winter 2014
CONTENTS
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26
big event
MUSIC
visual/multimedia
06
17
22
REACHING FOR THE STARS WITH NASA ENGINEER KOBIE BOYKINS:
Boykins shares out-of-thisworld experiences as part of the National Geographic Live speaker series.
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30 YEARS AND 3 LESSONS IN WILD THEATRE:
One Yellow Rabbit shares the hard-won lessons of Wild Theatre.
STAGE
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FEED YOUR LEARNING DESIRES:
TC’s dramaturg talks about her passion for learning and how that is reflected on stage.
REACHING NEW AUDIENCES THROUGH EDUCATION:
The CPO’s Rush Hour Series gets you out of traffic and teaches you about classical music.
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SULTAN OF STRING:
An interview with Malian guitarist Bassekou Kouyaté.
MAKING IT IN THE ARTS:
Advice from those who have "made it".
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REVISITING THE AMAZON:
A follow up to the Calgary Art History Mystery first published in the Spring 2013 issue of Stephen.
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PUBLIC ART 101:
SCREEN and PAPER
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Music on screen:
For your eyes and ears – two unique films highlight maverick musicians.
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The City of Calgary’s Public Art Program hosts free professional development sessions.
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MOVING PICTURES:
The AGC discusses their school programs that foster creativity through the merging, of art, science and history.
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RAUCOUS CAUCUS:
ATP brings together early career artists for a unique professional development weekend.
14
EVERYTHING I KNOW I LEARNED YESTERDAY:
Puppet creator Braden Griffiths is constantly learning the tricks and trade of puppetry.
Epcor Centre for the Performing Arts
FAMILY Courtesy NASA/JPL- Caltech
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THE LEARNING (AND FUN!) NEVER ENDS AT THE CALGARY INTERNATIONAL CHILDREN’s FESTIVAL:
CICF Curator Brian Dorscht talks about the importance of Theatre for Young Audiences and selecting the perfect shows. Credit: Richard Lam
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stephen
CONTENTS
CULTURE
SPOTLIGHT
published by
EPCOR CENTRE for the Performing Arts
34
45
SAIT’s Culinary Campus enjoys its second year in the heart of downtown Calgary.
EPCOR CENTRE’s education programs engage and inspire through the power of art.
CORPORATE SUCCESS FROM KITCHEN CAMARADERIE:
TOOLS OF THE TRADE
36 DIRECTING AN ORCHESTRA:
LASTING IMPRESSIONS THROUGH ARTS LEARNING:
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EXPANDING THE DEFINITION OF PLAN A:
Five arts employees share their insights in career planning.
The CPO’s new Resident Conductor, Adam Johnson, talks about life in his new job.
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37
Flower talks about her career as a musician and the importance of arts education.
DIANNE GOODMAN:
A look at Dianne’s accomplishments over the past three decades with ATP.
community
38 THE SOLUTION TO ARTS CUTS:
Dr. Patrick Finn suggests less dialogue and more action.
40
THE BLUES BLOSSOM WITH MARY FLOWER:
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Explorers Inspire Students Thanks to Corporate Calgary:
Learn what makes our National Geographic Live Student Matinees special.
50 UNIQUE LIVES & EXPERIENCES:
An educational, inspirational, motivational lecture series beyond words.
4 x 4:
Four questions about why arts and culture matter to four people… and why they should matter to you.
42
IMAGINING THE FUTURE:
Theatre Junction’s education and outreach coordinator, Erin Jenkins, discusses the arts in our ever changing, globalized world.
what’s on
52 listings:
Your arts and culture listings.
stephen winter 2014
managing editor creative manager
Kerri Savage Kaija Dirkson
editorial committee Katt Boulet, Ellen Close, Kaija Dirkson, Laurel Green, Clinton Hallahan, Jennifer Kinch, Richard Lam, Marie Pollock, Catrinel Popescu, Sheryl Ratcliff, Kerri Savage and Shelley Spackman contributors Katt Boulet, Joshua Dalledonne, Kaija Dirkson, Stacey Dyck, Dr. Patrick Finn, Steve Gin, Laurel Green, Braden Griffiths, Erin Jenkins, Jennifer Johnson, Richard Lam, Christine Leonard-Cripps, Daniel Lindley, Jodi Lucas, Tammy McGrath, Kristi Millar, Marie Pollock, Catrinel Popescu, Kerri Savage, Melanie Simmons, Allison Simpson, Shelley Spackman, Helen Steeves Jull, Howard Szigeti, Shari Wattling and Johann Zietsman
EPCOR CENTRE for the Performing Arts 205 8th Avenue SE Calgary, Alberta T2G 0K9 Phone: 403.294.7455 Fax: 403.294.7457 Web: epcorcentre.org resident companies and partners
Alberta Theatre Projects, Calgary International Children’s Festival, Calgary Philharmonic Orchestra, CKUA, Downstage, Honens, One Yellow Rabbit, Springboard and Theatre Calgary advertising inquiries contact
403.294.7455 x1489 stephen@epcorcentre.org The opinions expressed herein are those of the respective authors and not necessarily those of Stephen or EPCOR CENTRE. Neither Stephen nor EPCOR CENTRE will be liable for any damages or losses, howsoever sustained, as a result of the reliance on, or use by a reader or any other person of, any information, opinions or products expressed, advertised or otherwise contained herein. Stephen magazine is published 3 times a year by EPCOR CENTRE for the Performing Arts. Contents copyright © 2014 by EPCOR CENTRE; may not be reprinted without written permission.
Read your copy of Stephen online, visit epcorcentre.org stephen loves green
Stephen is printed on Titan, a forest–friendly paper stock. Please recycle your magazines or, better yet, pass them along to a friend.
KIDS GO GLOBAL:
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Sheryl Ratcliff
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43 The Rosza Foundation, Trickster Theatre and the U of C’s Faculty of Education are finding out how the arts can be used as tools for learning and engagement in other subjects.
editor-in-chief
43
Courtesy of the Rozsa Foundation
a look inside Education Most of us associate “learning” or “education” with an activity we engage in during our younger years. We are certainly educated formally during those years, but I like to think about education as a life-long activity to acquire knowledge. Our community is built on creative imagination and we all benefit from the results. The driving force behind imagination is CURIOSITY, which in turn relies on acquiring knowledge. The arts provide the best opportunities to develop and nurture curiosity and to acquire the ability to conceive of new solutions – to invent a better future. Whether this comes about through our formal, curriculum-based school education programs or through emerging professional incubation programs or through attending a provocative performance, the arts stretch our imagination beyond the norm and compel us to learn more about “the other.” This edition of Stephen contains many examples of art connections that became heart connections. These stories illustrate the power of the arts to challenge, inspire, provoke and transform – and in these moments of art connections, we learn. Some of these connectors (if not “teachers”) have been around for a long time – we proudly celebrate One Yellow Rabbit’s 30 years in the community. Others visit us for the first time – like Bassekou Kouyaté, who will expose us to the rich music and culture of Mali. Many keep inventing new ways to convey the knowledge behind the art so that you and I can enjoy a deeper experience. We are so fortunate to live in a city where so many organizations and individuals support educational opportunities, thereby ensuring maximum access to the range of diversity that enriches our lives. The next Einstein or Gates or Atwood might be in the audience – all that is needed is the key to unlock their latent creative potential. The arts will do this every time!
Johann F. Zietsman President & CEO, EPCOR CENTRE for the Performing Arts Conversation with musican Hugh Masekela at Bow Valley College
arts. culture. calgary. you
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3
mini 2-pack
subscriptions start at only
Grizzlies, Piranhas & Man-eating Pigs
$45
Joel Sartore
The Lens of Adventure
Monday, March 3 • 7pm
Bryan Smith
Sunday, May 4 • 2pm Matinee
epcor centre presents limited tickets avaiLABLE
403.294.9494
epcorcentre.org
2013 - 2014 Speaker series Series Presenting Sponsor
Student Engagement Sponsors
Explore National Geographic Sponsors
Lead Sponsor
Explore National Geographic Supporting Sponsors
TD Arts Access Pass
EPCOR CENTRE Box Office Sponsor
Program subject to change. Image credit (left): Joel Sartore. (right) Courtesy Reel Water Productions
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cont r i b u to r s
Joshua Dalledonne is a homegrown Calgarian and the new Associate Producer with One Yellow Rabbit. When he’s not hiding under the stairs of EPCOR CENTRE’s Centre Court (that’s seriously where his desk is), Josh is likely getting into trouble with his artistic compadres at Humble Wonder.
Dr. Patrick Finn is a performance expert from the University of Calgary’s newly formed School for Creative and Performing Arts. His research and teaching is focused on human performance and technology, where technology is any system or application used to support or enhance performance.
on the cover Braden Griffiths (left) with Old Trout Puppet Workshop’s Pete Balkwill (right) embracing Braden’s next phase of puppetry fellowship through mentoring. Braden’s current project: building puppets for a play he co-authored with Ellen Close, titled: My Family and Other Endangered Species in production with Downstage premiering April 2014. Cover photography by Kaija Dirkson Epcor Centre for the Performing Arts
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BI G E V E N T
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BI G E V E N T
with NASA engineer Kobie Boykins Written by Kerri Savage As an engineer at NASA‘s Jet Propulsion Laboratory in Pasadena, California, Nebraska-born Kobie Boykins knows a thing or two about Mars. Most recently, Boykins was responsible for the design of the actuators, or motors that move and control the rover Curiosity as part of the Mars Science Laboratory mission, which successfully landed on Mars in August 2012. He was also instrumental [pun intended] in the design of the solar arrays that power the Mars exploration rovers Spirit and Opportunity that landed on Mars in January of 2004. Initially designed
to function for only 90 days, Opportunity continues to explore the surface of Mars years later, providing valuable scientific data about our mysterious, red-faced planetary neighbour. Boykins feels both fortunate and humbled to work for NASA, an organization with the inimitable ability to inspire people. “[NASA is] doing very unique things that can expand somebody’s mind, especially children,” Boykins says in a recent interview. “They look up at the stars and think ‘I wonder what’s out there?’ And here is their opportunity to see that in reality, something that has been built by humans – from their thoughts – and then you see that achieved. “This was my dream job since I was in Grade 5,” he recollects. “There’s no [greater] feeling than seeing something you have done. My work is sending images back from another planet! It is so humbling as well, as it really is a team of tens of thousands of people. Your brain starts to hurt because one person could have done something wrong and then it [the rover] doesn’t work.
“You start to get this feeling that you can really change the world…and history books. The history of Mars has changed significantly from when we did Viking up until now with Curiosity. We’ve gone from the idea that Mars was an arid, barren, desolate world to now knowing there was a significant amount of water on Mars that could have sustained life.” Boykins is also eager to share his passion for Mars exploration with students across our own planet. Not quite 40 years old, this young and dynamic engineer joined forces with the National Geographic Live speaker series team and travels around the world delivering messages of science, innovation and inspiration. “I’ve actually had this happen where I had gone out and talked to a group of people and now one of them is working at the Jet Propulsion Lab,” he exclaims. “They talk to me and say ‘You came to Omaha and gave a speech that really inspired me and now I’m here.’ It hits you like a brick! “That’s the thing I love the most – you might be talking to the person who will actually stand on the surface of Mars one day. You might be talking to that explorer who is going to travel out of our solar system. And all I had to do was light a spark.” Part of what makes Boykins popular as a speaker is his down-to-earth approach about space, school and life. And his aptitudes don’t stop in the lab. The proud new father is also a talented hockey
Courtesy NASA/JPL-Caltech
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BI G E V E N T
Getting a bad grade on a test is not a disaster. It is how you recover from that bad grade.
player (he played U.S. Div I college hockey) and he insists it was the journey, those lessons learned as he strived to get to his destination, that helped him achieve success within his current role. “Sometimes, it just takes somebody to say, ‘this is how we failed, and this is how we worked through these problems to achieve something,’” he says. “Getting a bad grade on a test is not a disaster. It is how you recover from that bad grade. To me, that is so important, and part of the message about inspiring people is that all of us are different. All of the people I work with at NASA are highly intelligent, but that doesn’t mean they all did well in school. A lot of people come from varied backgrounds and that’s what makes it great in that you have all these different viewpoints from all over the country and all over the world that get together and can argue about something on a technical level because it is the technical merits that drive the conversation. Not
what your degree is, what your marks were or what kind of school you went to, but at the end of the day, what idea actually achieves the goal the best.” This engineer with star-power credits many people for inspiring him and helping him reach for his goals – from his wife, the people he works with and a friend who started a company that mines asteroids, to role models like Martin Luther King, Maya Angelou and Rosa Parks. Boykins’ parents were both teachers and one of the people he admires most is his mother, for her strength through hardship and her ability to stay positive regardless of the circumstance. “She’s my hero,” he says. “You find people throughout your career or from the past who resonate with you, who you can read about and align your path with, who challenge you and ask you the questions that most people won’t ask. Those are the things that make you better and you want to surround yourself with those people.” Boykins admits he was not really serious about his studies until his Grade 5 teacher spoke to him about his unbridled potential. “In school I was the class clown and I was in trouble,” he reflects. “I mean, I was intelligent and somewhat of a good student, but I liked to interrupt things. I was sent out in the hall one day and Mrs. Hanson came out to talk to me and said ‘You know Kobie, you can do anything you want. What do you want to do?’ And I said, ‘I want to be Geordi La Forge [from Star Trek: The Next Generation].’ And she told me I could do that!
Kobie Boykins NASA Engineer Courtesy NASA/JPL-Caltech
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“As a kid, you hear encouragement like that, but you don’t necessarily listen. She said if I took a tenth of the energy I spent trying to make everyone laugh in class I would be able to achieve that. I don’t know why it hit me; I can’t say why I opened up my heart and ears to hear that, but I changed. I can look back and say that was the moment I went from being the class clown to having an inner focus about what I wanted to do with my life.” As a new father, Boykins has thoughts about what advice he’d like to impart to his infant son as he grows to find his own path. “My wife and I talk about this all the time so that’s an easy one for me: don’t let other people steal your dreams. If you have something that you love to do, keep after it with the fever of a tiger and don’t let your dreams be stolen by people who say ‘it’s not possible’ or ‘you can’t do it.’ I think that is the first thing that I will instill into his heart. “Why do we do that to people, tell them ‘no’ and stop them from doing something they really love or want to do? I hope I can instill in my kid a passion for whatever he wants to do – if you want to go out there and play hockey, go out there and do it with the passion of a thousand hockey players. Enjoy it; do it with your whole heart. And that’s true for anything in your life. And if you can do that, I think you succeed at life.” Kobie Boykins visits EPCOR CENTRE as part of the National Geographic Live speaker series on Tuesday, February 11, 2014. For tickets, please call EPCOR CENTRE Box Office at 403.294.9494.
Epcor Centre for the Performing Arts
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BI G E V E N T
years 30
3
and
Written by Joshua Dalledonne
After 30 years of developing their undeniable brand of performance theatre, the One Yellow Rabbit resident ensemble has learned a thing – or three – about creating essential theatre. So, eight weeks into my new gig as their Associate Producer, I sat down with co-artistic directors Michael Green and Blake Brooker in an attempt to summarize the hard won lessons of Wild Theatre for a new generation of theatre punks, like me. Figure out what you want to do. Figure out your context. When the Rabbits hit the streets in 1982, Calgary was a cultural dustbowl. Yet, this troupe of theatre punks, Denise Clarke, Richard McDowell, Andy Curtis, Blake Brooker and Michael Green, saw the opportunity and let their roots take hold. “In those days, we walked around Calgary like it was already the city we wanted it to be,” says Michael. And in doing so, they collected a team of artists who combined their individual sensibilities through art and, “together came up with a unified vision that none of us could have had on our own – we could be more ambitious in a way that was unique to ourselves,” continues Michael. Blake adds that the vision was rooted in DIY and Punk culture, and wasn’t without context. They looked to their local community and found a small cadre with the likes of Decidedly Jazz Danceworks and the artist-run Off Centre Centre amongst
lessons in wild theatre
others: “Visiting artists who would come to the city were hugely influential to us – Laurie Anderson, Brian Eno, the Matchbox Purveyors. There was a lot of energy and none of us knew how to play guitars, but we all wanted to do shit.” And they did – over 80 productions and countless cabarets and pop-up performances, not to mention the annual Summer Lab Intensive and the wildly successful High Performance Rodeo; I asked Blake when they knew they had hit on something. Be less precious. Become more valuable. “In our earlier days we studied with some adherence to the Eugenio Barba model, and his theatre in Denmark, a guru-based theatre. He came to see a play of ours and he watched with his arms crossed, didn’t say a word, then walked out – that made us uncomfortable. After that, I kept this saying: ‘Be less precious. Become more valuable.’” From that point, the Rabbits have operated with an open door rehearsal policy where the best idea wins – regardless of where it comes from. “You can’t depend upon inspiration and luck. More often, it is the irrevocable cry of the deadline that requires some type of system,” says Blake. And in developing, utilizing, and continuing to hone their system for creation, taught to countless Labbits at the annual OYR Summerlab Intensive, they create works that leap into the virtuosic.
