTC is a member of the Professional Association of Canadian Theatres and engages, under the terms of the Canadian Theatre Agreement, professional artists who are members of the Canadian Actors’ Equity Association.

Scenery, Carpentry and Show Running Crew at the John Hirsch Theatre at the MTC Mainstage and the Tom Hendry Theatre at the MTC Warehouse are members of IATSE Local 63.

Ushers | MTC’s loyal volunteer ushers are available at every performance to assist patrons.

Latecomers | Latecomers will be seated at the discretion of the House Manager.

Courtesy to others | Talking, candy wrappers and coughing are distracting to fellow patrons and actors. We ask each patron to please keep noise to a minimum during a performance. Thank you for your cooperation.

Scents and Allergies | A number of MTC patrons have expressed concerns regarding medical reactions caused by scented products, so much so that they can’t enjoy the show. Please consider others before using items such as colognes, perfumes and hairspray. Your thoughtfulness is appreciated.

Hearing enhancement | Sennheiser Infrared Listening Devices are available free of charge in the lobby at the John Hirsch and Tom Hendry Theatres, supplied by the MTC Volunteer Corps of Ushers Capital Campaign donation. Please see the House Manager for details.

Prohibited | The use of cameras and recording devices is strictly prohibited. Pagers and cellular phones must be turned off. To be contacted in an emergency, leave your name and seat number with the House Manager.

Warnings | On occasion, MTC’s productions may contain scriptspecific smoking of non-tobacco products, special effects and language/content warnings. For more information on specific productions, please visit www.mtc.mb.ca.

Subscriber Membership | Any person in whose name season tickets for either the John Hirsch or Tom Hendry Theatres have been purchased shall be a member of the Centre for one year, commencing on the date payment has been received for that season’s tickets.

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setting the stage

Calendar G irls work resulted in the formation of the Associated Country Women of the World at a meeting held in Stockholm in 1933.

“For Home and Country” is the motto of the WI. As old-fashioned as it sounds, the desire to work for the betterment of the community is as important now as it was in 1897. WI work includes community service, education, women’s rights and advocacy in all areas, from health care to road safety, food safety to farm safety, libraries and music festivals to community halls and rinks.

Women’s Institutes have been the very backbone of rural life.

by Dianne Kowalchuk

The Women’s Institute

movement began in Stoney Creek, Ontario, in 1897, under the direction of rural farm wife Adelaide Hoodless. Spurred by the death of her infant son, Mrs. Hoodless launched a crusade to create a support group that would help women to improve their homes and their communities through domestic science education. Prior to the formation of the Women’s Institute (WI), there were very few, if any, organizations in which rural women could become involved. By providing this source of support, education and companionship, the Women’s Institute was able to fill this void.

Manitoba Women’s Institute celebrated its 100th anniversary at a celebration in Morris in May 2010, and the WI work continues. The strength of the organization still lies with the grassroots members, but the annual convention is perhaps the event of greatest importance. The resolutions debated and passed at these yearly meetings continue to shape public policy. WI has a voice, and the women make sure to use it wisely.

Dianne Kowalchuk is the Newsletter Editor for the Manitoba Women’s Institute.

The movement quickly spread across Canada. In 1909, when Mrs. Finlay MacKenzie from Morris was visiting her mother in Ontario, she heard of the WI. Eager to start a similar group in her own town, Mrs. MacKenzie returned to Manitoba and organized a meeting. Morris Women’s Institute was recognized as the first WI group in the province in 1910, followed quickly by 16 other groups that same year. Over the years, Women’s Institutes sprang up in communities large and small across the province. An act passed by the Manitoba Legislature in 1913 incorporated the societies and gave them provincial standing.

The Women’s Institutes took on international significance in 1913, when Mrs. Alfred Watt of British Columbia introduced the idea to Great Britain. She helped found the first WI in the United Kingdom in Wales in 1915. The National Federation of the British Isles was organized in 1917. Mrs. Watt was inspired to dream of an international organization for rural women. Her hard 8

Mar/Apr 2011

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curtain calls

Calendar Calendar Girls creator Tim Firth exposes the process of bringing his work from screen to stage and across the pond.

by Tara Seel

It was a cold, blustery day in the Manitoba capital when writer Tim Firth’s plane landed at the airport. On Louis Riel Day, the British playwright of Calendar Girls arrived in Winnipeg to begin working with the cast and crew of the MTC production, and he was a little surprised by what he encountered. “This place is colder than anywhere I’ve ever been skiing in life,” he exclaims. And to make matters worse, due to the holiday, the streets were deserted. “It was a bit like seeing a world that had been struck by a very sudden post-apocalyptic winter when I arrived,” Firth laughs.

Firth’s involvement with Calendar Girls started when he was on a family trip to Yorkshire, to a village he has been visiting since he was six months old. On one trip, Firth bought the Women’s Institute calendar, but that was just the first in a series of weird coincidences. A film producer Firth had been working with on another project approached him with the idea of making the story of the WI calendar into a movie. Firth thought the idea was a fantastic one and suggested a female playwright write the script. However, various incarnations of the script didn’t work, and by this point, the stakes were very high for the production.

About eight years later, Firth decided to move forward with his idea that Calendar Girls would make an excellent stage production. “I had always had it in the back of my mind, because theatre is my first love above all else, wouldn’t it be interesting to unlock this story for the kind of amateur groups my mum is in and my dad designs sets for?

Wouldn’t it be great to keep that story alive?” His agent went to New York and approached Disney for the stage rights. The Disney representative had a thick file full of requests people had made to have the stage rights for Calendar Girls, but all of the requests were to make it into a musical.

Firth wanted to write it as a comedy. “I think, maybe, that’s what swung it,” he muses, “but they said okay and gave me, personally, the rights for a while to try and develop it as a stage piece.” Firth wrote the stage version, chose a producer, and the play toured the United Kingdom, played in the West End and is now back on tour.

In the autumn of 2012, the play will stop touring.

Firth is remaining true to the spirit of the Calendar Girls story and its fundraising origins, and he is

photo by Andy Hollingworth

“They came back to me,” Firth recalls, “and asked, ‘Can you give us any time at all?’ And I thought, fortuitously, in retrospect, I’ve got two weeks before I start something else. I’ll do whatever I can. And I sat down and wrote about two thirds of the film in two weeks.” With Firth’s knowledge of the village in Yorkshire and his familiarity with the WI due to his mother’s and grandmother’s involvement with the organization, he was able to write quickly. “Having a group of friends on whom I could base these characters (made it) a relatively easy write,” he says. He stayed on to foster the film right through to completion.

Man

Tim Firth

Tim grew up writing songs, worked very hard to get to Cambridge, then stopped working hard and spent all his time writing plays, which were usually directed by a young Sam Mendes. On leaving college, the playwright Alan Ayckbourn gave him his first commission for a play, Neville’s Island, which went into the West End and then round the world. His first West End musical, Our House, won the Olivier Award and his new comedy, Sign of the Times, opens in the West End this spring.

Tim’s television work includes his own multi-award winning comedy drama series, Preston Front, and the Christmas comedy film The Flint Street Nativity, which he has since made into a successful stage musical. His films include Calendar Girls

march

february 2011 s m t w t f s

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tuesday

1

7:30 pm 7:30 pm

wednesd ay

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2 pm | 7:30 pm 7:30 pm

april 2011 s m t w t f

thursday

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1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

friday

4

8 pm 8 pm

*

8 pm 8 pm

saturday

5

4 pm | 8:30 pm 3:30 pm | 8:30 pm

Calendar G irls giving amateur theatre companies in the UK an entire year to themselves to stage the show with no professional productions on stage. As it is now, the play continues to earn money for leukemia research—the goal of the original WI calendar— because a portion of the royalties (Firth’s, the producer’s and Disney’s) all go back into research.

