THEATRE NETWORK
PRESENTS
a co-proDucTion wiTh TheaTre aquariuS anD weSTern canaDa TheaTre
“Powerful, disturbing and absolutely important theatre.” – Hamilton Spectator
WHERE THE
BLOOD MIXES Kevin Loring
by
STarring: RobeRt benz LoRne CaRdinaL CRaig Lauzon SeRa-LyS MCaRthuR MiChaeLa WaShbuRn DirecTeD by: bRadLey MoSS
Feb 12 - Mar 3 2013 2 for 1 Tuesdays Feb 19 & 26
Photo by Roy Timm Photography | Design by Chris Peters
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The Roxy Theatre 10708 124th Street 780.453.2440 theatrenetwork.ca
by Greg MacArthur, Lee Playwright in Residence
Cast – (in alphabetical order) Patti Brett Dan Ben Sam Marina Lianna Angie Nacho Ed Cayley Matt
Patricia Cerda Brett Dahl Daniel Frederick Kent Fernandes Ben Gorodetsky Samantha Jeffery Marina Mair-Sanchez Lianna Makuch Angelique Panther Mat Simpson Edmund Stapleton Cayley Thomas Matthew Yipchuck
Creative Team Director Set, Lighting and Projection Designers Costume Designer Sound Designer Assistant to the Director Dramaturgy Assistant Vocal, Speech, Text Coach Movement Coach and Choreographer
Jan Selman LLARS Design Nicole Bach Dave Clarke Brooklyn Ritchie Elissa Weinzimmer Thrasso Petras Lin Snelling
Stage Management Stage Manager Assistant Stage Manager
Tanya Schwaerzle Erin Valentine
There will be one 15 minute intermission.
Contents
4 Director’s Notes • 6 Playwright’s Notes • 8 Production Team 12 Photos • 14 Interview • 17 Lee Playwright in Residence 20 Staff / Front of House • 22 Donors
Director’s Notes The University of Alberta Department of Drama is committed to fostering new Canadian theatre. Perhaps more than any art form, theatre can respond quickly, place current dilemmas in front of us, and engage with changing cultural references, as they transform. In this highly collaborative art form, bringing new work to the stage asks much of many artists. The art of producing ambitious new work in the theatre asks all departments – set, lights, costumes, props, projections, certainly the actors, and others – to keep to the program, yet also flex, change up on a dime, leave decisions and hard work behind and embrace a new path. Some things can’t be seen until the work leaves the page. Then, as the work gets into the mouths and bodies of actors, new insights are gleaned, and writer and other artists in turn revision, rewrite, redesign, re-rehearse, rebuild. This team has taken up that challenge… Creating a play is a huge undertaking, first for the playwright, later for all the other theatre collaborators. Many playwrights, from Ibsen onwards, find that at least two years is necessary – from the initial ideas to a premiere. Here is a glimpse of The Missionary Position journey: January 2011
Playwright residency starts
October 2011 Working Draft 1. Actors read for the playwright and future team members April 2012
Working Draft 2. Actors briefly investigate each scene then read the play for the artistic team
Summer 2012
Designers develop a production design approach
September 2012
Working Draft 3. Actors, director and playwright quickly put play on its feet, to explore style and staging as well as text
Fall 2012
Designers rework the spatial approach, based on new draft
October 2012
Draft 4. One character’s story line is new
December 2012
Actors read the new draft for the playwright
December 2012
Draft 5. The Rehearsal Draft
January 2013
Rehearsals. The playwright revises and edits as actors bring the piece to life
Of course wound throughout this bare bones account are countless hours of research and writing and rewriting. It has been a joy to witness this remarkable playwright at work. -Jan Selman 4
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Playwright’s Notes I arrived in Edmonton a little over two years ago to begin this Residency. I began working on this play almost immediately. Armed with a vague idea about what I wanted to write about faith, belief, how and why we help one another - I began to explore the city, the University, the students. Gradually, after much research and thought, The Missionary Position began to take shape. A play is a diary. A play is a love letter. A play is a testament to a time and a place. This play, written specifically for the actors you will see onstage tonight, is a kind of chronicle of my time and my life here in this city. Of the people I met and the experiences I had. Like any play, The Missionary Position, although a fiction, is full of small truths and realities. It is an assortment of feelings, of experiences, of questions, of friends, of stories. Nothing is true. And everything is true. It has been a daunting, difficult, sometimes lonely task, working on this script. The opportunity to write and produce a play for twelve actors is not something one gets to do often in this country. As I sit in the rehearsal hall watching this extraordinary group of artists create this work, I truly do feel so proud. This work would not exist without these twelve actors and their generosity. They have infused and influenced the writing - and myself - in so many ways. Watching this play brings up many questions and emotions as I prepare to leave Edmonton and head back East. Whatever life this play has in the world over the coming years, it will always be tied to this city, to this University, to this company of artists and friends, and to the streets and pubs and cafes where, over the past two years, I have wandered and sat and thought about God, and missionaries and demons and magic fluorescent water and the small miracles and big hurdles that we all face as we make our way through this world. Greg MacArthur February 2013 6
Written & performed by Canadian Comedy Award winner Melody
A. Johnson
Peggy Ann Douglas figures the best way to escape her life of chicory-pulling, stall-cleaning, hay-baling drudgery, is by picking up a baton and twirling her way out of town.