You have responsibilities no one will tell you about. Thirty years on, the Rabbits’ vision and style continues to evolve, and Michael notes that, “we haven’t changed courses, but the course has narrowed.” Their early DIY mentality has been focused into three pillars: creation, outreach and presentation. Mentorship is now, more than ever, at the forefront as they’re being referred to as “an elder entity,” an odd role in a country without that type of tradition. “When you’re an elder you have different responsibilities and you have to learn what they are,” adds Michael. Their appreciation for this new role is evident as they work to expand the Summer Lab into a full school, and their critical eye is as sharp as ever. The next production Munich Now, a scathing examination of media absurdity performed with virtuosic ability, is set to premiere at the 28th High Performance Rodeo; and although their punk roots are in full view, they are indeed grateful. Blake admits, “I’m older now, and I realize I have had good fortune – I feel lucky more than anything else.” It’s odd for me to see the original theatre punks so gracious, and perhaps that’s the fourth lesson of Wild Theatre: the ability to do this work is a gift… but we won’t know, because they aren’t done yet.
Munich Now premieres at the 2014 High Performance Rodeo.
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BI G E V E N T
Credit: Trudie Lee
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Written by Shari Wattling I have a confession to make – I am a learning junkie. Some days it’s fairly lowkey. I satisfy my cravings with quick hits on Wikipedia pages, online newspapers and dreamily browsing through the Amazon.ca website. My iPad often serves as my portable learning dealer; I keep it close at hand in order to satisfy any random urge to know more. But when those small digital doses of information aren’t enough, I go on full-scale learning binges – indulging my interests through books, museums, films, occasionally travel and frequently, theatre.
Theatre Calgary hosts as many as 15,000 students a year at their Student Education Series performances. Now it’s possible, dear reader, that you and I don’t have this trait in common. But I’m going to go out on a limb and suggest that if you picked up this issue of Stephen thinking “I wonder what this is all about?” or “What’s happening in the Calgary arts community?” then I suspect that you also tend to follow your curiosity. And if that’s the case, then you are the ideal theatre goer. For that’s the most wonderful way to approach theatre: with an open mind and a curious spirit that enjoys making discoveries. I love an evening of pure, unabashed entertainment as much as anyone. A few hours of brain-relieving silliness and flight of imagination is balm for the heart and soul. In such cases the curious brain may wonder about the artists themselves and how they managed to create such
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a piece of enjoyment. Sometimes a play appeals to our minds and invites us to dig deeper. It tempts us to find out more about a person, a moment in history, our human nature and the world around us. It makes us want to connect with a subject further. It might even make us want to discuss it, ask questions and share thoughts with others who share a similar desire to learn more. If this has ever happened to you (and if it hasn’t, I’m perplexed about why you’re still reading this), I offer to you a variety of ways to satisfy your learning desires. One of my goals as Theatre Calgary’s dramaturg (go ahead and Google it, I would) is to create different opportunities to discover more about our plays, the subjects and ideas they contain, and the people who bring them to life. For example, if you visit our website you can download play guides, behind-the-scenes videos, interviews and snippets from our productions. Our printed programmes always include background information or special features for you to read while sitting in your seat waiting for the performance, or perhaps later over coffee. Perhaps the most interesting and surprising learning opportunities happen in person. With every production in our subscription season, we host regular events that allow us to exchange ideas. Our Talkback Tuesdays provide a question period with our artists following the performance. They’re a great way to meet and learn from them, and for us to meet and learn from our audience. I have discovered a great deal about our community from these lively sessions!
Shari Wattling, Theatre Calgary’s Artistic Associate New Play Development
On Talk Theatre Thursday evenings we host pre-show talks with an artist from the show, or a member of our artistic staff. These are a great introduction to the performance and to the creative process behind what happens on our stage and year-round at Theatre Calgary. This year we’re also trying something brand new: Spotlight Saturday will feature special guests invited to share their knowledge, experience or unique perspective on a subject inspired by the production on our stage. Every production we present feeds my hunger to learn, and fortunately it’s my job to follow where that leads and to share it with you. What’s even more satisfying is what I discover from you in return. If you’d like to find out more about Theatre Calgary and our productions visit theatrecalgary.com.
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Written by Catrinel Popescu Raucous Caucus at Alberta Theatre Projects (ATP) brings together early career artists for a unique professional development weekend during the Enbridge playRites Festival of New Canadian Plays. Laurel Green is ATP’s Artistic Associate and one of the organizers of this event; she shares her favourite moments from past Caucuses and gives us a sneak peek as to what’s in store for 2014.
What are some of your favourite moments from past Raucous Caucuses? It’s always a whirlwind of a weekend, and I really get caught up in the energy. Last year we had a great artist talk about Queer Theatre with Calgary’s Paul Welch (Artistic Director of Third Street Theatre) and Andre Lancaster from New York City.
How did Raucous Caucus start, and how has this event evolved over the past 3 years? ATP started an Emerging Artists Assembly during the 2011 Enbridge playRites Festival; a small mini-conference weekend that welcomed students and young artists to the Martha Cohen Theatre to watch all four Festival plays, network and meet guest artists. One of the most popular events was called ‘Raucous Caucus’ – this was a rowdy panel discussion hosted by Ghost River Theatre’s Eric Rose where participants were each given a token ‘2 cents’ and encouraged to weigh in on topics that were important to them. We realized that the whole weekend should be a ‘Raucous Caucus’, a chance to ask questions, share ideas, get inspired and raise your voice. In 2012 I worked closely with the LEGACY department at ATP to expand the programming into a jam-packed, three-day long symposium built around seeing four plays and having lots of chances to participate. We wanted to build a fun event for the next generation of Canadian theatre artists, and we’ve had over 60 of them turn up each year from all across Alberta!
How do you define an ‘Emerging Artist’? I think that this title has less to do with being at a certain age and is more about your perspective. All artists continue to learn and explore new territory throughout their career – it is fundamental to our practice. One of the great things about working in the arts is that you have the opportunity to make your own path. Being an emerging or early career artist could mean that you are still in school, that you’ve just started a theatre company with friends, or that you have just discovered something new that you want to learn more about. At Raucous Caucus it’s exciting to meet artists from diverse backgrounds with a range of experiences who are like-minded and driven, sharing their passion for theatre. What are you looking forward to for Raucous Caucus 2014?
It was a neat way to bring to light a local company while talking about identity politics in theatre creation. After The God That Comes we had a Q&A with Hawksley Workman where he signed CDs and talked about how different it was for him as a musician to be performing at a theatre (more matinees than in a night club!). Each weekend is different and builds upon our experiences from the year before.
We’re drawing inspiration from the great line-up of shows in the upcoming Enbridge playRites Festival of New Canadian Plays to program the weekend. I’d like to hold a Bollywood dance class in honor of Same Same But Different by Anita Majumdar and play with some interactive theatre technologies before seeing Games by Linda Griffiths. I’m putting together a panel discussion called “How to Ask Really Good Questions” which is all about how we as artists can use our inquisitive skills to motivate, inspire and ultimately change the world. Raucous Caucus is March 28 – 30, 2014. Registration is $80 and includes tickets to all four shows at the Enbridge playRites Festival at Alberta Theatre Projects. Register at ATPlive.com
Image courtesy of Alberta Theatre Projects
Epcor Centre for the Performing Arts
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Written by Braden Griffiths. Photography by Richard Lam I suspect I saw my first puppet on PBS. That street with the name Sesame was chock-full of these bizarre creatures, strikingly juxtaposed with very real multicultural, middle-aged adults. Being an infant, I don’t think I questioned the legitimacy of these creatures or the ramifications of their existence. I took Oscar and his unique living situation as a matter of course. I was too young to jump to the conclusion that a bearded man named Jim was operating the amicable frog newscaster from below. Jump cut to the late ‘80s: YTV was at the height of its media dominance and weekday evenings they would often play reruns of The Muppet Show. Surely, I was too old to ignore Jim any longer. I was five or six after all; with age comes wisdom.
It’s frustrating that I can’t pinpoint the exact moment that I came to the startling conclusion that puppets aren’t real – that moment when I learned my first lesson about puppetry – because, currently, my education in puppetry is being both stretched and tested. That instance of inception, when I realized “puppeteer” is a vocation, would be a nice remembrance to have – if only to provide a satisfying arc to my story. I’ve been building puppets for a decade now. The first I ever built was a frog. It was needed to jazz up a staged retelling of The Frog Prince. It was made out of a blue laundry hamper. Now despite the fact that this was my first puppet, let me tell you dear reader, that hamper-frog was pretty nifty. In the years that followed the hamper-frog, I consistently found
myself in production situations where puppets were needed and I simply continued to build them. I am currently building puppets for My Family and Other Endangered Species, a play that I co-authored with Ellen Close. An adaptation of a novel by Carla Gunn titled Amphibian, Downstage will be producing the premiere production in April 2014. Ellen and I made the decision to include puppets in this piece long before we even started writing several years ago. Considering my history, it only made sense that I would build those puppets. Here’s the thing though: just like the hamper-frog, pretty much all of the puppets that I’ve been building over the years have been made out of repurposed
My days of umbrella swans are over and I’m charting new territory with every puppet I have to build. 14
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materials that you can find in any general goods big-box store. A trashcan became a book-eating boy; an umbrella became a swan; a tennis ball became a pigeon. Originally the puppet plan for My Family and Other Endangered Species was suitable for this recycle-centric design aesthetic, but over the three years we spent writing, we discovered that our original plan was not adequate. These puppets would need to do more, they would need to say more and at times, they would hold a central role in the action of the piece. A painted laundry hamper wasn’t going to cut it this time around. My puppet building skills needed to drastically expand. I’m writing this article whilst in the middle of that expansion. Today I spent eight
arts. culture. calgary. you
hours carving wood. I’ve never carved wood before; I’ve built a table, I’m pretty good with a drill, but sculpting wood is a much more intricate kettle of fish. One of the other puppets will start as clay, then that clay will be cast in plaster to make a mold, the mold will be filled with silicone rubber and that rubber will dry into a working puppet for the production. My days of umbrella swans are over and I’m charting new territory with every puppet I have to build. I’m not alone on this new road. Pete Balkwill of the Old Trout Puppet Workshop is acting as both my mentor and guide. His years of experience provide an invaluable map in this uncharted territory, but, like any good teacher, he can’t do the work for me.
So here I stand at the beginning of the next phase of my puppetry fellowship and I can’t remember when I first realized Kermit is made of felt and ping-pong balls. It would be nice to continue my puppet education with a remembrance of its beginnings, but, alas, no definitive memory emerges from the ether. That being said, I do move forward comforted by a serendipitous fact. The most complicated puppet I will build for this upcoming production is a frog. In the coming months I will learn to make that frog out of clay and plaster and rubber; hamperfrog was my first puppet; and, in the beginning, though I may be speculating, I like to believe that I was watching Kermit the Frog when I first realized that puppetry was “a thing” and maybe one day, I could learn to do that thing too.
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music
Written by Marie Pollock It began as a way for Calgary commuters to skip rush hour traffic, but after three seasons, the Calgary Philharmonic Orchestra’s Rush Hour Series has evolved into one of the Orchestra’s biggest educational opportunities. The CPO first introduced Rush Hour, a series of one-hour concerts that begin at 6:30 pm, in the 2011 – 2012 Season. Heather Slater, the CPO’s Director of Artistic Planning, had recently come to the organization from the Toronto Symphony Orchestra and brought the idea of rush hour concerts with her. The idea was simple: give people working in downtown Calgary a chance to miss the mad rush home at the end of the work day and enjoy a short concert instead. If they were going to sit in traffic anyway, they might as well sit in a concert hall and enjoy some live music. But giving people a way out of traffic isn’t the only goal of Rush Hour. These concerts also provide an opportunity for people to learn about classical music – something they may not be versed in otherwise. “People don’t learn as much about classical music nowadays as previous generations did,” Slater notes. “And they also don’t have as much opportunity to hear that kind of music. There’s not as much exposure to it.” That’s where Rush Hour comes in. These short, early evening concerts provide the perfect stage to break down a piece of music and let people know exactly what they‘re listening to. And with a host on stage to provide commentary and offer context, audience members leave feeling more educated about the piece than before they came in. “People don’t always know enough about the repertoire to get everything
Epcor Centre for the Performing Arts
they can out of a concert,” Slater says. “With a traditional concert format, even if people enjoy the music, if they’re new to the Orchestra, they might feel a little lost and not really know what they’re listening to. This format gives them a road map of sorts, so that they really feel like they know the piece of music before the Orchestra dives into it.” The host providing commentary and insight into the pieces is CBC Radio personality Katherine Duncan. Duncan is a classically-trained musician and the host of CBC programs In Tune and Key of A. “These types of concerts are very low pressure,” Duncan says. “People can come in and we’ll tell them what they need to know to appreciate the music. People who are interested in classical music are often interested in learning about it too, so they get to take something away with them at the end of the night.” "And since the performances are shorter than a regular CPO concert," Duncan says, "the series works perfectly for those who may not have attended an Orchestra performance before." “It’s not intimidating, and it’s only an hour of your time,” she says. “It’s a great way to dip your toe in and see if you like it.” In an effort to reach a younger demographic – urban professionals working downtown – the CPO has adjusted its advertising techniques to combat the
stereotypes that the Orchestra is stuffy and only for the 50+ crowd. Beginning this month, the CPO will be enlisting the help of a popular digital media tool – Twitter – to give concert-goers an even more interactive experience. At its next Rush Hour concert, the CPO will officially launch “Tweet Seats” – a special section of the concert hall designated for those who want to tweet during the performance. Throughout the concert, tweets will be sent out from the CPO’s Rush Hour Twitter account, identifying key things the audience can listen for, or interesting facts about the music or composer. Those seated in the Tweet Seats can follow along on their phones and tweet questions and comments back to the Orchestra’s account. “A big part of our Rush Hour series is based around education,” says Marion Garden, associate director of marketing and sales with the Calgary Philharmonic Orchestra. “We want to give people an understanding of what they’re listening to, and provide an interactive forum to discuss it. The best way to do that is to give them an inside look at the piece as it is being played.” The next concerts in the CPO’s Rush Hour Series are Beethoven’s World on Jan. 23 and Music from 2001: A Space Odyssey on May 31. Visit cpo-live.com for more details.
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music
Bassekou Kouyaté riffs on tradition
Written by Christine Leonard-Cripps
Malian guitarist Bassekou Kouyaté knows the value of a good education. Born in Garana, Mali in 1966, Bassekou’s natural childhood curiosity compelled him to pick up the ngoni, a small lute commonly found in West Africa, before he reached the age of twelve. Fortunate to be the child of musically-inclined parents, Bassekou grew up in a household that abounded with artistic talent. His mother Yagaré Damba was a popular praise-singer while his father Mustapha Kouyaté was himself a noted ngoni player. “When I went to school, my chief instructor was my father who was also a great ngoni player. So you could say that my musical schooling consisted of him teaching me the ngoni,” Bassekou says. “I thank him for that. He taught me a lot and today the ngoni is my life, like it was his.” “My father would laugh if you asked him if I was self-disciplined as a pupil. I was not a good student. There’s a story you can see in the video we made to the song “Ngoni Fola” about how I always preferred to go and play soccer,” Bassekou says. “My dad used to get angry at me because I did not practice, but the playing came easy for me. Even
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though I didn't practice I was able to play everything easily; I learned fast and at some point my dad quit being so strict.” Little did young Bassekou suspect that a decade later he would be living in the capital of Bamako and using the instrument that was so natural in his hands to make recordings with legendary African musicians like Taj Mahal, Ali Farka Toure, Toumani and Keletigui Diabaté. “My Dad was definitely my biggest influence, but there were also others like my grandfather Bazoumana. And then you have the countless people I had the pleasure to play with over the years like Toumani, Habib, Taj Mahal, and many, many more.” A dream come true, Bassekou’s first album, Segu Blue, was released to critical acclaim in 2007. Showcasing all he had learned along the road to becoming a professional singer-songwriter, Bassekou’s debut introduced an international audience to his unique and electrifying Malian grooves. Produced by Lucy Durán and made available worldwide thanks to the joint efforts of Out Here Records and Proper Music Distribution, Segu Blue
opened many doors for Bassekou and his burgeoning West African band Ngoni Ba. The magnitude of their achievement was confirmed when Bassekou received Album of the Year and African Artist of the Year from the BBC3 Awards for World Music. Following up the success of his unfettered coming-out, Bassekou Kouyaté & Ngoni Ba presented their masterful second full-length release I Speak Fula in 2009. Nominated for a Grammy, this beautiful album stands as a testament to the care and attention that Bassekou and his band lavish on every track. Featuring guest appearances by well-loved musicians such as Kasse Mady Diabate, Haroun Samake and Vieux Farka Toure, I Speak Fula is a story told in lyrical snapshots. Bassekou’s nimble fingers and dulcet tones usher forth a flood of joyous highs and mellow blues that define and unite the characters behind Ngoni Ba. In addition to hitting hundreds of tour dates with seasoned musicians Eliades Ochoa and Djelimady Tounkara in his role of headliner for World Circuit’s Afrocubism, Bassekou has expanded his global fan-base by embracing opportunities to open for performers
music
Malian guitarist Bassekou Kouyaté
like Béla Fleck and Sir Paul McCartney. But undoubtedly it is his collaborations with his beloved wife, Amy Sacko, that have made him into a full-fledged superstar at home. An ancient and traditional instrument that is considered to be an ancestor of the banjo, the ngoni’s high and lonesome tones evoke a sense of longing and restless energy. When wrapped in the angelic incantations of Sacko’s Malian choir, the effect is deeply spiritual and sensually mesmerizing. Bassekou’s next album was entrusted to Howard Bilerman (Arcade Fire, Godspeed You! Black Emperor, Cœur de Pirate) who travelled to Mali for the recording sessions. Returning to Montreal, Bilerman perfected the mixing and co-producing with the assistance of Andrew and Brad Barr (Barr Brothers) who, along with organist/percussionist Mocky Salole, helped put the finishing touches on the arrangements. “If you believe in what you do, you can do it,” says Bassekou. “But at the same time you should maintain respect for the traditions of our culture. This can mean many different things like how one
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performs on stage and how one conducts oneself as a professional musician.” A hereditary griot (a professional storyteller, messenger and “Keeper of Memories”), Bassekou still disseminates ideas and information about Malian identity through song. Shrugging off the trappings of religious radicalism in pursuit of what he describes as the “true Malian spirit”, Bassekou named his newest release Jama Ko (Out Here Records, 2013) after a ‘big gathering of people. Recorded under political duress and civil curfew, Jama Ko is a plea for tolerance that incorporates duets with Timbuktu’s Khaira Arby, Latin-inspired historical discourses on freedom and songs of praise for Mali’s beleaguered cotton farmers. Above all, the intuitive electric guitar jams between Bassekou and Ngoni Ba elevate the conversation to a higher level of communal understanding. Modest about their rise to fame, the entire Ngoni Ba ensemble was overwhelmed when they were invited to appear at The 2013 Proms.
they are already doing real well. One day, just like it was with me and my father, one day I want them to be even better than me,” Bassekou says. “They should learn everything I know, and then surpass me. That is my goal.” Arriving in Canada hot on the heels of the release of their latest release, Bassekou Kouyaté and his orchestra of West African Bambara warriors are eager to regale North American audiences with their intricate yet timeless compositions. Whether he’s performing at Carnegie Hall or New Zealand’s WOMAD Festival, Bassekou Kouyaté is a world-class guitarist who initiates his audiences to the sonic landscape of traditional African songmaking as seen through a modern pop-rock lens. Bassekou Kouyaté performs with fellow Malian musician Fatoumata Diawara in Calgary on January 30 as part of EPCOR CENTRE’s BD&P World Music Series. Tickets at epcorcentre.org or 403.294.9494.