“The play continues to drive the fundraising of the calendar project,” says Firth. “There is actually a research project related to cancers and to leukemia and to lymphoma in the hospital in Yorkshire where the real John was treated, which now exists entirely funded by the play, so the whole thing has kind of come full circle.” The response to the play and the practical results it has engendered are rewarding for Firth. “It’s a joy! It’s an absolute joy,” he says.

When writing the script for the play, Firth found he had opportunities he didn’t have with the film script. “I think the really odd thing about this and why, for me, this play is so exciting is that, far more than a film can ever do, the play can replicate the communal spirit between the characters—in this case, the group of women—because

I can spend much more time with them. The film slavishly has to follow one or two stories, and everybody else is slightly pushed to the side, told in relatively sparse detail.”

Firth’s specialty is comedy, and it shows in the way he can take something as tragic as cancer and create a witty, funny story. “I, selfishly, love being at the back of a theatre that’s responding to a comedy. That’s why I do this, to be really honest. I love writing comedy, and I love being involved in comedy and watching comedies. The writers who I admire most and have dealt with most in my life are all writers who treat subjects like cancer, like madness, like breakdowns in families, breakdowns in marriages, relationships—all much darker subjects, but treat them with levity and treat them with wit. I hope that is what this play does.”

Producing Calendar Girls on the stage has its challenges. Not only did Firth have to write rapid dialogue for a large cast, there is the challenge of choreography. In this play, the importance of choreography cannot be overstated, especially when

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curtain calls it comes to the photo shoot scene that has the women nude with carefully placed props. “That sequence took us two weeks of solid rehearsal in the UK,” he recalls, and Firth’s expertise helped the MTC cast rehearse that particular scene in a much shorter time. “There’s a lot of physical movement, a lot of props, handling of props, seven people on stage all moving props around, and the easiest way of doing this, without being prescriptive, is to say, ‘That’s where that’s got to end up, that’s got to end up over here, the lights on here, and that on the table.’”

The fact that women are taking their clothes off to make this calendar is quite clear in the film, but as Firth points out, the film set is closed, while the theatre has the added element of a live audience.

“I suddenly realized in the first preview we ever did of (Calendar Girls), you felt the whole audience have a (sudden intake of breath). They just came to the edge of their seats because (these women) are going to have to do it. They’re going to have to do this thing, and when that happens, because I think everybody knows this is going to happen now in the room with us in it, and it’s going to take some skill and bravery and courage to do this, that it very closely replicates what it must have felt like in the room on the night that the real women did this. The whole thing suddenly becomes very immediate …. The theatre requires a much greater parallel of the bravery that it took in the first place.”

Writing Calendar Girls, a story centred around a group of women, didn’t faze Firth. “You don’t have to be a deep-sea diver to write a play about deep-sea diving and, you know, the truth is that if you’ve lived your life among deep-sea divers, then enough of what they are and their spirit, which is the crucial thing, it will, if you are alert and have a good memory—which are two things you have to be as a writer—then enough of that you will have experienced. The detail you can learn—anyone can research that—but actually it’s the spirit of the character of the people that is vital, and to do this play, I just based them on my mum and her group of mates and my gran and her group of mates.”

Firth saw the issues of the story as common ones: “They’re issues of friendship and issues of betrayal and trust and ego, deceit …, (but) the issue at the heart of the play, strangely, is more about bravery than it is about being a woman. I would

12

Mar/Apr 2011

Calendar G irls have felt very spurious about writing a play about being a woman, but I felt very comfortable writing about the way that a particular group of women coped with loss and fought loss with humour, and that’s what the play is about. It’s about fighting this disease, fighting the loss and the pain that the disease causes with wit, which, of course, is what the calendar was. The calendar was very witty. It was a witty endeavour, and that spirit of wit was the inspiration for the whole play,” explains the playwright.

The calendar may have been the main source of inspiration for the play, but Firth’s WI-devoted gran was another source. “My gran was called May Wilkinson, and her name is the name of the trophy that Chris wins in the play, so (Gran) has her permanent little place in the play.” Firth’s gran told him about the WI and what the group does.

She also shared with him the fact that the group often has people come in to make presentations.

In one draft of the script, Firth had the WI ladies receiving a talk on the history of broccoli. However, when he met the real women of the calendar, one of the ladies told him they were not too sure they would have talks like that, even though they did have a woman talk to them about the history of the tea towel. “That was even funnier,” laughs Firth, “so I put that in!”

While in Winnipeg, Firth has been doing rewrites to the play, changing some references, but mostly just tweaking and tightening the script after having seen it tour for three years. While the Canadian production is in rehearsal at MTC, Firth sent the rewrites to England. “They put all the Canadian rewrites into the English production, and it went on stage …, so the Canadian play has genuinely done the English production good as well,” said Firth.

Calendar Girls has resonated with audiences around the world, and the North American premiere of the play here at the Royal Manitoba Theatre Centre promises to do the same. However, for Firth, the cast of the Canadian version of Calendar Girls takes the cake in the bravery department. “I confidently think that no matter where this play’s been done, I don’t think the calendar will have been made in a colder environment than Winnipeg. These are perhaps the bravest of the brave!”

www.pwc.com/ca

Coming up roses PwC applauds The Manitoba Theatre Centre and The Manitoba Bar Association for bringing us the music of Sondheim and the story of Mama Rose, Baby June and the girl who became Gypsy Rose Lee: Louise. Bravo!

© 2011 PricewaterhouseCoopers LLP. All rights reserved. In this document, “PwC” refers to PricewaterhouseCoopers LLP, an Ontario limited liability partnership, which is a member firm of PricewaterhouseCoopers International Limited, each member firm of which is a separate legal entity. 0837-01

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Steven Schipper, Artistic Director

Zaz Bajon, General Manager

Presents A Co-production with

David Mirvish (Toronto)

Presented by arrangement with

David Pugh & Dafydd Rogers

Calendar Girls by

Tim Firth Based on the

Miramax motion picture ‘Calendar Girls’ Tim Firth and Juliette Towhidi

Written by

Original London production directed by Hamish McColl

March 17 – April 9, 2011

Director Set Designer Costume Designer Lighting Designer Composer Sound Designer Associate Lighting Designer Movement Coach Singing Coach Photography Advisor Apprentice Director Stage Manager Assistant Stage Manager Rehearsal Assistant Stage Manager Apprentice Stage Manager

Marti Maraden Robert Jones Emma Williams Malcolm Rippeth Steve Parry John Bent Jr. Matthew Britten Kimberley Rampersad Donna Fletcher Bruce Monk Stefanie Wiens* Dianne Woodrow Chris Pearce Sandra McEwing Sandra Morton

The Cast (in alphabetical order)

Cora

Ruth

Jessie Brenda/Lady Cravenshire/

Jessie Understudy

Annie

John

Kathryn Akin Terri Cherniack Barbara Gordon Kyra Harper

Fiona Highet

Dan Lett

Rod/John Understudy Elaine Chris Marie Celia Lawrence/Liam/ Rod Understudy

Sweeney MacArthur Kimberley Rampersad Fiona Reid Brigitte Robinson Jane Spence Gordon Tanner

There will be one intermission.