Sunday, April 7, 2013 8 pm • $30 Pre-show wine tasting at 7 pm, courtesy of Lacombe Park Spirits.
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Arden Theatre Box Office .5. . St. . . . . Anne . . . . . . . . .Street .................... Call 780-459-1542 or ardentheatre.com
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Production Team
Production Manager: Technical Director: Assistant Production Manager: Assistant Technical Director: Production Administrative Assistant: Wardrobe Manager: Cutter: Head Scenic/Stage Carpenter: Scenic Carpenters: Properties Master: Lead Props: Lighting Supervisors: Heads of Lighting: Lighting Technicians: Video/Cinematography Supervisor: Head of Video/Cinematography: Sound Supervisor: Head of Sound:
Gerry van Hezewyk Larry Clark Audra Stevenson Finn McConnell Jonathan Durynek Joanna Johnston Ann Salmonson Darrell Cooksey Andre Lavoie Nick Shostak Jane Kline Laura Campbell Jeff Osterlin Mel Geary Stephanie Bahniuk Alison Yanota Joel Adria Laura Campbell Kim Creller Devin Lavigne Jon Reid Audra Stevenson Mel Geary Joel Adria Matthew Skopyk Devin Lavigne
Running Crew: Lighting Operator: Sound Operator: Stage Carpenter: Video Operator:
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Stephanie Bahniuk Alison Yanota Devin Lavigne Audra Stevenson Cheyenne Sykes
CLASSIC SERIES PRESENTING FACULTY TALENT AND GUEST ARTISTS Tickets $10 - $20 9
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BENGAL TIGER AT THE BAGHDAD ZOO
“Studio Theatre’s production has succeeded in constructing a world that’s simultaneously brutal, darkly funny and somehow magical” The Gateway, December 2, 2012 1
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1. Brett Dahl as Kev. 2. Matthew Yipchuk as Uday. 3. Ben Gorodetsky as Musa and Daniel Frederick Kent Fernandes as Tom. 4. Angelique Panther as Tiger. All photos by Ed Ellis
Both exhibitions run 22 January – 16 February 2013
the alcuin society awards for excellence in
Book Design in Canada
Split Seconds, Soft Edges Samantha Walrod mfa painting
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A Conversation with Greg MacArthur, Lee Playwright in Residence By Lucy Collingwood “All the work that anyone writes comes from your experiences,” says Greg MacArthur, Lee Playwright-in-Residence, when asked about his inspirations as a writer. Having worked and travelled extensively across Canada and internationally, MacArthur brings a toolkit of these stories and life experiences to each new project. He describes his plays as speculative and very personal, but hopefully universal. “We come across a million experiences; there’s so much information that we have in the world and for some reason certain stories or instances or experiences stay with me. If I’m still thinking about it four or five months later then oftentimes I’ll realize that this is something that I could write a play about... It has to be something that I’m truly interested in exploring and thinking about and that I’m grappling with in my own life.” As Lee Playwright in Residence at the University of Alberta, part of MacArthur’s two-year contract (2011-13) includes writing and workshopping the commission of an original piece for the 2013 graduating Bachelor of Fine Arts Acting class. MacArthur has held similar residency positions before. His residency contracts as both playwright and dramaturg have taken him across the country, and to destinations as far as Cape Town, South Africa. “When you’re writing a commissioned play, you know exactly who it’s going to be for, so those are certain challenges and pluses. But when you’re writing a play on your own... there’s a bit