“In my new band, I am proud to have my two sons Madou and Moustapha playing with me now. I want them both to become great ngoni players and
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epcor centre presents
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January 30, 2014
Fatoumata Diawara & Bassekou Kouyate
$35
March 19, 2014
Charlie Musselwhite & Ruthie Foster
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Bayou Maharajah
Brothers Hypnotic
sc r een a n d p a p e r
For your eyes and ears Written by Jodi Lucas This season, EPCOR CENTRE presents a new series programmed to combine two things many Calgarians love the most: music and movies. Presented in the Arts Learning Centre just off Centre Court, we will screen six of the most entertaining films about music and pop culture we could find this season. These are stories of musicians and wildly creative individuals who are often unapologetic, sometimes perplexing, profound and humble but always passionate and humane. Up next in EPCOR CENTRE’s Music on Screen Series are two unique films highlighting maverick musicians who have truly blazed their own path. On February 13, we’ll show the Alberta premiere of Bayou Maharajah and on April 10, another Alberta premiere – the fabulous Brothers Hypnotic. Bayou Maharajah is the story of James Booker, New Orleans jazz piano legend. Pieced together from interviews with
Epcor Centre for the Performing Arts
those who knew him well and incredible footage of early ‘70s New Orleans, we get glimpses of an extraordinary natural talent, one whose enticing story teetered on the brink of obscurity. Equally comfortable in classical, bebop and jazz music, Booker was the piano teacher of a young Harry Connick and taught Dr. John the organ. He was also openly gay, lost an eye under nefarious circumstances and struggled his whole life with serious addiction problems. One of the most influential pianists ever to come out of New Orleans, Booker was synonymous with the flamboyance and high spirits of that great city.
Under the tutelage of their purist father, their routine included waking at 6:00 am and then spending hours rehearsing after school. They played around Chicago as the Phil Cohran Youth Ensemble and had the opportunity to perform for Nelson Mandela. As the brothers entered high school, they took their music to the subways of Chicago and formed an 8-piece brass ensemble. Now known as the Hypnotic Brass Ensemble, they have evolved together to tour the globe, performing with Mos Def, Tony Allen, De La Soul, Prince, Femi Kuti, Gorillaz and Erykah Badu amongst numerous others.
Brothers Hypnotic is the story of family united through music. This unique film follows the eight sons of Phil Cohran, legendary trumpeter for jazz iconoclast and cosmic philosopher Sun Ra. Raised in one household and reared by three different mothers, the brothers were devoted to music from an early age.
Movies screen twice nightly in the Arts Learning Centre at 6:30 pm and 8:30 pm, and admission is free. More information on upcoming films in the Music on Screen Series can be found at epcorcentre.org.
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Written by Tammy McGrath I am often approached by emerging artists who want to know how to “make it” in the art world. As someone who has worked in the arts for over 15 years, I can tell you that there is no one answer to that question. Each artist needs to find their own path. That being said, I have been very fortunate to belong to a strong art community throughout my career – my colleagues and mentors have been an integral part of my success.
This issue of Stephen is dedicated to mentorship and education. The following are some thoughts on the topic of “making it” in the arts from a few of my personal mentors; people who took an interest in the direction of my art practice and who were influential in how I view and navigate the art world. I am sincerely grateful for their ongoing generosity, support and encouragement not only of me, but for the communities that they inhabit and contribute to.
The idea that you can make a middleclass living in the arts is less an idea than a fantasy. Going to art school is also ridiculous. It is expensive and difficult; difficult not in the way that building a house or becoming a doctor is hard; difficult in the sense that there are no plans or maps for your version of the art life; you'll never really know (to your enduring satisfaction) if you are doing the right thing in the right way; difficult in that the very meaning of your existence is challenged. If, then, art chooses you, it is not for rational reasons. It is because you are called and submit to the struggle. That said, there is room for reason after you enter the art world. You need to take care of business. First, you should rethink the role of the artist. What you think an artist is comes from books, movies, or at least from previous examples, none of which are you. You have to write your own story to suit the times and your temperament. You need to have a reason for making art, a mission and an audience. Artists need to find creative means for matching their inner needs with the needs of their society in a way that is mutually satisfying and challenging. Oh, and you will need a paying job. Most 'successful' artists have supportive partners to help them during the stretches when they are less than 'successful'.
David Garneau
Associate Professor at the University of Regina, Department of Visual Arts
David Garneau, Dancer I. Oil on canvas. 152cm x 122cm. 2012
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When I was fresh out of grad school and just starting out in a professional career in the arts, one of the most important things that propelled me along was a good dose of competitiveness with peers. My early successes were really forged out of trying to keep up with my grad school buddy Andrew Wright. He helped me with my MFA show and a year later I helped him with his. He got an art residency at the Banff Centre, and then I would set out to do the same. I’d get a solo exhibition in Toronto and he’d set out to do the same… and on it went. You don’t get anywhere without people in your corner, helping to push you along and encourage the drive it takes to get through all the rejections that inevitably comes with a career in the arts. Andrew and I are both professors now, I’m at the University of Regina and he’s at the University of Ottawa. I think we both owe each other a debt of gratitude for the fires we lit under each other’s tails in those early years. It’s a cliché in the arts to say it’s all about community, but the truth of the matter is that no one really ever makes it on their own. You make your team and you go for it together.
Rachelle Viader Knowles
community, community, community. share, share, share. be generous to colleagues, work with and for them. you are every colleague they have and they are every colleague you have. nicely you and they all fit together in a huge juicy ball of community. kick butt, invent like crazy, don't take no from anyone – even yourself. importantly, you can do many, many, many things per day, per week, per month and never get tired – the more you do, the less exhausted you become, the more energy you have, the more ideas and passion you have, the more enabled you and your pals become, the more risks you may take, the more open in heart, head and hand you may become. goodly.
Associate Professor, Head and Graduate Coordinator at the University of Regina, Department of Visual Arts
Mary Scott
Artist and writer who lives in Calgary, AB
Artists need to find creative means for matching their inner needs with the needs of their society in a way that is mutually satisfying and challenging.
Over the years I have mentored hundreds of students who wanted to become professional artists, curators, critics, etc. Several have become very successful in their field of choice. What these people all have in common is that they are extremely curious and aware of the world they want to break into. Maintaining one’s curiosity is an obvious tip. Reading, going to shows, seeing what others are making, writing, organizing, etc., is important in order to stay current. But reading beyond the boundaries of contemporary art is also crucial. This means plugging into philosophical thought, gaining a historical perspective on art, understanding political and ecological debates, or delving into other fields that attract attention or foster debate in our society, and that render a practice relevant to the community at a given time in a given place. Be aware: understand the rules used by granting agencies and the public art adjudication system, understand how the art market functions, or what journal submission procedures are. This is really about being judicious in making choices about what to put out there, who to collaborate with, and how to present one’s work. Knowing the rules always makes for a better player. Successful artists, curators and critics intuitively know all this. They relentlessly feed and grow their knowledge base and establish themselves astutely into the art world.
Annie Gérin
Department Chair and Professor, Université du Québec à Montréal, Department of Art History
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success: noun the accomplishment of an aim or purpose • the attainment of popularity or profit • a person or thing that achieves desired aims or attains prosperity (Oxford Dictionary) Success as an artist is something I don't think about very often. To me success (or "making it") in our society has always seemed closely associated with making money. When I was graduating from the Alberta College of Art (ACA), back in 1969, I had a vague and naïve idea that I would sell my prints and paintings in a commercial art gallery and make a modest living. That defined success for me at that time. I even moved to Toronto in 1970, the art-capital of Canada, in order to be in an environment that was more conducive to achieving success. I approached commercial galleries in Toronto and found one to represent my work. While I was attending ACA, I became aware of the Dada, Neo-Dada and Fluxus movements. As I matured, the ideas and attitudes embodied by those movements came to dominate my thinking and attitude regarding art. I also became critical of capitalism and the accelerated growth of consumerism it caused and how that was affecting the mainstream art world. In 1972 I became involved in the Correspondence/MailArt (CMA) network, which was an alternative to the mainstream art world. CMA was freely exchanged and money was not involved in any way, I felt this was a way to exhibit and have a "career" as an artist and not have to be involved in the art-for-money-game. At around the same time I became aware of Artist-Run-Centres (ARCs) through A Space Gallery in Toronto. I felt that ARCs would be a viable alternative to the commercial art gallery system, and while living in Toronto, I became involved with some Artist-Run organizations. When I returned to Calgary in 1974 I became deeply involved in ARCs and spent a great deal of the following 20 years or more founding, running, rescuing, and, in one way or another, being involved in ARCs. In 1997 I became involved with Artist Trading Cards (ATCs) and spent a number of years promoting that concept. One of the attractions to ATCs was, once again, that there was no money involved; ATCs are traded not sold.
Don Mabie, Art is the Proper Task of Life. 8.5 x 11 inches, pen on card stock, April 15, 2012
I let my association with the commercial gallery in Toronto wane and I never really had any dealings with commercial galleries since. I never stopped selling my artworks; I just didn't make much of an effort to sell them. But from time to time I have sold artworks – I don't want to leave the impression that I am opposed to selling art. Since the early seventies I have not expected to make money directly from my art practice, so I have always had alternative ways of making a living in order to support my art-making practice. Over the years I have had a good time; I have travelled extensively and met a lot of very interesting artists and collaborators, and I live a comfortable life, all due to my art practice. Have I achieved success? Not by the standards of society as I understand them and I don't think I would call what I have done a success in any way, I just did it. I didn't really have aims or purposes to accomplish; I just lived my life and maintained an art practice as best I could.
Don Mabie
Artist, Nakusp, BC, CanaDaDa
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Don Mabie, You shouldnt have took more than you gave. 8.5 x 11 inches, pen on card stock, May 14, 2012
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1939 – Helen with her Dad, Dr. A. C. Steeves beside The Fighting Amazon.
Written by Helen Steeves Jull
A follow up to the Calgary Art History Mystery first published in the Spring 2013 issue of Stephen.
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The panther's claws raked the ribs of the terrified, rearing horse as the partially clad, female rider tried to defend them both with her spear, right before my fascinated five-year-old eyes. Everytime I went across the street from my house to play, stood this amazing statue in the centre of South Mount Royal Park.
Sadly, over the years the statue was vandalized and eventually removed, leaving only the plinth in the centre of the park for a number of years. In 1953, we took a picture of my Dad's Labrador dog on it but he refused to strike the pose of either the horse or the panther. Later, the plinth was also removed.
In the 1930s, the statue stood on a plinth and was encircled by a black cinder path and several spokes of similar paths which radiated out from it to the edge of the park, passing large, colourful flower beds on the way. A similar pathway encircled the park closer to the perimeter.
Although I did not know as a child what a treasure it was, in 2008 I found that our statue was a small bronze copy of The Fighting Amazon created by Auguste Kiss. It was first cast in 1837 and stands before the Altes Museum in Berlin.
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1939 – Helen and brother Jack Steeves with the Amazon statue.
Written by Daniel Lindley When I first spoke to Helen Jull about the Calgary Amazon work, she informed me that it was similar to one standing outside the main entrance of the Altes Museum in Berlin. This enabled me to track down another version of the sculpture outside the main entrance of the Philadelphia Museum of Art. Having been a dealer in art for over a decade, this fact was all I needed to determine that the artist who sculpted the original piece was August Kiss [German, 1802-1865]. Further research led me to an expert in the USA. As a result of our communications, I discovered that around 1911, a manufacturer in Berlin and two in New York state made copies of Kiss’ sculpture Amazon on Horseback Attacked by a Lion. Based on pictures from the 1920s in the Glenbow Museum Archives, and discussions with Ms. Jull and the American expert, it seems likely this was a zinc sculpture and it was probably around 3 feet 9 inches (or 114 cm) high. In the photo in the Spring issue of Stephen, the spear that should be held by the raised hand of the Amazon is missing. According to the American expert this is common. Zinc sculptures are “brittle and easily broken (and) the solder joins tend to come apart, especially as a statue ages.”
I was mystified as to how the work of a German sculptor came to be in a Calgary park in the early 1900s. After I read the article submitted by Daniel Lindley to Stephen magazine, I was delighted to meet with him. In his research, Daniel found that Richard Iverson, Calgary Superintendent of Parks in 1911 had trained in the parklands of Kaiser Wilhelm in Germany. Apparently he was the connection that brought the statue to Calgary.
I have still been unable to locate this statue, or what might remain of it. However, very recently I found a zinc copy of the same size that is available for purchase. There are much smaller marble, bronze and zinc versions that periodically are also available.
1953 – Helen with Skippy (dog) Steeves who temporarily replaces the vanished Amazon statue.
arts. culture. calgary. you
From my own personal perspective, and given the intriguing historical connection to the city, it is my opinion that one of these copies would be an irresistible potential donation to the Civic Art Collection.
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Creating Community through Arts Education Written by Stacey Dyck Public art is flourishing these days in our city, enhancing our buildings, parks, public transit corridors and other urban landscapes. Since 2011, The City of Calgary’s Public Art Program, called Public Art 101, has been hosting free professional development sessions for artists who are looking to transition their practice to the realm of public art. Topics are chosen based on expressed interest and are presented throughout the year at the historic Cliff Bungalow Arts Centre. Here is what past participants are saying about these educational and networking opportunities:
Mary-Leigh Doyle is a local artist whose painted utility box can be found on eastbound Memorial Drive.
I discovered Public Art 101 after participating in the Painted Utility Box program. Calgary’s growing and very accessible support of visual arts excited me and I wanted to be involved, no matter how small my own role might be. Through my participation, I have come to feel connected to every public artwork I encounter, whether I know the artist or not. Feeling a part of the scene has deeply influenced my attitude towards my own small contribution of a painted utility box, and has also raised my evaluation of what our city and its artists are capable of, especially when we work together. Bravo Calgary.
INCIPIO MODO were awarded the public art commission for the plaza located at 4th Ave. and 9th St. SW, resulting in the artwork Ascension.
The Public Art 101 sessions were fundamental for the establishment of our artistic practice in Calgary. We discovered a panorama full of options and ways to remain active participants in the field of public art. We discovered a city that supports their art community!
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Credit: M.N. Hutchinson
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Diana Sherlock
is a Calgary visual arts writer, curator and educator.
As a Public Art Board member and an instructor at the Alberta College of Art and Design, I was invited to present a how-to session at Public Art 101 that would assist participants in developing successful Requests for Proposals (RFPs). In many ways, the session mirrored some of what I teach at the College – basic proposal packages, curriculum vitae, project proposals including artist statements, but tailored for The City’s public art process. Civic processes can seem cumbersome and difficult as artists usually function within a different milieu, with completely different stakeholders. I appreciated the chance to guide participants, many of whom are new to the public art process, through the detailed ins-and-outs, and to show them that it actually isn't that difficult. It’s really just a matter of learning the language and the particularities of the system. I really enjoyed connecting with the diversity of participants and saw such great enthusiasm. It's amazing when people learn to navigate a process that will allow them to make their artistic visions come to fruition.