Thanks to Valerie Watt, Past President of the Manitoba Women’s Institute, for playing the voice of the WI Conference Chair. *Position Funded through the Jean Murray – Moray Sinclair theatre Apprenticeship Program.

The Manitoba Theatre Centre acknowledges the assistance and support of the canadian Actors’ Equity association for this production of Calendar Girls.

14

Mar/Apr 2011

ARTISTS

Kathryn Akin Cora

MTC First appearance.

OTHER THEATRE West End: original casts of Lindsay

Posner’s Carousel (Savoy Theatre), Trevor Nunn’s Gone with the Wind (New London Theatre), Cameron Mackintosh’s The Witches of Eastwick (Theatre Royal, Drury Lane) and the final cast of Lloyd Webber’s Sunset Boulevard (Adelphi Theatre)—also directed by Trevor Nunn. Other UK: Taboos (New End Theatre); Gypsy (Dundee Rep Theatre); Dona Flor and Her Two Husbands (Lyric Hammersmith); Smudge (Oval House Theatre); The Typographer’s Dream (Pleasance Theatre Edinburgh Festival); Dorothy Fields Forever (King’s Head Theatre); The Wizard of Oz (Bristol Old Vic); Martin Guerre (West Yorkshire Playhouse/UK tour); Celle-là (Traverse Theatre/Tramway). Canada: A Connecticut Yankee, Lulu (Shaw); The Shadow Stealer, Jacob Two-Two and the Dinosaur (LKTYP); Pal Joey (Grand/NAC); Damn Yankees (Royal Alex).

Assistant director to Polly Teale on Brontë (Shared Experience, London).

FILM/TV/RADIO TV: Cambridge Spies (BBC); Street Legal (CBC). Film: Eleven Fifty Six (Tapioca Films).

Radio: With Great Pleasure, Helpless, Banks of Plum Creek, Peyton Place, The Front Row (BBC Radio 4); Sunnyville (CBC).

ET CETERA Soloist on West End cast albums, aboard

the Queen Elizabeth 2 world cruise and around Ireland’s folk scene. This one’s for you, Dad.

Terri Cherniack Ruth

MTC Strong Poison, The Price, Pride and Prejudice, The Importance of Being Earnest, Our Town, The Dresser, The Diary of Anne Frank, The Philadelphia Story (with TC), King Lear, The Crucible, Season’s Greetings, Homeward Bound, Dancing at Lughnasa, The Miracle Worker, The Heidi Chronicles (with Mirvish), The Attic, The Pearls & Three Fine Girls, None is Too Many (with WJT), Waiting for the Parade.

OTHER THEATRE Performed major roles at theatres

across the country from Vancouver to Halifax. At other theatres in Winnipeg: The Savannah Disputation, For a full list of theatre abbreviations, please Refer to legend on page 4

Glorious, Having Hope at Home, Copenhagen, Love and Anger, All Fall Down, The Fighting Days (PTE); Social Security, The Last Night of Ballyhoo, Crossing Delancey, A Shayna Maidel (WJT); Cruel and Unusual Punishment, The Colour of Vowels (TPM); FILM/TV Selected: Keep your Head Up, Kid: The Don Cherry Story, What if God Were the Sun?, Elijah, Category 7: The End of the World, Haunting Sarah, On Thin Ice, Hell on Heels: The Battle of Mary Kay, Everybody’s Doing It. TRAINING Terri is a graduate of the U of W, the U of M,

and the National Theatre School of Canada.

Barbara Gordon Jessie

MTC Half Life, Six Degrees of Separation (with CS), The Dining Room.

OTHER THEATRE If We Were Birds (Tarragon); Homage

(2b theatre company/Luminato Festival); The ArabIsraeli Cookbook (Studio 180); You Never Can Tell (Shaw); Present Laughter (Royal Alex). Dora Awards: That Time (Theatre Centre); The Dogpatch (Factory Theatre/Jack in the Black Theatre).

FILM/TV TV: Mrs. Hobbs on Little Mosque on the Prairie, XIII, Living in Your Car, Life with Derek. Film: Skinwalkers, Cube 2: Hypercube, Men with Brooms.

Recent indie films: Separation, Unlucky, Congratulations Daisy Graham.

ET CETERA Very glad to be back in Winnipeg with

this gang!

Kyra Harper Brenda/Lady Cravenshire/ Jessie Understudy

MTC Medea (with Mirvish).

OTHER THEATRE Vincent River (Cart/Horse Theatre);

Death of a Salesman (Blue Bridge Repertory Theatre); Missing, Blood—Dora nomination (Factory Theatre); 36 Views (Actors Repertory Company); The Clean House (ATP); Elizabeth Rex (Arts Culture & Theatre Brampton). As director, other credits include: The Scene (Pilot Group Theatre Company); Romeo and Juliet (Arts Culture & Theatre Brampton); Heat Wave (Lighthouse Festival Theatre).

Mar/Apr 2011

15

ARTISTS FILM/TV Warehouse 13, Human Target, Heartland, Anne of Green Gables: A New Beginning, Of Murder and Memory, Martha Behind Bars, Eye of the Beast, 16 Blocks, The Camera and Christopher Merk.

Sweeney MacArthur Rod/John Understudy

ET CETERA Upcoming: Tout Comme Elle (Just Like Her)

(Necessary Angel/Luminato Festival); Peggy Delaney (CBC Radio).

Fiona Highet Annie

MTC First appearance.

OTHER THEATRE Sweeney has performed with the

National Theatre of Great Britain, the Charlottetown Festival, Mirvish Productions, the Rose Theatre, Upper Canada Playhouse, the National Arts Centre and Stage West, among others.

FILM/TV The Boondock Saints II: All Saints Day,

MTC The Gist: An Erotic Thriller.

OTHER THEATRE Factory Theatre: Missing, by Florence

Gibson; Better Living, Problem Child and The End of Civilization, all by George F. Walker. House of Many Tongues, How It Works, Bea’s Niece, Marcel Pursued by the Hounds (Tarragon); The Eco Show, Insomnia (Necessary Angel); The Orphan Muses (Centaur Theatre).

The Tracker.

ET CETERA For Erin. Always.

Kimberley Rampersad Elaine/Movement Coach

FILM/TV Whirligig, Oliver Sherman, Fugitive Pieces, The Bridge, Rookie Blue, Slings and Arrows.

ET CETERA Upcoming: Tout Comme Elle (Just Like Her)

(Necessary Angel/Luminato Festival).

Dan Lett John

MTC The Glass Menagerie.

OTHER THEATRE Dan has worked extensively in the

theatre, including 10 seasons with the Shaw Festival.

FILM/TV Made in Canada—three Gemini Awards;

three seasons on Wind at My Back; The Reagans, Flashpoint (CBS); My Date with the President’s Daughter, Get a Clue (ABC). Other television work includes: The X-Files, The Englishman’s Boy, Bloodletting & Miraculous Cures, Guns, Covert Affairs, Dan for Mayor, Net Worth, The Border, ReGenesis, The Kennedys (History Channel eight-part miniseries). Notable films include: Whale Music, Mrs. Soffel, Paris, France, The Prize Winner of Defiance, Ohio, Restless Spirits and You Might As Well Live. Voice-over work in television, radio and animation has also been a mainstay in Dan’s 30-year career.