more freedom in writing the play and you can find the right home for it.” Both his collaborative and his solo work has found success nationally and internationally, and has led to a number of awards, including six Jesse Richardson awards for his play Recovery in 2006, three Betty Mitchell awards for Get Away in 2005, and a nomination in 2011 for the highly prestigious Canadian Siminovitch Award for Playwriting. The Missionary Position, MacArthur’s most recent production, is the culmination of his two years at the University of Alberta. Like much of his work, the play was influenced by his own stories and experiences. 14
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A Conversation with Greg MacArthur, Continued “I’ve done a fair bit of traveling just in Central America and Mexico and whatnot, and in those countries, especially in the poorer countries like Nicaragua [and] El Salvador, you come across a lot of missionaries who are down there building schools, and they were all there for different reasons... I just found them kind of fascinating and terrifying so that kind of interests me, and the idea of faith and religion interests me.” MacArthur will continue to workshop the play throughout the rehearsal process as well as after the production has ended. His upcoming projects include a play called Horror Story, for production in Montreal, and another titled Kate Bowie for a company in Vancouver. MacArthur intends to return to Montreal to work on these projects once his time at the University of Alberta has come to a close.
This Playbill is Published By © 2013 Postvue Publishing All Rights Reserved, Reproduction in whole or in part is prohibited without the written consent of the publisher.
Publisher, Sales & Marketing Manager Rob Lightfoot Art Directors & Design Charlie Biddiscombe Mike Siek Sales Representatives Andy Cookson Bridget Grady James Jarvis
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To have your guide or promotional product produced, contact Rob Lightfoot at rob@postvuepublishing.com or 780.426.1996
Lee Playwright in Residence The Lee Playwright-in-Residence Endowment is dedicated to the creation of new Canadian plays and to the development of emerging and established Canadian playwrights. This permanent playwright-in-residence program at the University of Alberta was established in 2005 and was the first of its kind among Canadian universities. The innovative residency offers a unique opportunity for a Canadian playwright to devote time to their writing and to make a significant contribution to new play development within the university and professional theatre community in Edmonton. The Lee Playwright-in-Residence position is made possible by a generous legacy Endowment created by the Clifford E. Lee Foundation. Under the auspices of the Department of Drama at the University of Alberta, this endowment funds a Residency on an annual basis, in perpetuity. The Residency is a resource for professional, community-based and emerging playwrights. In addition to the residency, the Lee Playwright may also accept a commission to write a new play for the Department of Drama’s main stage UofA Studio Theatre season, as was the case when the University of Alberta Department of Drama commissioned Lee PlaywrightIn-Residence, Greg MacArthur, to write The Missionary Position. The Residency is appointed and supported by the Chair of the Department of Drama, who is guided by an Advisory Board made up of community-based playwrights and other artists who are involved in new play development as well as members of the Department of Drama who have substantial new play development experience.