Monika Smith
is a ceramic artist living and practicing her craft in Calgary.
Public Art 101 certainly gave me ideas, wearing my hat as the president of the Alberta Potters' Association, on how to 'up our game.' It has also made me very aware of the responsibility of artists to create our own opportunities; to create excellent work, to show our portfolios and to apply. While I am still very much emerging, my studio is finally now open and I am developing a body of work that may expand into a larger, and perhaps more public realm. It has been very important for me to hear from artists who are successful in creating public art, including their fiscal management and the difference between commissioned and open calls. My first 'public' works will probably be displayed on my front lawn! Stay tuned.
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Barbara Hirst
whose education and training encompasses visual art, art education and art therapy, believes in the transformative power of art to help individuals change their perceptions and to improve their quality of life. Public art is about reclaiming spaces we use every day as sites for imagination and possibility. I have always believed in the transformative power of art; my graduate level work was in art therapy. Recently, I have come to understand the positive influence that creating work in public places can have on the people who use the site every day. While painting the murals, dozens of people came over to talk to me and tell me how much they appreciate what I am doing. When our city takes an interest in improving our living environment, and creating places that are visually interesting, it improves the overall quality of life. It causes people to take notice of their environment, contemplate what they see and consider new perspectives.
Corinne and Geoff Sandhurst are thankful for the strong arts community in Calgary, for both themselves and their children.
is a local fibre artist who is interested in working on a larger scale.
While on an artist residency at Spark Box Studio in Ontario last year, I was asked to co-ordinate a group of local knitters, spinners and weavers to install yarn graffiti in a small park. We asked for three hours to install, document and remove, but were granted an entire week. The response to our work was so overwhelmingly positive that we were extended for a second week. Without the Public Art 101 sessions, I'm not sure I would have had the knowledge of how to deal with the various departments we needed permission from!
Credit: Caelin & Kierra Sandhurst
My husband Geoff and I have attended a couple of the Public Art 101 sessions and always wish we had the time to take them all in. The welcoming atmosphere and the willingness of the artist presenters and The City staff to share their experiences and knowledge is inspiring. When we were young, naïve and excited about Geoff's art practice and its potential, we were eager to connect with other metal smiths. The message was, “Don't take pictures, don't ask questions and I do not share information about my 'trade' secrets.” It was disheartening and led us to a sense of aloneness in Geoff's art practice for many years. After those first experiences, we did not seek out guidance or advice from artists very often. To come to free sessions put on by The City, with amazing, generous and talented artists who are eager to share what they have learned with artists at all stages of their careers, is refreshing, revitalizing and creates a sense of community that we did not encounter in those early years.
To be added to the Public Art Program’s mailing list, email publicart@calgary.ca. Sessions are also posted at www.calgary.ca/publicart, on Facebook at CalgaryPublicArt and tweeted by PublicArtYYC.
Epcor Centre for the Performing Arts
Linda Cunningham
Sharon Fortowsky
is a local artist, art educator and arts supporter who thinks Calgary’s public art is one of the many things that make Calgary a great place to live!
As an artist, art educator and art lover, I was interested in learning about the process of public art, from the proposal through to how it lives in our communities far beyond its installation date. I was also interested in learning how I could be part of this exciting time when art-making involves conversations with such diverse groups as the public, infrastructure people, regulators, other artists, and more. The most surprising benefit has been that I’ve moved from thinking about public art as something done by others, to seeing my role in place-making and how, as an artist, I have opportunities to add to the greater conversation and experience. We have a Public Art Program that we can be very proud of. The people working in this field are very knowledgeable; they connect to the bigger contemporary art-making issues and advocate for art that will create a more dynamic, interesting and exciting place to live.
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Written by Steve Gin “All children are artists. The problem is how to remain an artist once they grow up.” – Pablo Picasso On any given day, I’ll steer students from Kindergarten to Grade 12 through epic battle scenes, soaring dance works and majestic symphonies. We’ll travel backward and forward through time to robotic birdhouses, European castles and outer space to meet a cavalcade of characters as varied as hockey great Bobby Orr, a whale made of Nike sneakers and Alice’s Mad Hatter. I’m a theatre artist who has the good fortune to work on the most amazing stage imaginable, The Art Gallery of Calgary (AGC). Alongside seven other creative and passionate arts educators, we take thousands of Calgary students on journeys through the world of contemporary art, in both our In-Gallery and Outreach programs. But it’s how we get to these places that’s unique, fun and magical. At the AGC, we believe in making learning active, participant-driven and relevant to students’ lives. Art education has too long been a top-down experience of telling students what art is about. Instead, we engage students by asking them to explore the works and express their own observations through drama, music, poetry, dance and their own art-making. Students transform the lines of Alex Janvier’s abstract paintings into sweeping group choreography, the pulsing beat of metal rock into lines, colour and form on collaborative canvases, and abstraction into complex characters who feel, move and dream.
Being small has its advantages. Students visiting the AGC have the gallery to themselves when they visit, with lots of room to explore and view the six different exhibitions we mount throughout the year. But we also realize that not every school has the resources to come to us. So we can also go to them. Every one of our school programs has strong connections with Alberta Schools Curriculum, and those ties become profoundly apparent in our ten outreach programs. In Off the Grid, we explore the science behind solar and wind energy, assign independent study of four historical/ecological sites in Calgary, and finish by having students create their own dioramas of site-specific alternative energy art installations. With My Uncle the Artist, we enter the world of Pop guru Andy Warhol by asking students to consider what a hero is, and to contemplate how
artists can change the world. Our most popular program, Weaving in Tunisia and Peru, explores the geography, family structures and trade relationships of these core Grade 3 countries, and teaches the fundamentals of weaving. And in our newest program, In the Company of Artists, we study the Canadian Fur Trade through the stories documented by historical and contemporary artists, culminating in a bookmaking project that marries drawing, poetry and music with felting and printmaking. When looking at art in our school programs, we see, hear, smell, feel and taste possibility. All the world is indeed a stage, but especially in an art gallery populated by inquisitive young minds. Visit The Art Gallery of Calgary’s website at artgallerycalgary.org, and go to “Education” to find out more.
Credit: Tabetha White
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calgaryki d s fest.ca
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family
The learning (and fun!) never ends at the Calgary International Children’s Festival Written by Kerri Savage The Calgary International Children’s Festival is looking forward to its 27th year in providing dynamic performances through critically acclaimed professional theatre, music and dance for young audiences. Since its inception in 1987, the Festival has become an international leader in arts presentation providing hundreds of thousands of young people, their parents and educators with performing arts experiences that spark imagination, inspire creative thought, encourage cultural understanding and foster a lifelong passion for the arts. A Festival with this kind of reputation and longevity doesn’t get there without constantly refreshing and reinventing itself. Going forward, the Festival will collaborate with EPCOR CENTRE for the Performing Arts as it strives to evolve and ensure continued access to the best creative talent the world has to offer. Putting together a Festival of this magnitude is no small feat. With his delightful demeanor, boundless sense of humour and passion for theatre, Brian Dorscht has the enviable task of curating the Festival experience each year. Brian holds a Masters in Theatre for Young Audiences (TYA) Development from Middlesex University. He has worked in the entertainment business since he was 9 years old, in roles as a performer, director, producer and
arts-collaborator. He was the founder and Artistic Director of Calgary Young People’s Theatre and continues to direct TYA at the University of Calgary. Stephen sat down with Brian recently to talk about some of the lessons he has learned over his years of experience with TYA: Stephen: How do you know when you have found the perfect show? Brian Dorscht: It is when I am sitting in the audience and watching the first few minutes of a show and I realize that I don’t have to care about how well the show is going to do because it is already fantastic! As a director I automatically become a critic and if I immediately start re-directing the show that is on stage, I know that there is an issue. But when I know that the performers have captured the audience’s interest right away and they have them completely engaged – visually and verbally – that’s when I say, it’s the kind of show I want to bring to the Children’s Festival. When I go and see a show, there are almost always children in the audience which provides a great gauge for presenters who look for shows. The show might be engaging for me, but if kids are moving around and talking while the show is on, it is a big indicator that there is either a lack of interest or understanding. S: Over the span of your career, what show has had the biggest impact on you and why? BD: It is called Attic under the Sky from Denmark. It is really intelligent and quiet and outside of dance or mime, it was my first time viewing theatre without words. It was 2009 and it was the very first time I saw children completely and quietly
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engaged in the performance. We just had to watch and listen to the sounds and read the actors as they took us on an adventure of life and history. The children were totally enrapt in all of it. I was teaching at the University at that time and I invited my students to see the show, and many of them went two or three times to see this particular show because it was exquisite from beginning to end. The puppets and objects on stage all became characters in the play and somehow we found a way to identify with all of them. I went to see it many times myself. That was an extraordinary time for me, that show. It is a whole other way of engaging with children. S: What lessons have the arts or particularly TYA taught you over the years? BD: The Calgary International Children’s Festival was the first Calgary festival I had ever attended with my own children. It opened my eyes to the variety and levels of theatre that exist around the world that you won’t necessarily experience unless you are at a children’s arts festival. Kidsfest opened my eyes to the wider, international art form. That was huge for me as an artist to look at that to decipher and critique. If you are an artist and you want to explore, or someone who just needs to sit in a creative environment and let your inner child recharge, you need to experience this. This also helps me as an educator. Every group I have taught at the University level and brought to the Children’s Festival have remarked that they never knew that shows like this existed. There are a lot of people who have experienced a TYA commercial show that are live stage versions of TV shows. Children’s Festivals provide a wonderful alternative to those productions.
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S: What is the hidden gem in this year’s line up? BD: How about my top two? (laughs) These shows provide the two extremes of Theatre for Young Audiences.
Australia, Cre8ion
Fluff is from Australia and it is a simple, joyful and humorous tale told with a twist and just slightly eccentric. On its international tour, it has been acclaimed for its originality, warmth, clever comedy and extraordinary combination of song, movement and new technology. It is a wonderful tale of three people who travel the world finding discarded toys which they bring back home to be cared for. Christine Johnstone is the creator and lead performer in the show. The characters sing about life and friendship and talk about being good to each other through a theatrical form. It is great acting with a wonderful visual experience.
Canada, Puppetmongers
Credit: Dahlia katz
I am bringing in a group called the Puppetmongers from Toronto who have been a major puppet company in Toronto for 25 years. Their form in puppetry and work with the Toronto Puppetry school has influenced many puppeteers internationally. The Puppetmongers are an award-winning brother and sister act who create very detailed, intricate and theatrical puppet shows based on classic tales. Their fully theatrical shows can incorporate many forms, from toy theatre to a variety of puppet forms, of which they manipulate and voice all the characters. They come to Calgary with Tea at the Palace, based on a Russian folktale. ~ The Festival runs May 21 – 24, 2014. To see the complete line up of performances or to buy tickets for the Calgary International Children’s Festival go to epcorcentre.org.
Epcor Centre for the Performing Arts
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C u lt u r e
Talented chef instructors are helping groups discover that cooking can be simple and enjoyable
Written by Melanie Simmons SAIT Polytechnic has turned team building into a kitchen party as the post-secondary’s Culinary Campus enjoys its second year in the heart of downtown Calgary.
neither of them knows what they are doing in the kitchen. Cooking breaks down those hierarchical barriers and allows co-workers to experience something new on an even playing field.”
The 10,000 square foot satellite Culinary Campus in the Scotia Centre along Stephen Avenue opened in September 2012 as a living classroom to provide students with real-world, hands-on experience. In addition to the Baking and Pastry Arts students and those working towards a Professional Cooking career, the Culinary Campus is regularly filled with corporate groups looking for a fun, interactive setting for team building.
The Culinary Campus has planned team building programs, but companies are also looking for a customized approach to best fit the needs of their group. It could be an introduction to cooking, or something specific like sauces or cake decorating.
“Cooking together creates a wonderful dynamic in a comfortable space that is traditionally the heart of the home,” says Lauren Bishop with SAIT’s School of Hospitality and Tourism. “You might have a CEO and an accounting administrator on the same team and
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One company has sent more than ten groups to the Culinary Campus and now several participants are returning to take classes with a friend or family member. “There’s a generation we’re seeing now that has no idea how to cook,” says Bishop. “Young professionals are used to buying everything, but we’re starting to see that group becoming interested in cooking healthy meals for their families.”
Bishop says the talented chef instructors are helping groups discover that cooking can be simple and enjoyable. Chef Michael Dekker – leading the Culinary Campus team – is an awardwinning former Executive Chef of Rouge restaurant. Chef Rolf Runkel was an Executive Pastry Chef at the Ritz Carlton Hotel in Grand Cayman prior to joining the crew at SAIT. Chef Georg Windisch was the Executive Chef at the Pan Pacific Hotel in Singapore, and Chef Andrew Hewson came to SAIT from the highly acclaimed Catch restaurant in Calgary. For those who can’t make it to a class, SAIT’s Professional Chef students serve lunch to go at The Market in the Culinary Campus weekdays from 11 am to 1 pm. For more information on SAIT’s Culinary Campus and available cooking classes and team building options, visit culinarycampus.ca.
Image (left) courtesy of SAIT. (Right) Shelley Bellchamber
arts. culture. calgary. you
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tools o f the t r a d e
Written by Marie Pollock This Season, the Calgary Philharmonic Orchestra welcomed a new face to the podium when Adam Johnson debuted as Resident Conductor. A graduate of the Université de Montréal, Johnson made his first appearance with the CPO at the opening concert of the 2013 – 2014 Season. Since arriving at the CPO, Johnson has been busy conducting concerts, participating in special events and getting to know the Calgary community. The Alberta terrain is quite familiar to him as he was raised west of Edmonton in Hinton and still has family both there and in Calgary. Johnson was selected as the CPO’s new Resident Conductor following a rigorous audition and interview process with applicants from across Canada. For Johnson, being selected to conduct the CPO was “a dream come true.”
“I was happy to have made it to the finals, and the fact that it was in Calgary was special because I have so many friends and family here,” Johnson says. “If I could have picked anywhere to conduct, it would have been here.” Johnson first got into music at a young age by playing piano, which he followed through to university. It was there that he decided to make the switch from piano to conducting – partly because conducting allowed him to delve into a broader repertoire, and partly because it opened him up to collaboration with other musicians. “I learned quickly that as a pianist, you live a pretty solitary life,” he says. “It’s a lot of practicing and a lot of touring by yourself. Being able to make music on stage with other people was one of the main reasons I decided to pursue conducting.” Johnson’s debut with the CPO definitely hit a high note. “This has been my first opportunity to work regularly with a professional Orchestra,” he says. “The level of talent is outstanding. It’s been a lot of fun to make music with them, and everyone’s been really welcoming and kind.” Johnson is often asked what being a conductor entails. “The conductor’s main job is to know the score and develop a vision for the music and how it should be played, and communicate that vision to the musicians,” Johnson says. While there is a practical element to conducting (the conductor’s movements help to set the timing of the piece), Johnson says that comes secondary to interpretation. An orchestra of professional musicians would be able to keep time fairly well even without a conductor setting the pace.
With a detailed music score and a group of talented, professional musicians, does an Orchestra really need a conductor? The short answer is yes. An Orchestra’s conductor brings together the individual elements of a performance (the music, the musicians) and turns them into a unified body. An Orchestra needs a conductor in the same way that a movie needs a director. “A director typically doesn’t write the movie, and he also doesn’t star in it. But the way he interprets the script and the way he envisions the movie has a huge impact on how the actors perform and what the impact of the film will be,” Johnson says. “There are certain nuances and subtleties that are unique to that particular director. A conductor is the same. They don’t write the music and they’re not playing an instrument in the Orchestra, but how a conductor interprets the score and communicates with the musicians determines how a piece will be played. The sound of the Orchestra will change depending on who’s standing in front of it, even if the music and musicians are the same each time.” Johnson plays a leading role in the development of the CPO’s Education and Outreach programs, conducting the majority of the community outreach concerts. He will also conduct a number of concerts in the Specials and Symphony Sundays for Kids series, and will serve as standby conductor for all concerts featuring Music Director Roberto Minczuk and those featuring guest conductors. Johnson’s upcoming concerts include Rewind: Hits of the ‘80s with Sheena Easton and Sam Harris, Stairway to Heaven: A Tribute to Led Zeppelin, Thriller: The Best of Michael Jackson, and Pops in the Park.
Image of Adam Johnson courtesy of the Calgary Philharmonic Orchestra
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tools o f the t r a d e
She is a wow with a side of OMG!
30 Years with Alberta Theatre Projects Written by Katt Boulet
Dianne Goodman, producer for Alberta Theatre Projects (ATP) has once again done the incredible. She has just celebrated her 30th Anniversary working for the company. “She is a wow with a side of OMG!” explains long-time friend and theatre colleague Pete Smith. “Impressive doesn’t do her justice, unbelievable doesn’t either. Tenacious? Nope. Joyous, supportive, kind – sure all of those things, but Di has an alltoo-rare quality to deliver herself to a place and a situation that is inspiring.”