16

Mar/Apr 2011

MTC Judy Haynes in White Christmas, Dreamgirls (with TA), Guys and Dolls (with TC/Citadel), Lady, Be Good!. Choreographer & Assistant Director: It’s a Wonderful Life: A Radio Play.

OTHER THEATRE We Rise Again! workshop (Charlotte-

town Festival); Oliver! (Citadel); Sweet Charity, Guys and Dolls (Drayton Entertainment); Company, Into the Woods (Dry Cold Productions); Legends (Grand); Carol Shields Festival (PTE); Carmen (Manitoba Opera); Seussical the Musical (MTYP); Chicago, Smokey Joe’s Café, 42nd Street (Rainbow); Funny Girl (WJT). Associate Choreographer: Hairspray national tour (NETworks Presentations). Choreographer: Honk! (MTYP); Miss Saigon (Rainbow); Head (SIR).

Assistant Director: Ruined (Obsidian Theatre Company/Nightwood Theatre); Toronto The Good (Factory Theatre).

FILM/TV Snake River, Shall We Dance?, Nothing But the Truth, The Outside Chance of Maximillian Glick, Category 7: The End of the World, Roswell: The Aliens Attack, Falcon Beach.

TRAINING Kimberly is a graduate of the U of M. ET CETERA Kimberley is a past recipient of the

Maude Whitmore Scholarship from the Charlottetown Festival and the Jean Murray – Moray Sinclair Scholarship from MTC.

ARTISTS

Fiona Reid Chris

FILM/TV Fiona has appeared in various movies, including The Time Traveler’s Wife and My Big Fat Greek Wedding; television roles include King of Kensington and several voices for animated series.

TRAINING Graduate of McGill University.

ET CETERA Fiona is a Member of the Order of Canada

MTC The Constant Wife (with Citadel), Arcadia (with CS), Six Degrees of Separation (with CS), Hay Fever (with Citadel), Death and the Maiden, A Bee in Her Bonnet, She Stoops to Conquer, The Cherry Orchard, The Boy Friend.

and is the recipient of an honorary degree from Bishop’s University as well as the Barbara Hamilton Memorial Award (2008) and, most recently, ACTRA Toronto’s 2011 Award of Excellence.

Brigitte Robinson Marie

OTHER THEATRE Fiona has appeared in theatres

across Canada, the US and UK. Favourite roles include: Violet Weston in August: Osage County (Citadel); Judith Bliss in Hay Fever (Shaw, CS/Grand); Flora Humble in Humble Boy—Jessie Award (VP); Julia in Fallen Angels—Dora Award (CS); Ouisa in Six Degrees of Separation—Dora Award (CS); Blanche DuBois in A Streetcar Named Desire (Soulpepper); Claire in A Delicate Balance (Stratford, CS/Citadel); Martha in Who’s Afraid of Virginia Woolf? (Neptune); Lady Bracknell in The Importance of Being Earnest (Grand/Citadel, Huntington Playhouse, Boston); Mme. Arkadina in The Seagull, title role in Hedda Gabler, Amanda in Private Lives (Shaw).

MTC First appearance.

OTHER THEATRE Brigitte has performed in more than

25 productions with the Shaw Festival, including favourites Return of the Prodigal, You Can’t Take It with You, Cavalcade, Marathon 33 and The Importance of Being Earnest. Other selected credits: The Sound Continued on page 20

What can we do in 90 hours?

6am April 18 - midnight April 21

To celebrate its 90th anniversary, The Winnipeg Foundation is hosting the 90-Hour Giving Challenge, an opportunity to grow Agency Funds.

These permanent endowments have been established by dozens of local organizations, including Manitoba Theatre Centre, to help provide longterm stability for their operations.

Based on how much you give online between 6:00am April 18th and midnight April 21st, The Winnipeg Foundation will make a matching gift. During the 90-Hour Giving Challenge, visit www.wpgfdn.org for details on participating charities or to make a gift to your favourite Agency Fund.

www.wpgfdn.org

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ARTISTS of Music (Mirvish); Present Laughter, Blithe Spirit (Citadel); Fallen Angels (Segal); Can’t Pay? Won’t Pay!, Goodnight Disgrace, Talking with …, Sinners (NAC).

Much Ado About Nothing, The Winslow Boy (with TA), The History of Manitoba from the Beginning of Time to the Present in 45 Minutes.

FILM/TV Selected: Murdoch Mysteries, St. Urbain’s Horsemen, Code Breakers, Murder in the Hamptons, Punch and Judy, Switchback (host, CBC live), Renovation Zone (host, CTV Montreal), Rich Bride, Poor Bride (host, Lifetime).

OTHER THEATRE Favourites include: In The Chamber,

TRAINING Graduate, University of Ottawa; Cours de

Civilization, La Sarbonne, Paris, France.

ET CETERA Brigitte lives in Niagara-on-the-Lake with

her husband and two children. She is delighted to be performing at MTC for the first time!

The Elmwood Visitation (TPM); Death of a Salesman, Lebensraum (WJT); Moonlight and Magnolias, Something Drastic (PTE); The Full Monty (Rainbow); Des Fraises en janvier, La Trappe (Le Cercle Molière); The Mousetrap (Segal); Paradise Lost (Adhere And Deny); Assassins (Dry Cold Productions).

FILM/TV Gordon has appeared in more than 20 locally-shot film and television productions.

Tim Firth Jane Spence

Playwright

Celia

MTC First appearance.

OTHER THEATRE Henry IV, Parts I and II, Henry VI, The

Two Noble Kinsmen, Tempest-Tost (Stratford); Hamlet, Romeo and Juliet (Resurgence Theatre Company); The Heiress (Drayton Entertainment); Ed’s Garage (Theatre Orangeville); Boeing-Boeing (Stage West); Richard III, The Winter’s Tale, Love’s Labour’s Lost (Bard on the Beach); As You Like It (Theatre by the Bay); A Christmas Story (Theatre and Company); A Midsummer Night’s Dream, Goodnight Desdemona (Good Morning Juliet) (Festival of Classics); Of Mice and Men (VP); The Sisters Rosenweig (Arts Club); Matt & Ben (macIDeas).

TV Sue Thomas: F.B.Eye, Cold Squad, The Outer Limits,

Stargate SG-1.

TRAINING Stratford Conservatory, University of

Calgary graduate.

Tim grew up writing songs, worked very hard to get to Cambridge, then stopped working hard and spent all his time writing plays, which were usually directed by a young Sam Mendes. On leaving college, the playwright Alan Ayckbourn gave him his first commission for a play, Neville’s Island, which went into the West End and then round the world. His first West End musical, Our House, won the Olivier Award, and his new comedy, Sign of the Times, opens in the West End this spring. Tim’s television work includes his own multi-award winning comedy drama series, Preston Front, and the Christmas comedy film The Flint Street Nativity, which he has since made into a successful stage musical. His films include Calendar Girls and Kinky Boots. Tim lives with Katy, Jack, Joe and Georgia on the edge of Delamere Forest in the Northwest of England, the place where he was born and where his gran, by the way, was in the Women’s Institute. Her name was May Wilkinson. A certain trophy in the play is named after her.

ET CETERA Recipient of Best Director award at the

Calgary One-Act Play Festival. Thanks to Wilf, Sheila, Mathis and Jeffrey for their love and support.