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Administrative Staff
Kathleen Weiss: Chair, Department of Drama Julie Brown: Assistant Chair Administration David Prestley: Theatre Administrator / Events Coordinator Jonathan Durynek: Box Office Coordinator / Events Assistant Ruth Vander Woude: Graduate Advisor / Administrator Connie Golden: Undergraduate Advisor Helen Baggaley: Administrative Assistant / Office Coordinator With assistance from Faculty of Arts staff: Salena Kitteringham: Fine Arts Communications Lead Terah Jans: Fine Arts Communications Marketing Specialist Joanna Manchur: Fine Arts Recruitment Coordinator
Production Staff
Gerry van Hezewyk: Production Manager / Administrative Professional Officer Larry Clark: Technical Director, Timms Centre for the Arts Darrell Cooksey: Head Carpenter Jonathan Durynek: Production Administrative Assistant Mel Geary: Lighting Supervisor Joanna Johnston: Costume Manager Jane Kline: Property Master Don MacKenzie: Technical Director, Fine Arts Building Ann Salmonson: Cutter Matthew Skopyk: Second Playing Space Technician / Sound Supervisor Karen Swiderski: Costumer, Fine Arts Building
Front of House
Staff: Bonita Akai, Danielle Dugan, Al Gadowsky, Becky Gormley, Caitlin Gormley, Tasreen Hudson, Marie-AndrĂŠe Lachapelle, Laura Norton, Emily Paulsen, Andrew Shum, Faye Stollery, Jane Toogood, Cheryl Vandergraaf, Catherine Vielguth. Volunteers: Cristian Badiu, Debbie Beaver, Susan Box, Franco Correa, Alana De Melo, Jonathan Durynek, Mary and Gene Ewanyshyn, Terri Gingras, Ron Gleason, Sydney Gross, Darcy Hoover-Correa, Paula Humby, Marie-AndrĂŠe Lachapelle, Don Lavigne, Sareeta Lopez, Tom and Gillian McGovern, Marlene Marlj, Conner Meeker, Laura Metcalf, Jennifer Morely, Alice Petruk, David Prestley, Clio Unger, Catherine Vielguth, Jane Voloboeva, Diane Wright, Anisa Youssefi, Danoush Youssefi 20
Monday, February 18
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Donors
Heartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts and directly investing in the Department of Drama’s innovation and leadership in theatre training and performance. A round of applause to our supporters! Baha R. & Sharon Abu-Laban Various Anonymous Donors Ella May & Leonard Apedaile Dorothy Ayer Bacon Family Fund Annalisa C. & Douglas Baer Joan Baird Roderick E Banks David Barnet & Edith Mitchell Carole & William Barton Karin Basaraba Jim & Barb Beck Lindsay Bell Carl & Doreen Betke Kathleen & William Betteridge Alan Bleviss Julia M Boberg M. Elizabeth Boone & Marco Katz Donna Bornhuse Richard Bowes Edward Brado Angela Breadner David Brindley & Denise Hemmings Julie Brown & Joseph Piccolo Linda Bumstead Adolf & Kathleen Buse Campbell Family Foundation Rachel Christopher Brent Christopherson Classique Decor Ltd Penny Coates Faye Cohen David Cormack Lesley B. Cormack & Andrew Ede Daniel Cunningham Brian J. Deedrick Dyer Financial Strategies Ltd. W Gifford Edmonds Jim & Joan Eliuk Larry Ethier John & Bunny Ferguson Shirley Gifford
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Sheila Gooding Melvina M. Gowda Derek J. & Mary Griffiths Kelly Handerek Bohdan & Elaine V. Harasymiw Alex & Joan Hawkins Murray & Pauline Hawkins Christopher Head Stephen Heatley Steven Hilton Pavel & Sylvia Jelen Azim & Shenaz Jeraj Jim & Sheila Edwards Family Fund M A Keene Gerald Kendal Jane King Patricia Langan Hou Li Nicole E. Mallet John & Peggy M Marko Robert W. McColl Sandra McFadyen Gordon & Norma McIntosh Rod & Heleen McLeod Pamela A. Milne F June & Rod Morgan Betty Moulton Elaine & Peter Mueller Kathleen & Philip Mulder Audrey O’Brien Dale Olausen Esther & Jack Ondrack Curtis Palmer & Jan Selman V Porteous Bente Roed Helen J Rosta Joan & Kenneth L. Roy Valerie Sarty Alan & Ramona Sather Peter & Olga Savaryn Alison Scott-Prelorentzos Albin Shanley
Shirley & Sol Sigurdson Phillip Silver O. Francis Sitwell Daryl Springer Marion & Brian J. Sproule St. Peter’s Anglican Church ACW Allan Stichbury Richard & Rita Taylor Isobel Thomas Sheryl Turner Thomas Usher Gilda L.F. Valli Henriette van Hees Alan & Lorraine Welch Deborah & Jerry Yee John R. Young In Kind David Adam & Rose Liu-Adam Erica Boetcher Jill Concannon Pamela Constable Campbell Davies Estate of Pro Rhey Mond Depro Ester Fraga Mel Geary Ron Lavoie Larry MacInnis Don Mackenzie Ann Malyj Joanna & Travis B. Manchur David Plach David Prestley Ella Reidt Karen M. Swiderski Michelle Warren Donna R. Zuk Various Anonymous Donors
This list includes those who donated to various Drama funds from November 1, 2011 December 31, 2012. List compiled January 15, 2013. Apologies for inadvertent omissions or errors. Contact 780-492-2271 for changes.
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