Epcor Centre for the Performing Arts
Beginning her career at Alberta Theatre Projects as a stage manager in the fall of 1983, Dianne has gone on to spearhead countless programs, events and shows for the company. She became artistic associate in 1993 and was the production stage manager for the Enbridge playRites Festival of New Canadian Plays for over 20 years. Dianne is the recipient of the Dean Ott/Debbie Boult Award for Distinguished Achievement in Production, the 2005 Harry & Martha Cohen Award for Significant and Sustained Contribution to Theatre in Calgary and the 2005 Distinguished Alumni Award, Drama Department, from her alma mater, University of Regina, just to name a few. “She’s ready to pitch in, take on the hard parts, jump in her car and go do something to get’er done,” expresses ATP’s Artistic Director, Vanessa Porteous. “She’s always seeking to grow, learn, change, mentor and dig into life a little more every day.” Dianne Goodman has been an integral part of the LEGACY program at Alberta Theatre Projects, one of the organization’s
core pillars of programming. Dianne embodies the LEGACY acronym – Lifelong Education and Growth for Artists, Community and Youth. Through LEGACY initiatives, she has made an enduring contribution to Calgary’s community by participating in collaboration and mentorship, by offering new perspectives and a deeper appreciation for theatre by inviting, inspiring and engaging new audiences. Her encouragement has touched countless stage managers, interns and members of ATP staff. Dianne has supported the Fine Arts education system in Calgary and has enriched the lives of thousands of students in this city by creating the student initiative That $10 Ticket Thing. Her sustained commitment, dedication and willingness to shape the future faces of Canadian theatre is unparalleled. ATP is proud, honoured and humbled to have Dianne Goodman as a part of the company. Congratulations Dianne! “You are one of a kind,” concludes Pete Smith. “A kind we could all do a whole lot more of.”
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3,2,1… action! The Solution to Arts Cuts
Written by Dr. Patrick Finn I was asked to write about the recent funding cuts to the arts, but instead, why don’t we just solve the problem and move on? We have had too much dialogue and not enough action. Instead of pulling out the thesaurus and writing a masturbatory festival of righteous indignation, let’s just fix everything, so we can get back to work. Cuts to the arts are nothing new, but the ones in the news these days are those caused by a cascade effect from the recent cuts to post-secondary education by our provincial government. Academic administrators were sent reeling when the government announced that it was slashing budgets to education resulting in cutbacks to arts programs. Locally, the biggest impact came with
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an announcement that Mount Royal will be discontinuing its programs in theatre and music (among others), in the midst of constructing a new concert hall for some of those programs. But enough background – here’s the solution: Whenever you hear about arts cuts, you should think about buying assault rifles. In the United States, there is a wellknown organization, the National Rifle Association (NRA), that successfully promotes an agenda geared to sell as many guns with as few restrictions as possible. They are wildly successful. The majority of the American population is against their policies, but this lobby group repeatedly gets its way. Countless
people have been butchered and yet the NRA advances. Why? Because they do something rather than talking or writing about their own superiority. Want proof of their effectiveness? Between my first and second draft of this article, another mass shooting occurred in the United States and there are already advertising campaigns to keep the supply of guns flowing. We can learn from this organization. How do they do it? They lock up a small, but consistent portion of the electorate and report those numbers to politicians. They have less than ten per cent of the population, so don’t think we need to convince every Albertan that their child will be better off if they study dance (which they will be).
co m m u n i t y
As long as you believe our world gets better with the pursuit of new ideas, you belong with artists, scientists, researchers and those with open hearts and minds.
If we believe the arts are an essential part of society, here is what we need to do: Start an organization that focuses on the issue and signs up people to agree to vote for anyone who agrees with us and to vote against anyone who opposes us. Stay focused on the issue and only that issue. The organization should involve artists, researchers and scientists. Artists have a lot in common with researchers and scientists and all are receiving poor treatment in our country. Basically, we should include everyone who is interested in the exploration of new ideas. Right now, we are all having separate marches, but if we join hands we can skip the marching and just win the damn battle. The tough part is staying focused. We have to vote as a block. Forget about allegiance to a political party. You have to vote based on beliefs, not party allegiance. This approach works on a candidate-by-candidate basis as well as part of a broader election strategy. No more settling for a statement about the importance of culture from political leaders. Instead, we will give them a statement on the number of voters who will vote for or against them based on their demonstrated commitment to our issue. We have a political problem that requires a political solution. If we do nothing but
arts. culture. calgary. you
write reports and hold consultations, nothing will happen. We need people willing to commit to the issue and vote as a block. Politicians get more requests than they can fund. They have to spend in some areas and not in others. If we want them to fund the areas we believe are important, we need to forget about aesthetics, theology and philosophy and focus on math. We do that, and this whole problem goes away. Stop and imagine for a minute how great that would be. No really, stop. A society based on ideas. Back to the example of the NRA – they win vote after vote and their agenda directly leads to the slaughter of innocent people. It’s not hard to see that all that matters is votes. But that’s not a bad thing, that’s called democracy. Don’t waste another breath talking about why the arts are important, let’s just do some simple addition and send the numbers to our elected officials. We will help them build a better world and they will thank us for it. It’s our responsibility. One final, but important note: in many recent political campaigns, intellectuals have been falsely pitted against people of faith as if those with spiritual or religious beliefs were somehow opposed to science or free inquiry. This is a scam. People of faith think broadly and deeply
about big questions. They are natural allies of people of ideas. So let's not fall prey to that exclusion. As long as you believe our world gets better with the pursuit of new ideas, you belong with artists, scientists, researchers and those with open hearts and minds. Our leaders are not bad people. Nor are the boards that voted for the cuts we don’t like. They are forced to make tough decisions and we disagree with them. It does us no good to vilify them. We live in the most complicated time in history, so the last thing we need is to simplify the way we look at the world. We need more art, more math, more science, more ideas. We need less specialization, which was the hallmark of the industrial age. Instead of talking about how great art is, let’s take complete control of the issue so we can get back to the studio, the stage and the classroom and help innovate through fresh ideas in all areas. ~ Dr. Patrick Finn is an Instructor of Drama, Adjunct Associate Professor, Communication and Culture, of the University of Calgary.
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Anita Majumdar Actor
What was the moment or memory for you that made you realize you wanted to be in the arts? In grade 10, our drama teacher took us to a student matinee of Oleanna at the Vancouver Playhouse. Something strange happened. At the end of the play, the professor beats up the female student but all the kids in our matinee (save for our class) started cheering loudly. The actors refused to come out for the talkback so the moderator had us discuss women’s rights. It was a tense conversation, but an important one that wouldn’t have happened if it weren’t for that play. I was attracted to a medium that had the ability to change mindset under the guise of entertainment.
Who is your favourite artist and what about their work inspires you? Maybe it’s because I’ve been shooting Bollywood Star for a while now, but I would have to say it’s Bollywood actress, Madhuri Dixit. Certainly her acting inspired me to become an actor in the first place, but it’s her work as a dancer that makes my jaw drop. Not only does she lose herself in her Kathak dances, but she exudes this hallmark grace that’s specific to her. I love that in a dance tradition as old and codified as Kathak, a contemporary dancer can have artistic agency through one’s own interpretation and execution.
What has being involved in the arts and art in general contributed to your life? I am far more empathetic. Working in the arts asks me to remember my compassion, which seeps into the other parts of my daily function. Obviously, being an actor helps me feel someone else’s pain, but I find that being a playwright forces me to consider the motives of both sides of an argument, which helps me when I’m in conflict with someone or even when I pick up a newspaper and question the driving force behind policing powers around the world.
In your opinion, what role does the artist have in society? Simply, the artist’s role is to create art. That’s it. The artist has no obligations to speak to populist agenda or echo the sentiments of any given political or corporate policy. The artist’s role is to observe his/her life, reflect on that life and then create art based on observations from living life. The artist’s job is to offer perspective to the ongoing public discourse on human nature, which eventually contributes to delivering new awareness and standards of conduct to the next generation.
Why do you do what you do? To be completely honest, personal fulfilment. My parents each gave me a piece of advice that I’ve taken to heart my whole life. My father always told me to strive to have intellectual curiosity and my mother always encouraged me to do something that made me happy. In my job, because I have the opportunity to work closely with not-for-profit organizations in many communities, I truly feel that I get both. I believe that people give back the most when they feel honestly good about it and the curiosity side of me is constantly being fed by the incredible organizations and programs that I get to work with on a daily basis. Working for an organization like Cenovus
that gives back and values community organizations and the work they do is truly a wonderful thing.
to be exposed to the things that I was. Cenovus supports a program through Alberta Ballet called the Northern Tights Tour that brings the Ballet to rural communities in Alberta. It is programs like this one that give kids the opportunity to see something that they might never otherwise see. If it inspires just one individual to pursue their dreams then it’s a success in my mind.
arts become more prominent before my own eyes. Public art like the Peace Bridge and the beautiful sculpture outside of The Bow building – Wonderland by Jaume Plensa – are pieces of art that we have the opportunity to experience every day. I feel lucky to live in a city that is keen to share art with its citizens.
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What was the moment or memory for you that made you realize you wanted to be in the arts? I was lucky enough to have been exposed to the arts from a young age. I was never an artist in the traditional sense however I always enjoyed exploring my creative side and I’m lucky to have parents who encouraged this. I can’t think of an exact moment when I realized that supporting the arts was important, however as I grew up I realized that not all people were fortunate enough
How do you see Calgary’s relationship with art? I see Calgary’s relationship with the arts constantly evolving. I’ve lived here now for seven years and I’ve physically seen the
Has it evolved in recent years? Absolutely! I believe the evolution is a combination of the arts becoming more prominent and becoming more open and aware of what is happening in this city. For me, one of the biggest parts about growing an arts community in a city is getting its citizens involved.
Jessica Yarnell
Cenovus Energy Inc./Community Investment Advisor/Community Affairs
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co m m u n i t y
Dean Paul Gibson
Theatre Calgary Actor/Director Why do you do what you do? I divorced in 1990 and that forced a realization that I had always wanted to pursue a life in the theatre. I went for my theatre training which coincided with my relationship with Bard on the Beach [Shakespeare Festival]. That practical training has been invaluable to my career. Building a strong foundation in the classics has informed so much of my work in many other genres of theatre. For that, I will always be grateful to my ex. What was the moment or memory for you that made you realize you wanted to be in / support the arts? When I was young my escape was to immerse myself in the movies… which would
stimulate my vivid imagination. I applied that imagination by creating my own stories with the other children from the neighborhood. I would provide a setting, storyline and character assignment for each kid and we would re-enact, very liberally, the movies we had seen. All of this was a clear indication that I was a born performer… and maybe a little bit bossy.
and that ignited and fueled my need to succeed in the theatre. He was a towering talent with his deep passion for telling stories. His deft ability to navigate the classics while maintaining a profound and powerful foundation was a marvel to behold. His mercurial nature and alacrity of thought would certainly keep you on your toes, either onstage with him or being directed by him.
Who is your favourite artist and what about their work Where do you see our city inspires you? The late great getting passionate about Canadian theatrical pioneer, creative endeavours? Douglas Campbell Despite the was a champion economic and mentor times, it for me. has been He saw marvelous potential to see in me 4 questions about
communities like Calgary continue to dedicate resources to the growth of the arts. They recognize the need for artistic stimulation, particularly when circumstances or events threaten to overwhelm. When I heard about the devastating flooding and the unfathomable loss incurred by so many, including friends at Theatre Calgary, I was inspired to learn that, despite losing the set and costumes, the production of Romeo and Juliet went on [and] was successful and well-attended. It was a clear message that Calgary was intent on its recovery and that art was an important part of re-building its spirit and community. Bravo all!
why arts and culture matter to 4 people
Who is your favourite artist and what about their work inspires you? Sandra Shamas and Denise Clarke. They strike me as ladies cut from the same cloth – independent, fierce, driven and inspired to do their own work. They each have a distinctive voice and viewpoint that is evident in their work. When you see either of them in performance there’s no hiding – those ladies bring their whole selves to the stage. What has being involved in the arts and art in general contributed to your life? For certain it has made me a better human being. On the surface
the arts may appear to be just a form of entertainment or an elaborate pastime, and indeed as a young artist I agreed with this notion. I’ve come to understand however that an artistic practice is a profound exploration of what it means to be human. It has fostered a sense of community and belonging. If one allows it, the arts will lead you to extreme empathy. In your opinion, what role does the artist have in society?
I believe the artist has one foot in, one foot out, so that we can observe from a few steps away. The artist questions and reflects the human condition, and imagines wonderful solutions to everyday problems. Above all else, a good artist gets a conversation started and unlocks doors inside us that we didn’t know existed.
experienced tremendous support for my work in Calgary. I think there’s a real sense of ownership and pride that Calgarians take in “one of their own.” I know that developing original projects in Calgary has allowed me to grow as an artist and take bigger risks than I would elsewhere. There’s a sense of safety and welcoming that comes with being “home” that I’m ever grateful for.
Where do you see our city getting passionate about creative endeavours? I can only speak for myself. I’ve
Rebecca Northan
Actor, Playwright, Instructor
Epcor Centre for the Performing Arts
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Arts Education at Theatre Junction GRAND Written by Erin Jenkins
What is the value of arts education in schools? Where do the arts fit within an ever-changing, increasingly globalized world? How do we defend the relevance of art in a society largely obsessed with quantitative measures of success? Our city and our world have become increasingly complex. Multiplicity forms the foundation of the work and the vision at Theatre Junction, and this extends into all of our ancillary and educational programming, as we attempt to create a context for audiences, artists and youth around the value of art in society. Through workshops, artist talks and mentorship, we create an inclusive space in the community where the work presented can find a life beyond the theatre walls, planting itself in the mind of the spectator who carries these ideas into society. Currently, Theatre Junction has a number of core educational programs that serve this mission; The RBC Emerging Artists Workshop Series offers local emerging artists the opportunity to participate in intensive workshops with the visiting artists in our season, exposing local artists to diverse artistic practices and infusing the local community with a global perspective. The First Calgary Financial Mentorship Program offers 16 high school students the unique opportunity to learn about creating their own original performance through an intensive workshop series with
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our Company of Artists, while developing one-on-one mentoring relationships with theatre professionals. Theatre Junction also offers post-performance Artist Talks that allow the audience to engage with the performance on a deeper level, and these conversations often extend into further discussions in the restaurant and lounge or at post-show gatherings in the Studio. More information on all of our education programs can be found by visiting our website theatrejunction.com. Our city and our province are at a crossroads. We have seen unprecedented economic growth that has made us financially prosperous. Calgary has become a city people move to in order to make money, but they go elsewhere for culture. Many of our most promising artists leave our city in order to pursue opportunities in other more culturally influential centres. At this crossroads, Calgary has a decision to make about what kind of community we want to be. Are our connections with each other simply economic ones? Is the primary function of a society to ensure that we have the ability to make (lots of) money and to isolate ourselves from concerns about the health and vibrancy of our society as a whole? Art provides a medium through which the artist may say something to the public, about how they see the world, or about how we may live together. It expresses
something that cannot simply be said in ordinary terms. Because it demands interpretation from its audience, it empowers the spectator as a participant in the performance and also as an active participant in a society. Because it is not confined to a literal interpretation of reality, it offers an opportunity to represent things in a different way, allowing us to envision something new, to see the possibility or necessity for things to change, to gain a new perspective, to imagine how things could be different. A vibrant arts scene is always the benchmark of a healthy society. In this current climate of widespread cuts and rollbacks to arts education, I worry about the future of our city. More and more, our most promising artists will be forced to move elsewhere in order to pursue their education. The likelihood of them returning is dubious. Without the artists to dream about new possibilities, to see new opportunities, to bring us together, to nourish our spirits – what will be left? Will we simply be a series of economic relationships with no way of imagining a better future? ~ Erin Jenkins is the Education and Outreach Coordinator at Theatre Junction GRAND.
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The Arts provide a solid foundation for learning Written by Allison Simpson As supporters of the arts, we all know the benefits of arts education. Creativity improves critical thinking. Theatre improves literacy. Music improves mathematical understanding. There are innumerable tangential benefits of arts education. But how effectively can the arts be used as tools for learning and engagement in other subjects? The Rozsa Foundation is partnering with Trickster Theatre and the University of Calgary’s Faculty of Education to find out. Trickster Theatre has a long history of developing theatre with students across Alberta. For 23 years, Trickster has worked with schools to create collaborative productions featuring up to 500 students. Exploring themes like bullying, history, literary genres and global citizenship, each week-long workshop results in a 90-minute original show that is presented to students and their families. With over
arts. culture. calgary. you
500 residencies under their belts, Trickster is well-positioned to prove the benefits of using the performing arts to investigate a wide range of subjects. On this solid foundation, the Kids Go Global project is being built. Combining in-school residencies, online collaboration and real-world engagement, Kids Go Global creates encompassing learning experiences for students. Non-government organizations will partner to create meaningful relationships with local schools and facilitate encounters with children around the world. Business leaders will coach and invest in social enterprises that are developed by participants. And students will learn about international development, business practices and community engagement through performance theatre. The Rozsa Foundation’s mission is to build capacity in Calgary’s arts sector.