Marti Maraden Director

Gordon Tanner Lawrence/Liam/ Rod Understudy MTC Season’s Greetings, Six Degrees of Separation (with CS). Actor: The Dining Room, Relatively Speaking.

OTHER THEATRE Fifteen productions for the Stratford MTC White Christmas, It’s a Wonderful Life: A Radio

Play, Strong Poison, Our Town, The Retreat from Moscow, Guys and Dolls (with TC/Citadel), A Christmas Carol,

20

Mar/Apr 2011

Shakespeare Festival, including The Winter’s Tale, The Trojan Women, Alice Through the Looking Glass and Les Belles-soeurs. Stratford Co-artistic Director (2008)

ARTISTS and Director of The Young Company (1992-1993).

Artistic Director of the National Arts Centre English Theatre (1997-2005). Has directed for the Shaw Festival, the Vancouver Playhouse, Arts Club Theatre Company, the Citadel Theatre, Theatre Calgary, the Canadian Stage Company, the Tarragon Theatre, the Segal Centre for the Performing Arts, Theatre New Brunswick, Chicago Shakespeare Theater, Children’s Theatre Company (Minneapolis).

TEACHING Adjunct Professor, University of Ottawa (2000-2005). Has taught in universities and theatre training programs throughout Canada and the US. ET CETERA Founding member of the Magnetic North

Theatre Festival.

of Music (and Toronto), The Dance of Death, Ragtime, Cyrano de Bergerac, The Wizard of Oz, A Voyage Round My Father. Numerous designs for the Donmar Warehouse, the Almeida Theatre and the Chichester Festival Theatre. At London’s Royal National Theatre: Look Back in Anger, Noises Off, The Playboy of the Western World. More than 20 productions for the Royal Shakespeare Company, including: The Winter’s Tale, Hamlet, Othello, The Merchant of Venice, Romeo and Juliet. Broadway: Rock ‘n’ Roll, Noises Off, Henry VIII. Opera: Giulio Cesare (Glyndebourne, Chicago); Don Carlo (Frankfurt); Le Couronnement de Poppée (Paris, Berlin); Tristan and Isolde (Tokyo).

FILM Hamlet (with David Tennant and Patrick Stewart).

ET CETERA Robert has been nominated for two

Robert Jones Set Designer

Olivier Awards and is the recipient of a Dora Award (The Sound of Music) and a Drama-Logue Award.

MTC First engagement.

OTHER THEATRE Extensive West End credits include:

The Prime of Miss Jean Brodie, Benefactors, The Sound

Chaplin’s Modern Times Digital print specially prepared for live orchestral performance !

THURSDAY, APRIL 14 I 8:00 PM Modern Times marked the last screen appearance of the Little Tramp – the character that brought Charlie Chaplin world fame, and still remains the most universally recognized fictional image of a human being in the history of art.

Charlie Chaplin: Modern Times (film with orchestra) Richard Lee, conductor

Tickets available at the Winnipeg Symphony Orchestra and all Ticketmaster outlets WSO Box Office

949-3999 www.wso.ca I

780-3333

ARTISTS

Emma Williams

Steve Parry

Costume Designer

Composer

MTC First engagement.

MTC First engagement.

OTHER THEATRE Birdsong (Comedy Theatre, West

OTHER THEATRE The Official Tribute to the Blues Brothers

End); Calendar Girls (Noël Coward Theatre, West End, Chichester Festival Theatre); 77 Mta arena event (Dohar, Qatar); Henry IV, Parts 1 and 2, Henry V (RSC, Stratford UK, Roundhouse); Ordinary Angels (Royal Exchange Theatre, Manchester); O Go My Man (Royal Court); Kool Down (Aletta Collins Dance Co.).

(West End, UK/European tour); Godspell, Rebecca, Sgt. Pepper’s Lonely Hearts Club Show, Simply Big Band, A Bard Day’s Night (UK tours); The Play What I Wrote (West End, UK tour/Broadway); Ducktastic! (West End); Heroes (West End/UK tour).

FILM/TV Shorts Apollo and the Continents and Skeletons

Warming Themselves, both directed by Philip B. Haas; Nouvelle-France, Rabbit on the Moon, Chunky Monkey, Pierre Dupont (short), Fingers Crossed (short), Elmina’s Kitchen (BBC4 Film), In Search of Myths and Heroes (BBC TV).

ET CETERA Emma received the Olivier Award in 2009

ET CETERA Steve is also a working musician, performing all over the world—on trumpet, drums, keyboards and other instruments—including concerts at the Glastonbury Festival and Wembley Stadium with the likes of Corinne Bailey Rae and John Legend.

John Bent Jr. Sound Designer

for Henry IV, Parts 1 and 2 and Henry V (RSC).

Malcolm Rippeth Lighting Designer

MTC First engagement.

OTHER THEATRE Brief Encounter (Kneehigh Theatre:

West End and Broadway); The Umbrellas of Cherbourg, Calendar Girls, Six Characters in Search of an Author (West End); Don John, The Red Shoes, Nights at the Circus (Kneehigh Theatre); Kin (Royal Court); The Devil Inside Him (National Theatre Wales); The Field (Olympia Theatre, Dublin); The Winslow Boy (Theatre Royal Bath); His Dark Materials (Birmingham Repertory Theatre); Homage to Catalonia (West Yorkshire Playhouse); Armida (Garsington Opera); Carmen Jones (Royal Festival Hall).

ET CETERA Malcolm received a 2010 Obie Award as

a member of the design team for Brief Encounter in New York, and the 2009 WhatsOnStage Award for Best Lighting Designer for Brief Encounter and Six Characters in Search of an Author in London’s West End.

22

Mar/Apr 2011

MTC More than 30 productions since 1998, including White Christmas, Steel Magnolias, Educating Rita, The Drowsy Chaperone (with TC), Strong Poison, The Boys in the Photograph (with Mirvish), The Syringa Tree, Shakespeare’s Dog (with NAC), Fiddler on the Roof, Our Town, Over the Tavern, The Rocky Horror Show (with CS), The Clean House (with VP), Guys and Dolls (with TC/Citadel), A Christmas Carol, Crowns (with CS/NAC), Trying, Tuesdays with Morrie, My Fair Lady, The Diary of Anne Frank, Cookin’ at the Cookery (with CS), Evita (with TC), Camelot (with TC/Citadel), King Lear, Wit. OTHER THEATRE The Shadowy Waters (Eternal Rose

Theatre); The Diary of Anne Frank (Segal/Neptune); The Search for Signs of Intelligent Life in the Universe, Keely and Du, The Heart as It Lived, Grace (ATP); Lion in the Streets (Sage Theatre); Some Assembly Required (Northern Light Theatre).

ET CETERA John has received two Betty Mitchell

Awards for Outstanding Soundscape (Grace, Lion in the Streets) and is a member of IATSE Local 63. He is also a founding member of Eternal Rose Theatre.

Your MeMbers of the LegisLative asseMbLY continue to

Work hard for

the Arts nancy allan

jennifer howard flor marcelino

MLA for st. vitAL

MLA for fort rouge

237-8771 nallan-mla@shaw.ca

946-0272 fortrouge@mts.net

MLA for weLLington

greg selinger MLA for st. bonifAce PreMier of MAnitobA

237-9247 gselingermla@mts.net

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MLA for fort gArry

475-9433 788-0800 wellington.constit@shaw.ca kerriirvinross@mts.net

diane mcgifford

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334-5060 kildonanmla@mts.net

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ARTISTS

Matthew Britten

Stefanie Wiens

Associate Lighting Designer

Apprentice Director

MTC First engagement.