Since 1990, the Foundation has invested in the creation, presentation and effective administration of the arts in Calgary. The legacy of founders Ted and Lola Rozsa is one of exploring new frontiers, and it is in this spirit that the Foundation has partnered with the Kids Go Global project. A gift to the University of Calgary’s Faculty of Education will support scholarly study of what researcher Brittany Harker Martin terms “socially empowered learning” which could impact the pedagogical approach at both the university level and in the local classroom. Building on the strengths of the business community, a new social enterprise curriculum has been developed and partnered with Trickster Theatre’s established record of educating through the arts, where students will have access to truly unique learning experiences.
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Written by Jennifer Johnson As adults, it can be easy to overlook the importance of our first significant impressions from our childhood. Those moments that colour the manner in which we view the world for the many life experiences to come. I remember gathering for a Grade 3 assembly in my small town school gymnasium. An orchestra was visiting; the room bubbled over with excitement and then grew silent as the music began. I’d never heard anything like it – a supersonic crescendo, all instruments rising together with sound, the maestro’s hands waving madly – all culminating in a massive crashing finale. Then it was quiet again. In that single moment of heart-pounding silence, jaws dropped before the applause burst forth. I knew something had changed in me. I wanted to hear it again – no, feel it again. That feeling of something so much bigger than my Grade 3 self, knowing that no one person could ever create that moment alone. We went back to class still high on the energy of the performance, buzzing amongst ourselves and feeling thrilled that only those of us who were in the room would ever truly know what we’d just experienced. That impression has stayed with me, changed my perspective forever and has motivated me to share that amazing feeling with other people, especially children. That experience I had with an orchestra as an eight-year-old initiated my journey into an arts career. In my role as Director of Programming and Arts Education at EPCOR CENTRE, that perspective, and the need to chase “that feeling” fuels me to lead a team who creates rich, experiential programming. Our goal is to inspire the next generation in their creativity and how they view the world, and possibly even influence others to choose an arts career. And sometimes, it’s just about offering amazing entertainment!
Epcor Centre for the Performing Arts
I see the results of this work when I am interrupted from my spreadsheets by a class of students giggling in the adjacent hallway, sticky fingers covered in paint from making Inukshuks and learning about Northern culture. One of those kids might become a visual artist or perhaps an oil rig worker stationed in a northern environment, one who appreciates First Nations culture.
school boards in the development of future curriculum for Alberta schools. We are committed, together with our education partners, to fulfill Alberta Education’s mandate. Alignment with these principles ensures the sustainability of the critical thinking and experience required to administer arts education programs that are relevant not only in our education system but within our society.
EPCOR CENTRE takes its role as a leader in arts education very seriously with its vision to “engage and inspire community through the power of art.” Over the course of the 2012 – 2013 school year, EPCOR CENTRE engaged 8,453 Calgary and area students through arts and cultural experiences. Close to 500 teachers from 312 schools participated in arts-based, professional development opportunities. And, thanks to generous sponsors who believe whole-heartedly in arts education, $47,568.00 in arts services were provided by EPCOR CENTRE to our community schools, free of charge.
As Western Canada’s largest arts centre, EPCOR CENTRE is able to make meaningful connections through its strengths which include infrastructure of arts administration, access to diverse artists, venue space and resources. The Centre provides the vital support in facilitating arts education experiences which complements the role of the arts in school systems and for teachers who represent a wide range of curricula. The Centre creates programs for both teachers and students that utilize the principle of teaching through the arts, including seemingly unrelated subjects such as math, science and social studies.
The Calgary Board of Education is also a huge supporter of what we do. The Centre is thrilled to participate in the CBE’s Fine Arts Committee, and is also a stakeholder in working with
As I have personally experienced, arts learning programs contribute to a life long journey by providing diverse arts and cultural experiences. EPCOR CENTRE plays an active role in exposing the next generation to the power of arts. When a school, teacher or community group has the need to develop or participate in a meaningful experience, EPCOR CENTRE can facilitate that need – it’s simply what we do, and we love to do it. It is one of the many ways we share in and contribute to the future of the community in which we live. If you’d like to learn more about EPCOR CENTRE’s Arts Learning programs or how to support Arts Learning initiatives at EPCOR CENTRE, please contact me at 403.294.9494.
SummerACT students on stage (ages 10 -12) take a final bow.
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Dianne Goodman Producer, Alberta Theatre Projects @contemporaryATP
Written by Laurel Green The road to a career in the Arts is filled with twists, turns, and more than a few potholes but for those tenacious enough to continue the journey, there is one heck of a view. Looking ahead can be daunting, and the best route to take is not always clear when every turn seems fraught with peril. To go to school or not go to school? To take a full-time job or to work freelance? To stay in the not-for-profit sector or to go corporate? How do you make a game plan to achieve success in this industry? During a panel discussion at Raucous Caucus, a weekend for emerging artists at Alberta Theatre Projects, Steve Schroeder, Executive Director of the Calgary International Film Festival, shared his thoughts on working in the Arts. To paraphrase, he suggested that if your plan doesn’t seem to be working out or if it takes you somewhere that you never anticipated, then it is time to ‘expand your definition of Plan A.’ Simply put: rather than feeling like you have strayed off course, embrace the journey. I spoke with four individuals who work in the Arts, each employed by one of the resident companies at EPCOR CENTRE and who have built their careers by being creative, versatile and flexible. Their responses demonstrate the importance of remaining passionate and curious. You simply can’t predict where your interests and abilities will lead you.
Ann: No. I never finished a degree. Two and a half years in, I stopped. And it has always been a regret of mine. One day, I will go back and finish it. It is on my bucket list.
When you were a kid what did you want to be when you grew up? Ann Connors: I know this may be hard to believe but as a kid, I wanted to be a nun [and] live in a convent. I grew up next door to the church and the convent and was completely fascinated by these mysterious women. I even chose my confirmation name… I would be Sister Theresa. Dianne Goodman: An archeologist. Ellen Close: The Prime Minister of Canada, a novelist, an actor, and a ‘lady farmer.’ These weren’t separate dreams but rather part of one coherent plan: I would sell my crops to support my charitable activities as Prime Minister. Johann F. Zietsman: When I was a kid I did not think about growing up! I only started thinking about this question when I was serving in the military – and became an architect.
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Do you have a University degree? What is it in?
Dianne: Bachelor of Fine Arts (Honours) in Drama from University of Regina. What was your first job? Ann: I started working part-time for the daily newspaper The Evening Telegram when I was 15 in the paste-up department. It was before the digital age and we would receive the copy from all the writers and classified departments and assemble each page by hand.
Ellen: I have a diploma in Acting from the National Theatre School. Johann: Architecture and I also have a Masters Degree in Music. What is the best piece of advice given to you by someone you respect? Ann: “Be yourself. Never change who you are but always know who your audience is.”
Dianne: Mail order fill clerk at Sears warehouse in Regina (which I worked at part-time to put myself through University until I moved away post-graduation).
Dianne: “Treat everyone as if they are equally important.”
Ellen: Slinging popcorn at a movie theatre in junior high.
Ellen: “Why do it if it doesn’t make your spirit dance?”
Johann: Principal of a new music school.
Johann: “UBUNTU: I am because we are.”
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Johann F. Zietsman President and CEO, EPCOR CENTRE for the Performing Arts @jzarts @yycARTS
…the best route to take is not always clear…
Ann Connors High Performance Rodeo Co-Producer & Managing Producer of Ghost River Theatre
Ellen Close Artistic Producer, Downstage
@AnnMConnors @HPRodeo @GhostRiver
@ellenclose @DownstageYYC
What do you want to learn more about this year?
Are you the only member of your family that works in the Arts? Ann: In my immediate family, yes. But, I am number 13 of 14 kids and with an extended family that spans the globe. So there may be others out there that I am not aware of. Dianne: Yes. Ellen: No. My younger sister has a degree in painting and my younger brother is in university, where he is the editor of a literary journal. My parents are strong supporters of the arts and creative people in their own right and encouraged all of us to build our lives around our passions, although my mother did suggest that it would be more practical for me to get an English degree. Johann: Yes, although most are involved in the Arts somehow.
arts. culture. calgary. you
What are you an expert in? Ann: Wow. Tough to call yourself an expert in anything. But I think my strongest points are in people management and community engagement and in bringing things together. Dianne: That's for others to decide – I just do the best I can.
Ann: I will be doing the Executive Arts Management Course with the Haskayne School of Business this year. I am looking forward to it as I think it will give me a better understanding how things work locally and I know it will give me the opportunity to meet some fabulous administrators from Alberta. I want to find some time to learn more about creation spaces; incubators for work, spaces where artists can have the time they need to create. I am really interested in this issue. Dianne: Everything/anything I can.
Ellen: I know far too much about Jimmy Stewart.
Ellen: Puppetry and amazing arts administration best practices, especially around community engagement.
Johann: Arts management, global arts perspective and the role the arts play in communities.
Johann: How arts management models are changing or have to change to meet future realities.
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Written by Kristi Millar Imagine being the youngest of six children born into a musical family where everyone reads music, there are two pianos in the house that your sisters use to produce beautiful duets and you are expected to pursue music as well. Now picture your fourth piano teacher giving up because they just can’t teach you to learn to read music. What do you do?
This fall I had the opportunity to connect with Mary over the phone from her home in Portland, Oregon to get her perspective on what being an artist means to her and, in light of the ongoing cuts to arts education in North America, ask her for some ideas around how people can continue to pursue an education in the arts on their own.
in the Schools program – a group that provides a resident artist to teach students about how the blues relates to a variety of curriculum from history to math; teaching workshops and week-long guitar camps (she is planning to host her own guitar camp in Oregon in October, 2014); creating instructional DVDs and conducting private one-on-one sessions.
Well, if it’s the ‘60s, you discover folk music and the guitar. Then you learn to play that guitar by ear, spend your high school years with that ear next to a record player and go on to become award-winning blues and ragtime guitarist, vocalist, songwriter, arranger and educator Mary Flower.
For Mary Flower, having a career in the arts means independence, a self-made career, the ability to share what she knows with others when she is teaching, camaraderie shared with other like-minded people and a deep level of satisfaction with the choices she has made. In addition, she loves the feeling of having others respect her work enough to seek her out for instruction.
The United States has also been cutting back on funding for the arts in recent years (in Portland the residents voted on and implemented a $35 per household “Art Tax” in order to keep art programs in the schools) and I asked Mary if she had any suggestions for people who are interested in learning about art but may not have access to art programs where they live. She responded with some great ideas:
Mary uses the Piedmont style of finger picking which involves using a regular, alternating thumb bass string rhythmic pattern that supports a syncopated melody using the treble strings that are picked with the forefinger. She has twice placed in the top three at the National Finger Style Championships for guitar and is the only woman to do this.
Those are all amazing things to experience in relation to the work she does and not enough people can say that about what they encounter in their dayto-day lives. So how did she get there? Mary attended a Catholic school from kindergarten to grade 12, which offered a music program but, because religious music was not at all appealing to her, it was a struggle. That all changed in high school when she discovered folk music and guitar and formed her own groups. After high school, in what Mary describes as a misdirected choice and definitely the wrong degree, she studied theatre for three years at Indiana University before realizing that she just wanted to play music. Her music career was beginning to take off and she was getting impatient with her studies so she left university and the world of music opened up to her. Since then, Mary has excelled as a musician and has explored another passion – teaching others about music. She has been involved with the Blues
- Check your local Community Centre for art classes - Seek out private music teachers - If there are no art programs in your school, start your own group and learn together - Join a theatre group or a choir - Go out and see it live - Go on the internet as there are lots of online resources available (many of them free) Mary went on to say that these activities can never replace what is lost when these programs are removed from the curriculum but they can definitely help. Mary Flower will be appearing at EPCOR CENTRE’s Engineered Air Theatre as part of the PCL Blues Series on Friday, March 14. Tickets are available at epcorcentre.org.
Credit: Absolute Images
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National Geographic Live student matinee
Thanks to Corporate Calgary
By Shelley Spackman For many Calgary students, a trip on a school bus from the suburbs to the skyrise-laden city centre to see a performance in a theatre is a unique experience. Blend in the opportunity to listen to a world-renowned speaker who has discovered the Titanic and you have the unparalleled magic that is the National Geographic Live student matinee series.
community investment pillars is learning: building strong and prosperous futures."
For the past two-and-a-half years, EPCOR CENTRE has presented this series with the generous support of corporate Calgary. To date, more than 15,000 students have visited the Jack Singer Concert Hall to hear dynamic and proven speakers who are considered among the best in their field – the aforementioned Robert Ballard being one of them.
And at the end of every performance, Cenovus also makes sure that each student gets a copy of the iconic National Geographic magazine to continue the inspiring learning at home.
When Vicki Reid, Director of Community Affairs for Cenovus was approached to become a student engagement sponsor for the matinees, she says "it was very easy to say yes. One of the oil company’s
“This really fit in the niche,” remembers Reid with a smile. “The ability to give children a special learning experience, I believe that is taking them away to a different world, a different culture that is just a wonderful thing to give children.”
“Really who knows what this experience may stimulate for a child,” adds Reid, who has sat in the audience at a few student performances. “Every kid in the Jack Singer Concert Hall is just mesmerized.” What truly sets the Student Matinee series apart is the EXPLORE National Geographic program. Of the 15,000
students who have attended a show – almost half have been able to do so at no cost. Busing to and from EPCOR CENTRE, tickets for students and chaperones and access to curriculum-linked speakers and content are all free, thanks to corporate support from companies like RBC, ConocoPhillips Canada, Suncor Energy, Shell Canada, Talisman Energy, TELUS, Cabra Consulting Limited and Saskatchewan Mining and Minerals. “This was excellent – we are a high needs school and we greatly appreciate the funding we receive to take students to this event. It is one of the few field trips that we get to go on. Thank you,” wrote one teacher after attending the “Journey to Vietnam” presentation in 2013. “And really that is what it’s all about,” says Rodney McCann, president of Saskatchewan Mining and Minerals.
Credit: Richard Lam
Epcor Centre for the Performing Arts
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Written by Howard Szigeti Unique Lives & Experiences is a lecture series that was founded in 1992 in Toronto. The concept of live lecture entertainment – Talk Theatre – was brought to realization by the Unique Lives production team when it specifically targeted women's demands for intelligent entertainment and meaningful, issues-driven discussions. The result was an instant hit and Unique Lives has been programming inspiring and informational events for women for the past 21 years. The series has expanded to include many cities in the US and Canada and is now launching its 2nd season at EPCOR CENTRE’s Jack Singer Concert Hall.
series has created a distinctive opportunity for women from all walks of life to gather at a common venue for a night of sharing, learning and discussion.
Over the past two decades, Unique Lives has presented captivating stories from such remarkable women as Lady Margaret Thatcher, Barbara Bush, Barbara Walters, Benazir Bhutto, Dr. Maya Angelou, Coretta Scott King and hundreds more. Unique Lives has developed an unbreakable bond with its audiences as a result of the outstanding quality of the guest speakers and the desire to enjoy a “night out with the girls”. The speaker
This year’s line up at EPCOR CENTRE’s Jack Singer Concert Hall kicks off with retired Canadian Member of Parliament, Deborah Grey on Tuesday, February 4. Hers is an inspired story of how someone from humble beginnings with genuine ambition and an incredible sense of fun can go on to accomplish great things. On Wednesday, March 5, astronaut Chris Hadfield takes the stage – an extraplanetary media star who is simply out
"Women are inclined to share and to ask questions, whereas men tend to make statements," says executive producer Howard Szigeti. "Test groups showed that women wanted interactive, inspirational entertainment, something that could both move and educate them. We're providing them with a forum for discussion with some of the most influential women of our times.”
of this world. The series continues with country music superstar Naomi Judd on Tuesday, April 8. Her New York Times bestseller 20 Choices to Transform Your Life will be a breakthrough guide for many. On Wednesday, May 7, Laura Ling tells the truth about her captivity in North Korea. You’ll get a rare glimpse into the most isolated country on earth. The series ends with the fearless confessions of Academy Award-winning actress, Shirley MacLaine on Monday, May 26. You’ll learn about the metaphysical, alternative therapies, extraterrestrials and life after death. If you’re looking for inspirational stories and words of wisdom that will change your life, Unique Lives & Experiences is a series you won’t want to miss. Education doesn’t have to be confined to libraries or classrooms – get out of the ordinary and discover new possibilities at EPCOR CENTRE. For more information go to uniquelives.com.
Images left to right: Deborah Grey, Chris Hadfield, Naomi Judd, Laura Ling, Shirley McLaine. Courtesy of Unique Lives & Experiences.
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Annual general meetings • Business meetings • Convocations • Film screenings • Fundraisers • Galas • Press conferences • Receptions • Weddings • Workshops and more! •
Book your event today!
403.294.7455 epcorcentre.org
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january – april
January 15 – 25
Antoine Feval Presented by One Yellow Rabbit and Vertigo Theatre’s BD&P Mystery Theatre Series, part of the 28th Annual High Performance Rodeo
EPCOR CENTRE Box Office All tickets available at 403.294.9494 or epcorcentre.org, unless otherwise noted. Calgary Philharmonic Orchestra Box Office 403.571.0849 or cpo-live.com.
January 11
Vertigo Studio Theatre
10-Minute Play Festival
Barnaby Gibbs happens upon what he thinks is a burglar one hot August night, only to find out he is actually the famous detective Antoine Feval – and a crime-fighting duo is born!