OTHER THEATRE Desert Boy (Nitro Theatre Company,

London/UK tour); Underneath the Floorboards (balletLORENT); Stand by Your Van (Menagerie Theatre Company); Tom Conti’s Jesus My Boy (UK Tour); This is War (Idiots of Ants UK tour); The Orpheus Complex, The Government Inspector, Entangled Lives (Theatre De L’ange Fou); The Wrong Man (New Strung Theatre Company); Terror Alert, Querido Antoine, Oceans in Violent Blue, Envolée (Y Espacio Creativo Artes, Madrid).

Donna Fletcher Singing Coach

MTC Assistant Director: Steel Magnolias. Actor: Strong Poison, Pride and Prejudice, Much Ado About Nothing, Richard III. OTHER THEATRE Director: Les Miserable Old Guys

(Winnipeg Fringe Festival 2009); I Dream of Jimmy (MAP High School Playwriting Contest). Co-Director: Max and Mirabelle—with Daina Leitold, Saying Goodbye to the Goodwing—with Carolyn Gray (Winnipeg Fringe Festival). Assistant Director: Beauty and the Beast (Rainbow). Actor (selected): Kindness (MTYP); Stripped Down Macbeth (SIR); Fiddler on the Roof (Rainbow); A Moon for the Misbegotten (O’NeillFest); Sorority Girls Slumber Party Massacre: The Musical, Bad Girls Jailhouse, Samantha Panther, PI: Tough Girls Don’t Sing (Canadian Fringe Tours).

TRAINING U of M, U of W. ET CETERA Thanks to MTC’s Jean Murray – Moray

MTC Assistant Director: Top Girls. Actor: Our Town, Lady, Be Good!, Master Class (with NAC).

OTHER THEATRE Donna has performed coast to coast

on stages throughout Canada, including the National Arts Centre, the Belfry Theatre, the Charlottetown Festival, Persephone Theatre, Red Barn Theatre, Stage West Calgary and Theatre Calgary. At home, she has appeared at Rainbow Stage, Dry Cold Productions, PTE, Manitoba Opera, Winnipeg Studio Theatre and MTYP. Director: StarBach’s: The Coffee Cantata (2010 Winnipeg Fringe Festival); Sweeney Todd (May 2011), The Light in the Piazza, Nine (Dry Cold Productions); Playing for Time (MillerFest 2009).

Assistant Director: Sweeney Todd, world premiere of Filumena (Calgary Opera/Banff Centre); Beauty and the Beast (Drayton Entertainment); Here on the Flight Path (PTE); Madama Butterfly, The Magic Flute (Manitoba Opera); Peter Pan (Rainbow).

TEACHING Voice Faculty and Musical Theatre Ensemble instructor at the U of M Marcel A. Desautels Faculty of Music and instructor at the U of W Theatre Department.

ET CETERA Donna is co-founder of Dry Cold Productions

and proud Mum to her daughter Amalia Grace.

24

Mar/Apr 2011

Sinclair Theatre Apprenticeship Program for the financial support, and to all the MTC patrons who contribute to the scholarship and apprenticeship fund.

Dianne Woodrow Stage Manager

MTC The Boys in the Photograph (with Mirvish), The Royal Hunt of the Sun, The Diary of Anne Frank (1980), The Seagull. Dianne began her career as wardrobe mistress for John Hirsch’s 1974 production of The Dybbuk.

OTHER THEATRE Dianne was the original Production

Stage Manager for the Canadian productions of The Lion King, Rent, Les Misérables (Mirvish); Joseph and the Amazing Technicolor Dreamcoat (Livent); Rob Roy – The Musical (David Warrack). Other PSM credits include: Mamma Mia! (Mirvish); Anne and Gilbert (Summerside Theatre); 11 seasons with the Shaw Festival; Love, Loss, and What I Wore (Michael Rubinoff/Daryl Roth); the Charlottetown Festival. Stage Manager: Oh, What a Lovely War! (Soulpepper); Broadway Bound, Biloxi Blues, The Women (Mirvish); the National Aboriginal Achievement Awards (Vancouver); the National Arts Centre; the Canadian Opera Company; the Canadian Stage Company;

ARTISTS the Stratford Shakespeare Festival; the Vancouver Playhouse; Rainbow Stage.

TEACHING Guest lecturer and teacher at several Canadian colleges and universities.

ET CETERA Three seasons at the Edinburgh Fringe.

Chris is a member of The Woodlot Association of Manitoba and The Manitoba Forestry Association and volunteers at SAVE OUR SEINE and TREES WINNIPEG.

ET CETERA Dianne has served on the Advisory

Boards for Sheridan and Niagara Colleges, Canadian Actors’ Equity, and Toronto Arts for Youth.

Sandra McEwing Rehearsal Assistant Stage Manager

Chris Pearce Assistant Stage Manager

MTC Apprentice Stage Manager, 1985/86 Mainstage season: Barnum (with Grand), The Real Thing, Tsymbaly, Talking Dirty, Hamlet, Filthy Rich.

OTHER THEATRE Assistant Stage Manager: B-Movie,

MTC Selected: Fifteen productions at the Mainstage; seven productions at the Warehouse, including, most recently, The Seafarer.

OTHER THEATRE Carmen (Manitoba Opera); The

The Play (Shaw, VP, CS, international tour). Stage Manager: Gypsy (Huron Country Playhouse); The Motor Trade (TC). Resident Mainstage and regional tour, I’ll Be Back Before Midnight (Blyth).

ET CETERA Sandra is glad to be back at MTC.

December Man, Where the Blood Mixes (PTE); The Light in the Piazza (Dry Cold Productions); Kindness (MTYP).

yea r s

nl oF he av e

r y humou

april

1- 10, 20 11

augh!

Thou Shalt L

tickets available at www.winnipegcomedyFestival.com or call ticketmaster at: 204 _ 780 _ 3333 Festival sponsor

ARTISTS

Sandra Morton Apprentice Stage Manager

MTC First engagement.

OTHER THEATRE Tosca (Manitoba Opera); The Ghost

Sonata (U of W, StrindbergFest); Bush Ladies (Theatre by the River, Winnipeg Fringe Festival); No Offense …, Ripple Effect, Cabaret of Monologues, FemFest (Sarasvàti Productions); The Law and the Order: Cdn Files (Celebrations Dinner Theatre).

TRAINING Sandra graduated from the U of W with a

B.A. in Theatre Production/Stage Management. She has worked since 2005 as Stage Manager with her multi-talented mentor, Paula Olko, on John Taylor Collegiate’s spring musicals.

ET CETERA Sandra is excited to be an apprentice at

MTC. Thanks to her mom and dad for helping her start this craziness we call a job.

David Pugh & Dafydd Rogers

2009, the play ran for over a year, winning David and Dafydd the Tony Award. The original Broadway production will play a limited run in Los Angeles this spring.

In 2008, David and Dafydd produced Kneehigh Theatre’s production of Noël Coward’s Brief Encounter, which played for more than 350 performances in London and, a year later, two critically-acclaimed runs in New York.

Most recently, David and Dafydd produced Deathtrap in London’s West End.

MTC’S PLANNED GIVING PROGRAM Leave a Legacy in three easy steps

1 2 3

Contact us.