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Martha Cohen Theatre
Various Times
In this landmark Rodeo event, the city’s most exciting indie theatre companies create an original 10-minute play in 24 hours, inspired only by a prop and a line of dialogue!
Credit: Trudie Lee
What’s on and what’s coming up at EPCOR CENTRE for the Performing Arts
8 pm
Event Festival Music Theatre Visual Arts
January 9 – 11
A Brimful of Asha Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Engineered Air Theatre Real-life mother and son, Asha and Ravi Jain, share the stage to candidly share this very Canadian story of love and marriage. 7:30 pm
January 10 & 11 January 1
New Year’s Concert 2014: Salute To Vienna Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall Ring in the New Year Austrian style with this brilliant re-creation of Vienna’s world-famous New Year’s Concert. Featuring a talented cast of over 75 musicians, singers and European ballroom dancers in beautiful costumes, this concert of Strauss waltzes, polkas and operetta excerpts will take your breath away. Presented in partnership with Attila Glatz Concert Productions. 2:30 pm Matinee
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Film Heroes: The Music of John Williams and more Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall The creative genius of film music composers John Williams, Miklós Rózsa, Hans Zimmer and other greats is celebrated in this orchestral salute to some of Hollywood’s biggest blockbusters including Harry Potter, Indiana Jones, Star Wars and Ben Hur. 8 pm
January 13 – 25
6.0: How Heap and Pebble Took on the World and Won Presented by One Yellow Rabbit and Lunchbox Theatre, part of the 28th Annual High Performance Rodeo Lunchbox Theatre Professional ice-dancing is a dog-eat-dog world of camp and competition – especially without ice. Various Times
January 15 – 19
BOOM Presented by Theatre Calgary and One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Max Bell Theatre BOOM is a riveting one man tour-de-force that captures the defining moments of the baby-boom generation. See why Entertainment Weekly has called Rick Miller "one of the 100 most creative people alive today.” 7:30 pm Wed & Thu 8 pm Fri & Sat 2 pm Matinees – Sat & Sun
January 15 – 25
Munich Now Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Big Secret Theatre In the television studio of a German weekly talk show, a hardhitting journalist knocks heads with a testy celebrity chef while interviewing their special guest – a lapsed pop star on a book tour. 8 pm
January 16 – 18
Young Drunk Punk Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Martha Cohen Theatre Comedian, writer, director and legendary Kid in the Hall Bruce McCulloch combines stand-up, live music and assorted autobiographical insights in Young Drunk Punk. 8 pm
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January 17
Chris Thomas King Presented by EPCOR CENTRE’s PCL Blues Series EPCOR CENTRE’s Engineered Air Theatre King is known for his unique interpretations of the blues. He was the first artist to introduce hip-hop, sampling and deejaydistorted electronica into the genre. In addition to being a proficient bluesman, King had a major acting debut in 2001 in the Coen brothers' film O Brother, Where Art Thou. Expect the unexpected with Chris Thomas King. 8 pm
January 17 & 18
Beethoven’s Fifth Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall Barber’s lyrical Violin Concerto and Tchaikovsky’s Rococo Variations build the momentum and set the stage for Beethoven’s Symphony No. 5, the ultimate Beethoven experience, bringing the evening to a triumphant conclusion.
January 22 – February 1
January 24 – 26
January 29
Do You Want What I Have Got? A Craigslist Cantata
Gob Squad’s Kitchen (You’ve Never Had It So Good)
Presented by Alberta Theatre Projects and One Yellow Rabbit as part of the 28th Annual High Performance Rodeo
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo
Rewind: Hits of the ‘80s with Sheena Easton and Sam Harris
Martha Cohen Theatre
A live film in the spirit of Andy Warhol’s films complete with bad coffee, nervous breakdowns, wild parties and modern hairstyles.
Facebook, Twitter, text, email, LinkedIn, Meetup, Vine! From the office to the grocery line, our living rooms to our bedrooms, our digital world is taking over. How are we supposed to connect in the digital era? What do the things we buy and sell say about us? This show by CBC’s Bill Richardson and singer/songwriter Veda Hille brings to life the stories behind the trash and treasures offered on Craigslist in a heartfelt and hilarious musical.
January 23
Beethoven’s World Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall Beethoven’s influence on the musical landscape was revolutionary, shaping the music of his time and beyond. Explore Beethoven’s world alongside the composers whose works he admired, and those he inspired. This one-hour concert is part of the Rush Hour Series. 6:30 pm
January 22
Presented by EPCOR CENTRE’s Jazz Series
Royal Canadian Legion #1 Super Night Shot is a multiscreen film/theatre piece in which the city becomes the setting for a fantastical mission. 7:30 pm
EPCOR CENTRE’s Jack Singer Concert Hall From busking on the streets of Paris to mainstream recognition, Madeleine Peyroux is blessed with a distinctive voice and sound that has been likened to Billie Holiday. Singing jazz since she was 15, this Americaborn, French-reared and charmingly humble musician bravely explores new ground.
EPCOR CENTRE’s Jack Singer Concert Hall From synth-pop to hard rock! Multi-Grammy Award-winning pop icon Sheena Easton and Star Search champion Sam Harris pay tribute to the era where big hair was all the rage and the songs of George Michael, Cyndi Lauper and Bon Jovi dominated the airwaves. 7:30 pm
January 29
Garter Girls Cabaret Starring Peekaboo Pointe January 25
Beethoven’s World Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall Beethoven’s influence on the musical landscape was extraordinary, shaping music of his time and beyond. Explore Beethoven’s world alongside the composers whose works he admired, and those he inspired.
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Big Secret Theatre Employing a range of storytelling tactics from bawdy humour to raw introspection, the Garter Girls achieve an original and wildly entertaining take on the art form of burlesque. 9 pm
January 29 – 31
8 pm
Triangular Theories Of Love
January 28
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo
The Walrus Talks: Tomorrow January 24
Madeleine Peyroux
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo
7:30 pm
7:30 pm 2 pm Matinees – Sat & Sun
8 pm
Super Night Shot
Royal Canadian Legion #1
Presented by Calgary Philharmonic Orchestra
Presented by Enbridge, The Walrus Foundation and One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Jack Singer Concert Hall Featuring eight inspiring speakers sharing their perspectives on the issues that matter. How do we take the best parts of today to build a strong tomorrow?
Pumphouse Theatre W&M Dance Theatre with Calgary Poet Laureate Kris Demeanor create a multidimensional world where four couples navigate the way through their strange trappings attached to long-term relationships. 8 pm
7 pm
8 pm
Epcor Centre for the Performing Arts
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January 30
January 31 & February 1
February 4
February 9
Fatoumata Diawara & Bassekou Kouyate: Messages from Mali
All The Way Cabaret
Deborah Gray
Matt Andersen
Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo
Presented by Unique Lives & Experiences
Presented by Tooth Blackner Presents
EPCOR CENTRE’s Jack Singer Concert Hall
EPCOR CENTRE’s Jack Singer Concert Hall
Deborah Grey’s quick wit and sense of humour (which often got her in trouble during her youth and on Parliament Hill), now characterize her style on the platform, alongside her compassionate nature. Though she had a long career in public life – an MP for the Reform Party and the Conservative Party – her desire to make a difference for others began much earlier. Her no-nonsense approach to life includes believing in compassion and honesty, and in the ability to laugh at oneself.
Matt’s narrative-driven lyrics cut through the soul, blending blues and folk, encompassed in total honesty. He takes listeners on a ride with his diverse musical styles, skilled guitar work and over-the-top showmanship. Matt's intimate, high-energy performances have captivated audiences across the world.
Presented by EPCOR CENTRE’s BD&P World Music Series EPCOR CENTRE’s Jack Singer Concert Hall Be mesmerized by the music of Mali with this unique doublebill of rising stars from West Africa. Diawara and Kouyate visit Calgary for a special engagement that will take you away with sounds from the Sahara. Experience the ngoni, a lute-like instrument central to the griot (historian or storyteller) culture of Mali. 7 pm
January 30
Club Carousel: A Cabaret Celebration of Calgary’s Gay History Presented by One Yellow Rabbit, Third Street Theatre and The Calgary Gay History Project, part of the 28th Annual High Performance Rodeo
EPCOR CENTRE’s Big Secret Theatre Join the incomparable Denise Clarke, the mysterious Blake Brooker, the always-on One Yellow Rabbit team and our many featured and fabulous local performers and entertainers. 10 pm
February 1
Wine Stage Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo Gasoline Alley Grand Exhibit Hall, Heritage Park Historical Village Sexy, stylish and sophisticated, Wine Stage celebrates its 15th year as Calgary’s premier wine and food event. 7:30 pm
7:30 pm
February 5 – 15
A Bomb in the Heart Presented by Downstage EPCOR CENTRE’s Motel A sudden phone call sends 19 year-old Wahab out into the night, fighting a blistering snowstorm as he travels to his dying mother’s hospital room. But his real struggles are those in his mind, as he sifts through how he has come to be where and who he is.
EPCOR CENTRE’s Big Secret Theatre This tribute to Calgary’s first known gay bar will feature inspiring performances based on the origins of Calgary’s LGBTQ community. 9:30 pm
8 pm 2 pm Matinees – Fri & Sat
January 30 – February 1
Agokwe Presented by One Yellow Rabbit, part of the 28th Annual High Performance Rodeo EPCOR CENTRE’s Engineered Air Theatre Agokwe is a remarkable testament to the joys and tragedies of growing up marginalized by race and sexuality within a small rural community. 7:30 pm
February 1
Debra DiGiovanni: The Late Bloomer Tour Presented by Just For Laughs EPCOR CENTRE’s Jack Singer Concert Hall Gemini and Canadian Comedy Award winner Debra DiGiovanni delights audiences with her signature style of loveable, confident awkwardness on The Late Bloomer Tour. 7:30 pm
February 8
Bowfire: Sizzling Strings Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall String sensation Bowfire returns with their all‑star line-up of virtuosic fiddlers. This fastpaced spectacle delivers a mix of Celtic, rock, bluegrass and classical music, not to mention astounding step and tap dancing, singing and spectacular costumes too! Get ready for a string extravaganza unlike any other. 8 pm
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8 pm
February 11
Exploring Mars with Kobie Boykins Presented by EPCOR CENTRE’s National Geographic Live EPCOR CENTRE’s Jack Singer Concert Hall A dynamic engineer at NASA‘s Jet Propulsion Laboratory, Kobie Boykins is on the front line of Mars exploration. Boykins recounts the challenges and triumphs of the Mars exploration rover missions, sharing remarkable images and discoveries that continue to come to us from the Red Planet. 7 pm
February 11 – March 9
Major Barbara Presented by Theatre Calgary in co-production with The American Conservatory Theater EPCOR CENTRE’s Max Bell Theatre Young Major Barbara of the Salvation Army is dedicated to saving souls. When she is reunited with her father, a weapons manufacturer, it seems the two are destined to see the world through very different eyes. In this battle of good versus evil, finding a winning side is never as simple as it seems. 7:30 pm Tue – Thu, Sun 8 pm Fri & Sat 2 pm Matinees – Sat & Sun
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February 13
February 21 & 22
February 28 & March 1
March 4
Music on Screen: Bayou Maharajah
Cirque Musica: Aerials and Acrobats
Tchaikovsky and Brahms with Stefan Jackiw
Cork & Canvas Wine Tasting
Presented by EPCOR CENTRE
Presented by Calgary Philharmonic Orchestra
Presented by Calgary Philharmonic Orchestra
Presented by Calgary Philharmonic Orchestra
EPCOR CENTRE’s Jack Singer Concert Hall
EPCOR CENTRE’s Jack Singer Concert Hall
Willow Park Wines & Spirits
Be dazzled and astonished by the breathtaking, jaw-dropping displays of daring acrobats and aerialists suspended high above the Orchestra, all seamlessly choreographed to dynamic and beautiful music from the worlds of classical and popular music repertoire.
Experience outstanding young violinist Stefan Jackiw’s virtuosic fireworks display when he performs Tchaikovsky’s explosive Violin Concerto. Brahms’ peaceful Symphony No. 3 contrasts the mood with its pastoral radiance.
Bayou Maharajah explores the life and music of New Orleans piano legend James Booker, the man Dr. John described as “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced.” A brilliant pianist, his eccentricities and showmanship belied a life of struggle, prejudice and isolation. 6:30 & 8:30 pm Screenings
8 pm
FREE – Limited seating
February 22 February 14 & 15
Curtis Salgado
Romantic Rachmaninoff with Pavel Kolesnikov
Presented by EPCOR CENTRE’s PCL Blues Series
Presented by Calgary Philharmonic Orchestra
EPCOR CENTRE’s Engineered Air Theatre
EPCOR CENTRE’s Jack Singer Concert Hall
Curtis Salgado has been singing the blues since he first began playing professionally in the late 1960s. Winner of the 2010 and 2012 Blues Music Award for Soul Blues Artist Of The Year, Salgado effortlessly mixes blues, funk and R&B. Salgado promises to deliver an honest and gritty performance, tougher and more focused than ever.
The ultimate romantic composer, Rachmaninoff’s sumptuous Piano Concerto No. 3, showcased in the film Shine, is performed by the electrifying 2012 Honens Prize Laureate, Pavel Kolesnikov. Paired with Rachmaninoff’s Symphony No.1, this concert makes for a perfect Valentine’s Day date night.
Goo Goo Dolls Presented by Live Nation EPCOR CENTRE’s Jack Singer Concert Hall
March 5
After more than two decades as a band, with nine albums, and a catalog of songs that have become ingrained in the pop consciousness, the Goo Goo Dolls are feeling particularly good about their new album: Magnetic. 7:30 pm
8 pm
February 23 February 19
The Name is Bond
March 3 & 4
The Splendour of China: Butterfly Lovers and Yellow River
Presented by Calgary Civic Symphony
Grizzlies, Piranhas & ManEating Pigs with Joel Sartore
EPCOR CENTRE’s Jack Singer Concert Hall
Presented by EPCOR CENTRE’s National Geographic Live
This concert features music from the Bond films. Breakfast Television’s Tara Slone is our Bond girl and brings her Juno-nominated vocal talents to some of the most famous theme songs from such movies as Live and Let Die, Goldfinger, Diamonds are Forever, For Your Eyes Only and Skyfall.
EPCOR CENTRE’s Jack Singer Concert Hall
EPCOR CENTRE’s Jack Singer Concert Hall Journey to the Far East and immerse yourself in the splendour of China. Become lost in romance with Butterfly Lovers, performed by the dynamic Yi-Jia Susanne Hou, and sample a taste of Chinese history with Yellow River, performed by brilliant Chinese pianist Xiayin Wang. 7:30 pm
2:30 pm
He’s suffered infection from a flesh-eating parasite and been charged by a mother grizzly bear. National Geographic photographer Joel Sartore literally stops at nothing to get the story. Sartore shares harrowing stories from his travels around the globe and his award-winning photographs of both fierce and gentle wildlife and some of our planet’s endangered species. 7 pm
arts. culture. calgary. you
7 pm
March 2
8 pm
Presented by Calgary Philharmonic Orchestra
Sample classic favourites and exciting new wines from a variety of wine makers while enjoying hors d’oeuvres from some of Calgary’s finest artisan shops and restaurants.
8 pm
Credit: Joel Sartore
EPCOR CENTRE's Arts Learning Centre (Centre Court)
Chris Hadfield Presented by Unique Lives & Experiences EPCOR CENTRE’s Jack Singer Concert Hall Don’t miss an evening with a Canadian icon who is out of this world. “Good morning, Earth,” tweeted Colonel Chris Hadfield while living aboard the International Space Station for over five months. During his stay in space, Hadfield became something of an extra-planetary media star. 7:30 pm
March 5 – April 6
You Will Remember Me Presented by Alberta Theatre Projects as part of Enbridge playRites Festival of New Canadian Plays EPCOR CENTRE’s Martha Cohen Theatre A new play by Governor General's Award-winning playwright, François Archambault. How will you be remembered? How will you remember those you love? This eloquent drama about family and memory is a deeply personal and moving new play from one of Québec’s most dynamic voices. 7:30 pm 2 pm Matinees – Sat, Mar 29 & Sun, Apr 6
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March 6 – April 5
March 7 & 8
Legend Has It
Hungarian Rhapsody
Presented by Alberta Theatre Projects as part of Enbridge playRites Festival of New Canadian Plays
Presented by Calgary Philharmonic Orchestra
EPCOR CENTRE’s Martha Cohen Theatre
Embark on a journey of wild abandon and free-spirited revelry, including Liszt’s demonic “Dance of Death” performed by acclaimed pianist Alain Lefèvre. Hungarian conductor Gregory Vajda presides over this concert of lively and colourful music inspired by his homeland.