Talk to your lawyer to make provisions in your will.

Work with MTC and your advisor to ensure your wishes are met.

for more information, please call 956-1340 ext. 240

Producers David Pugh and Dafydd Rogers’ production of Calendar Girls opened in 2008 in London’s West End and, since then, has been playing to sold-out houses all over Great Britain. In the UK, the stage show has surpassed the film’s profits and contributed significantly to the fundraising efforts of the Leukaemia Research Fund.

As a result of Calendar Girls, the total donated stands at £3,000,000, with over £500,000 attributed to the stage production.

David and Dafydd began their successful production partnership with Yasmina Reza’s Art, garnering every major award in London and, on Broadway, the Tony for Best Play. The duo then produced The Play What I Wrote, which opened to rave reviews in London (netting the Olivier Award for Best Comedy) and, on Broadway, receiving a nomination for the Special Achievement Tony. Heroes was next, opening in the West End and winning the Olivier Award for Best Comedy. Their production of Rebecca toured for more than 30 weeks, breaking nearly every UK box office record, and their West End production of Equus— starring Richard Griffiths and Daniel Radcliffe— played a sold-out season.

Their production of Reza’s God of Carnage played a triumphant season in London, winning the Olivier Award for Best Comedy. Opening on Broadway in

26

Mar/Apr 2011

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Education & Outreach

Enriching Your Experience with Study Guides

sponsored by

S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

For years,

the Manitoba Theatre Centre has been producing study guides as part of its Theatre for Young Audiences programming. This season, we asked teachers and experts to create study guides for specific shows. We had the pleasure of working with Reid Harrison (White Christmas), Di Brandt (The Shunning), George Buri (Calendar Girls) and Lisa Vasconcelos (The 39 Steps).

Outreach Coordinator Natascha Hainsworth recently spoke with George Buri, a retired teacher and Artistic Director of 7 Ages in Brandon, about his experience creating the study guide for Calendar Girls.

Q

How did you go about creating the study guide for Calendar Girls?

study guides are useful reference tools for adults?

One of our patrons wrote recently:

“ The study guide is so! It

very valuable to me d makes me understan y. ” and appreciate a pla cal To enrich your theatri experience, visit

ides www.mtc.mb.ca/studygu des.

for the most current

gui

A

I read the play very carefully several times, jotting down notes as I went. I also ordered the film so I could compare the similarities and differences. For the classroom activities, I used my experience as an English and Drama teacher. Lastly, I did the glossary, making sure I chose things I thought might be unclear to today’s high school students.

What were some of your skills that helped you with the guide?

I majored in English, taught high school English and Drama, and am a director and actor in amateur productions. I have been attending MTC literally since it opened, and go to Stratford and New York regularly to see plays. Being a Leukemia survivor gave me even more empathy with the characters and story.

How is a study guide valuable for theatre-goers?

The study guides give theatre-goers valuable background information on the play and its themes. As well, it keeps their viewing focused. Study guides are also useful after seeing the play. I like to know as much as possible about a play before I see it and often have a greater desire for knowledge afterwards.

Did you find the experience rewarding?

This was a great experience for me. It was quite time-consuming and a lot of ideas had to fit into a small space, but I think it is great MTC is getting local people to do this. Thanks for the opportunity.

Thank you to our study guide creators for helping us to enrich the experience of our patrons. We are also grateful to Great-West Life for their financial support of the study guides. Not only does their sponsorship allow MTC to offer affordable tickets to students, but it also ensures students have a fulfilling experience at the theatre!

Are you interested in writing a study guide for MTC? We are looking for professors, teachers, retired teachers and other experts to create study guides for 2011/12.

Contact our Outreach Coordinator at (204) 934-0304 or outreach@mtc.mb.ca for more information.

28

Mar/Apr 2011

Education & O utreach

Theatre for Young Audiences/ Student-only Matinees sponsored by

S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

Every year, MTC offers matinees especially for school groups to selected productions. Our Theatre for Young Audiences student-only matinees are offered at special performance times in order to accommodate school schedules. Each matinee is followed by a post-show question-and-answer session with the cast.

This season, we offered a student-only matinee for each John Hirsch Theatre production. With the generous support of Great-West Life, MTC was able to offer student tickets at the affordable price of $14 (including taxes). Teachers were also offered one complimentary chaperone ticket for every 25 student tickets purchased.

Thank you to the educators and administrators of the attending schools, and to Great-West Life, for helping us share live theatre with Manitoba’s youth!

The ManiToba TheaTre CenTre and The ManiToba bar assoCiaTion presenT The 2011 CoMMuniTy play

May 3 – 7, 2011 the tom hendry theatre at the mtc warehouse

TickeTs $95 on sale noW! Call 942-6537 CliCk www.mtc.mb.ca/gypsy

Generously sponsored by: wine sponsors:

reception sponsors:

Doowah Design Inc. Client: MTC Job no: 1684 insertion: Ovation 4 Gypsy ad / CMYk / 4.75” x 3.75”

Individual Giving

With a donation to MTC’s Annual Fund, you’re helping to stage productions that are artistically rewarding and technically ambitious—qualities subscribers and donors have come to expect from MTC. You’re also making a contribution to the overall theatre-going experience for subscribers and high school students. In other words, your dollars are hard at work onstage and behind the scenes.

The Annual Fund provides operating revenue for Monday Mix evenings and the Talkback and Backstage Pass programs, which are all designed to enhance the experience of attending live theatre.

Monday Mix evenings at the John Hirsch Mainstage are open to subscribers who wish to learn more about the production they are about to see through a pre-show chat with local theatre professionals. Each session is planned with that evening’s performance in mind and features either an MTC employee or a local theatre artist—all eager to share their knowledge and enthusiasm with interested patrons.

Talkbacks are post-show questionand-answer sessions involving cast or crew members and the audience—always an interesting dialogue.

Talkbacks are hosted after Tuesday evening and Wednesday matinee performances at the John Hirsch Mainstage and following Tuesday evening and Thursday matinee performances at the Tom Hendry Warehouse.

Backstage Pass provides selected grade 11 and 12 students with an in-depth look at the world of theatre. Students attend six theatre workshops during the academic year, with each session tailored to the current Mainstage production and led by a member of Manitoba’s professional theatre community. Past topics include auditioning, stage combat, dialects, set design, playwriting and much more. After lunch, students attend the matinee performance of the show at the Mainstage. The day concludes with a postshow Talkback.

Supported by the generosity of individual donors, the Annual Fund continues to play a key role in the enrichment of the theatre-going experience of audiences and the artistic growth of MTC. If you have contributed to this year’s Annual Fund, we are very grateful. Your support makes a big difference. If you’d like to contribute to this year’s fund, please contact Garth Johnson at 956-1340 ext. 240 or visit www.mtc.mb.ca. Pledge forms are also available in the lobby.

Students from MTC’s 2010/11 Backstage Pass program visit the Props Department as part of an extended facility tour.

photo by natascha hainsworth

30

Mar/Apr 2011

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The other half is covered by grants, endowment income, sponsorships and individual donations. To continue offering exciting and innovative productions at accessible prices, we need your full support. DONATE TODAY!

Call 956-1340 | www.mtc.mb.ca

Supporting Partners MTC expresses sincere thanks to our major corporate and government sponsors.

Black

|

SEASON PARTNERS |

CMYK

|

John Hirsch Theatre |

Babs & Gail Asper

|

Tom Hendry Theatre |

Production co-Sponsors production sponsor

|

Pantone

John Hirsch Theatre | Performance SPONSORS

WITH

|

theatre for young | audiences

|

| BACKSTAGE PASS: THEATRE | wordplay | perspectives for STUDENTS

S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

|

regional tour |

|

black & white |

|

Community play |

|

Design Sponsor |

Gala Ball

|

2010

winnipeg fringe theatre festival |

2010 S T R O N G E R C O M M U N I T I E S T O G E T H E R TM

|

StrindbergFest 2011 |

|

calendar |

|

media sponsors |

Sponsor

Winnipeg The guide for living local

Mar/Apr 2011

33

Behind the scen es Honorary Members

Accounting/Finance

Patron Services Office

His Honour, Lt. Governor Philip S. Lee The Honourable Greg Selinger, Premier of Manitoba His Worship, Mayor Sam Katz

Sharon Burden, Accounting Yvonne O’Connor, Accounting Shelley Stroski, Controller

Executive Officers

Administration

Gary Hannaford, FCA, Chair Gerry Couture, past chair Jim McLandress, Secretary,

Brian Adolph, IT Manager Zaz Bajon, General Manager Natascha Hainsworth, Outreach Coordinator Daphne MacMillan, Administrative Secretary Landin Marten, IT Assistant Debbie Neufeld, Reception/Marketing Assistant Alan Waite, Assistant General Manager

Laurie Fletcher, Patron Services Office Manager Melanie Sexton, Ticketing Services Director Jennifer Skelly, Tessitura Application Coordinator Patron Services Representatives: Katie Adamson, Sheena Baird, Natercia Doucet, Alana Odokeychuk, Michaela Porter, Ali Robson, Jessica Ross

chair, governance & Strategic planning

Patrick Green, Treasurer Kerry Dangerfield, chair, community relations Robert Eastwood, chair, resource development Shannon Ernst, Chair, Organizational Performance

Trustees David Carefoot David Christie Derrick Coupland Anthony C. Fletcher Debbie Gray Jeff Lamothe Bruce Leslie Michelle Weinberg Rod Woodcock Rick Workman Brenda Zaporzan

Artistic Jeff Kennedy, Wordplay Coordinator Laurie Lam, Producer Robb Paterson, Associate Artistic Director Steven Schipper, Artistic Director Melinda Tallin, Artistic Coordinator

Carpentry Louis Gagné, Layout Carpenter Ray Galinaitis, Carpenter Brent Letain, Master Carpenter Chris Seida, Scenic Carpenter Lloyd Thomas, Carpenter

Advisory Council

Communications

Lawrence Prout, Chair Gail Asper Morley Blankstein Doneta Brotchie Angus Campbell Albert D. Cohen Hy Dashevsky Glen Dyrda, FCA John F. Fraser Jean Giguere Charron Hamilton Yude Henteleff Ken Houssin Gordon Keatch Colin R. MacArthur, QC Patrick J. Matthews Claire W. Miller Jeffrey Morton, FCA Hon. Jack Murta Lillian Neaman Shelley Nimchonok Andrew Ogaranko, QC James Pappas John Petersmeyer Jeff Quinton Patricia Rabson Margaret Redmond Susan Skinner Al Snyder Maureen Watchorn

Sue Caughlin, Marketing & Communications Manager Doowah Design, Design Bruce Monk, Photographer Brent Phillips, Director of Marketing & Communications Mark Saunders, Marketing & Communications Coordinator Tara Seel, Publicist/Web Editor

Development Kristine Betker, Director of Fund Development Garth Johnson, Major, individual & planned Giving Officer Michael Joyal, Development Assistant Stephanie Lambert, Special & Donor Events Coordinator

John Hirsch Theatre Front-of-House Deborah Gay-de Vries, Front-of-House Manager Sheena Baird, Assistant House Manager Jamie Chapman, Kim Cossette, Jenny Hall, Jonny Hall, Elfie Harvey, Heather Kennedy, Sherri Kostecki, Erica Lasker, Tia Levine, Rex McTavish, Robyn Milligan, Jessica Olson, Chris Pearce, Amariah Peterson, Angela Rajfur, Ray Strachan, Jennifer Schmidt, Caroline Shields, Cristin Sinclair, Kevin Stroski, Phyllis Van Drunen, Rita Vande Vyvere, Chelsea Zacharias, Derek Zorniak

Maintenance Andrew Drinnan, Building Superintendent Chris Fletcher, Assistant Building Superintendent

Paint Susan Groff, Head Scenic Artist Lawrence Van Went, Scenic Artist Assisted by Tiffany Taylor

34

Mar/Apr 2011

Production Laura Enns, Bookkeeper/Assistant Ian Kirk, Tour Technician Laura Lindeblom, Assistant to the Production Manager Rick MacPherson, Technical Director, Tom Hendry Theatre Russell Martin, Production Manager Crystal L. Spicer, Technical Director, John Hirsch Theatre Randall Zyla Harder, Assistant to the Technical Director

Properties Larry Demedash, Senior Properties Builder Kari Hagness, Head of Properties Lorne Morriss, Properties Buyer James Sutherland, Properties Builder

Stage Crew John Bent Jr., Head of Sound Hart Greenberg, Head Carpenter Joan Lees-Miller, Head of Wardrobe Benjamin Ross, Head Electrician John Tomiuk, House Stage Hand

Tele-Sales Representative Sandra Rubin

Tom Hendry Theatre Rick MacPherson, Technical Director Alison Nutt, Head Carpenter Claude Robert, Head Electrician Michael Wright, Head of Sound

Tom Hendry Theatre Front-of-House Kim Cossette, Front-of-House Manager Phyllis Hildebrand, Pam Neal, Cristin Sinclair, Scott Tweedy

Wardrobe Thora Lamont, Cutter Barb Mackenzie, Sewer Lorraine O’Leary, Head of Wardrobe/Cutter Lois Powne, First Hand Jackie Van Winkle, Buyer/Accessories Iris Wood, Sewer

Wigs Beverly Covert, Wigs & Makeup Supervisor Angie Lindsay, Makeup Artist Dan Lett’s wig created by Sharon Ryman

Winnipeg Fringe Theatre Festival & Master Playwright Festival Deborah Axelrod, Festival Director Samantha Harrison, Festival Assistant Chuck McEwen, Executive Producer

The theatre is inspiring and engaging — why shouldn’t your retirement lifestyle be the same? At Revera we offer options to suit your individual tastes. Your options are endless, but your choice is easy.

Call to reserve your personal tour today.

The Waverley 204-487-9600 857 Wilkes Ave The Wellington 204-831-0788 3161 Grant Ave

supportive housing Rosewood 204-487-9600 857 Wilkes Ave reveraliving.com

Revera: Canadian owned since 1961 with over 200 locations.

04710

bravo!

retirement living Portsmouth 204-284-5432 125 Portsmouth Blvd

KNOW YOUR THEATRE. KNOW YOUR CONCERTS. KNOW YOUR SUMMER FESTIVALS. KNOW YOUR CELEB WATERCOOLER GOSSIP. KNOW YOUR CLUB SCENE. KNOW YOUR GALLERY DISPLAYS. KNOW ABOUT EVERYTHING WINNIPEG HAS TO OFFER.

CATCH ALL THIS & MORE EVERY THURSDAY.

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