There’s a hero hiding inside all of us. Legend has it there is a hero out there who will courageously take on a quest to right evil wrongs and save the inhabitants of a vulnerable world. Could it be you? Rebecca Northan, the improvisational genius behind the international success Blind Date and her merry band of master improvisers invite one audience member on stage to be the hero in a fantastic tale. 7:30 pm 2 pm Matinees – Sun, Mar 30 & Sat, Apr 5
March 7 – April 5
Games Presented by Alberta Theatre Projects as part of Enbridge playRites Festival of New Canadian Plays EPCOR CENTRE’s Martha Cohen Theatre In our rapidly changing world the unknown can be frightening, especially when you’re a parent. Marion and Dan are terrified of losing their teenage son Zach to the world of online gaming. Are their fears real or is he just being a teenager? The lines blur between reality and virtual reality in this powerful and inventive new drama by one of Canada’s great playwrights, Linda Griffiths. Parental guidance is advised. 7:30 pm 2 pm Matinees – Sat, Mar 22 & Sun, Mar 23
Credit: Absolute Images
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EPCOR CENTRE’s Jack Singer Concert Hall
8 pm
March 9
Mozart’s Magnificent Voyage Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall When Mozart’s young son Karl longs to be taken from his boarding school to spend more time with his famous father, a magical old travelling trunk reveals an incredible journey back in time. This charming production features excerpts from Mozart’s most recognizable works. Symphony Sunday for Kids. 2 pm Instrument Petting Zoo 3 pm Concert
March 12
March 14
Mary Flower
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Presented by Calgary Philharmonic Orchestra La Chaumière Restaurant A classical conversation at its best – French cuisine and live music. Experience a little joie de vivre at this four-course luncheon with wine pairing and musical interlude. 12 pm
EPCOR CENTRE’s Engineered Air Theatre
March 18 – April 6
Mary Flower is celebrated for her uniquely personal vision of roots music that blends ragtime, acoustic blues and folk. Her Piedmont style is technically stunning yet grounded in the down-to-earth simplicity of early 20th century American music. 8 pm
March 14
Cork & Canvas Craft Beer Night Presented by Calgary Philharmonic Orchestra Willow Park Wines & Spirits Your chance to experience two of Calgary’s hottest new trends – artisan beer and gourmet food truck cuisine.
Same Same But Different Presented by Alberta Theatre Projects as part of Enbridge playRites Festival of New Canadian Plays EPCOR CENTRE’s Big Secret Theatre Lights, cameras, Bollywood! How do you keep it real in an increasingly plastic age? Shake, shimmer and sing – that’s how. Same Same But Different explores the complex personal journeys of those dreaming of stardom in the Bollywood cinema. Blending fabulous music and stylish choreography, this genre-busting production brings a vibrant and vivid style of storytelling to the stage. 7:30 pm 2 pm Matinees – Sat & Sun
7 pm
March 19 March 14 & 15
Presented by Calgary Philharmonic Orchestra
Celtic Celebration with The Barra MacNeils
EPCOR CENTRE’s Jack Singer Concert Hall
Presented by Calgary Philharmonic Orchestra
Described as the “heaviest band of all time” by Rolling Stone, get ready to rock as the CPO and Jeans ’n Classics pay tribute to one of the most influential bands in history. Relive Led Zeppelin classics like “Stairway to Heaven”, “Dazed and Confused” and “Kashmir.”
EPCOR CENTRE’s Jack Singer Concert Hall Widely regarded as one of the greatest live concert acts in the Celtic world, The Barra MacNeils are bringing their distinctive East Coast flare to Calgary. Join the most exciting party in town and come prepared for a foot-stomping good time. 8 pm
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Cork & Canvas La Chaumière Luncheon
Presented by EPCOR CENTRE’s PCL Blues Series
Stairway to Heaven A Tribute to Led Zeppelin
7:30 pm
March 18
Charlie Musselwhite and Ruthie Foster Presented by EPCOR CENTRE’s BD&P World Music Series EPCOR CENTRE’s Jack Singer Concert Hall This amazing double-bill is guaranteed to make Calgary sing the blues. Don’t miss this rare opportunity to see two great blues artists. Musselwhite brings with him nearly 50 years as an experienced bluesman and Foster is known for her astounding voice and unstoppable charisma. 7 pm
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March 25 – April 20
March 31
April 6
The Mountaintop
Honens on Stage: Stephen Hough
John McDermott
Presented by Theatre Calgary EPCOR CENTRE’s Max Bell Theatre
March 21
Kurt Elling Presented by EPCOR CENTRE’s Jazz Series
Martin Luther King Jr. in his moment of truth. A truly original and unexpected look at what it means to feel human in a fight for humanity. 7:30 pm Tue – Thu, Sun 8 pm Fri – Sat 2 pm Matinees – Sat & Sun
EPCOR CENTRE’s Jack Singer Concert Hall American jazz vocalist, composer and lyricist Kurt Elling brings to Calgary selections from his latest release, 1619 Broadway – The Brill Building Project, recorded as a tribute to the famed hotspot of the music industry.
Celtic Woman Presented by Madstone Productions EPCOR CENTRE’s Jack Singer Concert Hall
High tea and high fashion come together at this elegant afternoon affair. Put on your finest hat, fancy gloves and stylish shoes and join the fashion parade.
McDermott continues to enchant audiences with his beautiful tenor voice and sensitive renditions. Though time and travel have introduced him to new material and experiences, he retains the charm and humour that first endeared him to audiences. For this 20th Anniversary Tour, McDermott will highlight a variety of songs from his early recordings through to his latest releases.
Over the course of a long and distinguished career as one of the world’s leading concert pianists, he has also excelled as a writer and composer which has resulted in many awards and accolades for his concerts and a discography of more than 50 recordings.
Presented by Calgary Philharmonic Orchestra
Cork & Canvas The Art of Whisky
EPCOR CENTRE’s Jack Singer Concert Hall
Presented by Calgary Philharmonic Orchestra
Broadway’s Beatlemania star and top-ranked Paul McCartney tribute artist, Tony Kishman, uncannily brings to life “Hey Jude”, “Penny Lane”, “Let It Be”, “Yesterday” and the many other songs that transformed The Beatles’ Paul McCartney into one of the most successful artists of all time.
Willow Park Wines & Spirits
Presented by Calgary Philharmonic Orchestra
The Fairmont Palliser
Honens’ second British pianist this season, Stephen Hough, is a rare renaissance man of our time.
March 28
7:30 pm 3 pm Matinee
Presented by Calgary Philharmonic Orchestra
EPCOR CENTRE’s Jack Singer Concert Hall
7:30 pm
Live and Let Die: A Tribute to Paul McCartney and the Beatles
Navigate through the world’s finest whiskies. Sample single malts to super premium barrel selections perfected over 600 years of distilling history.
Cork & Canvas High Tea in Style
EPCOR CENTRE’s Jack Singer Concert Hall
April 2
This all-new stage production will celebrate spellbinding Celtic heritage through an extraordinary presentation of traditional Irish anthems, pop standards and original music by Emmynominated music producer, David Downes. The Emerald Tour will showcase inspiring performances of timeless music with the unforgettable, angelic voices of Celtic Woman.
March 22
Presented by Shantero Productions
7:30 pm
8 pm
March 22
Presented by Honens
7 pm
7:30 pm
March 28 & 29
Beethoven’s Triple Concerto with the Gryphon Trio
EPCOR CENTRE’s Jack Singer Concert Hall Beethoven’s Triple Concerto, performed by the double Juno Award-winning Gryphon Trio, promises to captivate. The Orchestra concludes the evening with Sibelius’ Symphony No. 5, the fourth of five “Famous Fifth” symphonies to be presented this Season.
April 5
Cork & Canvas Winemaker’s Dinner & Auction Presented by Calgary Philharmonic Orchestra Calgary Petroleum Club Your evening begins with a champagne reception followed by an elegant five-course dinner with perfect wine pairing. Enjoy lively bidding on amazing auction items – all in support of the CPO.
April 8
Naomi Judd Presented by Unique Lives & Experiences EPCOR CENTRE’s Jack Singer Concert Hall From humble beginnings as a single mom in a small Kentucky town to her meteoric rise as a country music superstar, Naomi Judd’s incredible journey is an inspiring story of overcoming the odds through optimism and hard work. Today, Naomi is a survivor of Hepatitis C and uses her fame and experience as a former RN to share her story. Don’t miss this remarkable survivor. Her life is yours to share. 7:30 pm
6 pm
8 pm
2 pm
Epcor Centre for the Performing Arts
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April 10
Music on Screen Brothers Hypnotic Presented by EPCOR CENTRE EPCOR CENTRE's Arts Learning Centre (Centre Court) For the eight young men in the Hypnotic Brass Ensemble, “brotherhood” is literal: they’re all sons of anti-establishment jazz legend, Phil Cohran, trumpeter for Sun Ra Arkestra. Cohran and their mothers raised them together on Chicago’s South Side on a strict diet of jazz, funk and Black consciousness. But as the brothers try to make their own way they must decide whether their father’s principles really are their own. 6:30 & 8:30 pm Screenings FREE – Limited seating
April 10
April 13
April 23 – May 3
21st Annual Lawson Lundell Celebrity Hors d’Oeuvres
Calgary Concerto Competition
My Family and Other Endangered Species
In support of Alberta Theatre Projects
Presented by Calgary Civic Symphony
Presented by Downstage
Southern Alberta Jubilee Auditorium
EPCOR CENTRE’s Jack Singer Concert Hall
Join Calgary’s top restaurants and most recognizable faces as they compete in a race to conquer your palate at Calgary’s famous food frenzy! Watch the chefs at work, enjoy live entertainment throughout the evening and vote for the best hors d’oeuvre of the night.
Rolf Bertsch and the Calgary Civic Symphony host the winners of the 33rd Calgary Concerto Competition. These young virtuosi represent the best of Calgary’s vibrant musical scene – the stars of tomorrow!
6:30 pm
April 12
2:30 pm
April 16
Kenny Garrett Quintet
EPCOR CENTRE’s Big Secret Theatre Nine-year-old Phineas William Walsh has an encyclopedic knowledge of the natural world. What he doesn't understand, though, is why his parents can't live together. My Family and Other Endangered Species is a funny, imaginative and moving new play that will engage young adults and adults alike with a fastpaced story about environmental anxiety and puppets that transform from everyday objects.
Air Supply in Concert
Presented by EPCOR CENTRE’s Jazz Series
8 pm 2 pm Matinees – May 2 & 3
Presented by Calgary Philharmonic Orchestra
EPCOR CENTRE’s Jack Singer Concert Hall
April 25 & 26
EPCOR CENTRE’s Jack Singer Concert Hall
Leading alto saxophonist Kenny Garrett first became famous as a young member of the Duke Ellington Orchestra and then later with Miles Davis’ band. Garrett brings to Calgary his latest notes from his Grammynominated latest release Seeds From the Underground. The album consists of original compositions and gives homage to those who have inspired him throughout his successful career.
Air Supply still rules the classic rock airwaves with their hearttugging ballads, “All Out of Love”, “The One That You Love”, and “Making Love Out of Nothing At All”. Original vocalists Graham Russell and Russell Hitchcock belt out hit after massive hit in this very special performance. 8 pm
7 pm
Guitar Sensation! Brazil’s Yamandu Costa Presented by Calgary Philharmonic Orchestra EPCOR CENTRE’s Jack Singer Concert Hall The dynamic Brazilian guitar virtuoso returns by popular demand to perform the famous Concierto de Aranjuez, resplendent with exhilarating Spanish passion and lush colour. The deep intimacy between Costa and his 7-string guitar is unforgettable and spellbinding. 8 pm
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th a n k y o u
EPCOR CENTRE wishes to express our sincere appreciation to the following corporations, foundations, governments and passionate community leaders who give generously to support EPCOR CENTRE as we play a key role in the social, economic, cultural and intellectual life and well-being of Calgarians. Corporate Sponsors & Foundation Partners Burnet, Duckworth & Palmer LLP BD&P World Music Series Cabra Consulting EXPLORE National Geographic Cenovus Energy Inc. National Geographic Live ConocoPhillips Canada Resources Corp. Artists in the Classroom Arts Education Program EPCOR CENTRE Box Office National Geographic Live Dinner Optimist Club of Calgary Arts Education Program Harry and Martha Cohen Foundation Jazz Labs Nexen Jazz Labs PCL Construction Management Inc. PCL Blues Series Royal Bank of Canada National Geographic Live Rozsa Foundation TD Arts Access Pass Saskatchewan Mining and Minerals Inc. EXPLORE National Geographic SerVantage Services Inc. Soundasaurus Shell Canada EXPLORE National Geographic Suncor Energy National Geographic Live
Official Suppliers and Sponsored Goods or Services Big Rock Brewery Inc. Official Brewery 2013 Big Rock Eddies CJSW Radio 90.9 FM Soundasaurus CKUA BD&P World Music Series EPCOR CENTRE Presents Jazz Series Calgary Herald 2013-2014 Season Sponsor FFWD PCL Blues Series Soundasaurus Fresh Kitchen VIP Receptions, BD&P World Music Series Great Events Group Corp. VIP Receptions EPCOR CENTRE Presents Jazz Series Hyatt Regency Calgary Official Hotel KARO Group - Calgary Website Design Red Tree VIP Receptions, National Geographic Live Rhino Print Solutions Official Printer Teatro Founders Circle Events Willow Park Wines & Spirits Official Supplier of Wines & Spirits
Talisman Energy Inc. EXPLORE National Geographic TD Bank Group TD Arts Access Pass TELUS EXPLORE National Geographic Government
FOUNDERS CIRCLE Honourary Members Dr. Martha Cohen, CM, LL.D. Sandra LeBlanc Vera Swanson, O.C. Legacy Builder Members John McWilliams, Q.C. & Susan McWilliams Henry Sykes, Q.C. & Molly Naber-Sykes Pioneer Members David & Roxanne Dunlop R. Scott Hutcheson Gregory & Alexa Kudar Bill MacLachlan Stu & Vicki Reid Corporate Member Don Douglas, United Communities Visionary Members Bob & Sue Benzen Greg Epton & Greg Robertson C.A. Siebens Margaret Southern Rod Villanueva Evelyn Wigham Tharrie & Johann Zietsman
Members Angela Avery & Dave Newby Bill & Diane Chomik Bryan Clarke & Michel Bourque Patricia Dalk & Terry Burton Norm & Colleen Dickson Rob Easson Jane Golubev & Igor Tesker Brian & Annette Hester Daniel Hlady & Lisa Walli Joni Hughes & John Thompson Wes Jenkins M. Ann McCaig L. Oldridge & E. Cramer Jock & Diana Osler Vince & Cheryl Rodych Shelley & Devin Spackman Vera Swanson, O.C. Gloria & Ray Wilkinson
explorers CIRCLE Event Sponsor Ken & Chris Havard, Event Sponsor - Exploring Mars Members Sandra & Simon Barker Bob & Sue Benzen Cabra Consulting David & Roxanne Dunlop Greg Epton & Greg Robertson Brian & Annette Hester
Please note that only gifts of $1,000 or more are listed above. To inquire about becoming a member of Founders Circle or Explorers Circle, please contact Ms. Michelle Comeau at 403.294.7455, extension 1465, or mcomeau@epcorcentre.org. For a complete list of individual donors through Founders Circle, Explorers Circle and corporate, foundation and government supporters of EPCOR CENTRE, please visit our website at epcorcentre.org.
Government of Canada through Canada Council for the Arts, Canadian Heritage and Service Canada Government of Alberta through Alberta Foundation for the Arts, Alberta Lottery Fund The City of Calgary through Calgary Arts Development Authority and Community Services Please note that only gifts of $10,000 or more are listed above. arts. culture. calgary. you
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us
Getting here
Facility RentAl
EPCOR CENTRE for the Performing Arts is located on Stephen Avenue, in the heart of downtown Calgary.
EPCOR CENTRE offers its state-of-the-art venues for rent. Exhibitions, business meetings, workshops, convocations, fundraisers, weddings and wine & cheese receptions – be it business or pleasure – we have the space and the service for you. Information: 403.294.7455, ext.1407
205 8th Avenue SE, Calgary, AB T2G 0K9 EPCOR CENTRE General Inquiries Phone: 403.294.7455 Fax: 403.294.7457 E-mail: info@epcorcentre.org Online: epcorcentre.org Park the car
Underground parking is available at EPCOR CENTRE. Enter off Macleod Trail between 9th & 8th avenues. $5 evenings and weekends. Other options include: • Civic Plaza parkade located at
322 - 9th Avenue SE. • Telus Convention Centre parkade
situated off 1st Street SE between 7th & 8th avenues. • Palliser Square, located on the south
side in the 100 block on 9th Avenue SW. Access to EPCOR CENTRE is via the +15 network. • Surface parking lots in the 200,
300 and 400 blocks on the south side of 9th Avenue SE. • On street parking meters are also
available and are free evenings after 6 pm and on Sundays. Take the LRT
C-Train LRT runs along 7th Avenue, one block north of EPCOR CENTRE. If going eastbound, get off at Centre Street Station. If going westbound, get off at the City Hall Station. Accessibility
All EPCOR CENTRE venues offer wheelchair accessibility and wheelchair seating. Please phone ahead to the box office and let them know you have a wheelchair, so we can provide the best possible service for every patron.
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resident companies / Ticket information
Alberta Theatre Projects EPCOR CENTRE Box Office at 403.294.9494 or epcorcentre.org or in person at 225 - 8th Avenue SE ATP office 403.294.7402 atplive.com Calgary International Children’s Festival EPCOR CENTRE Box Office at 403.294.9494 or epcorcentre.org or in person at 205 - 8th Avenue SE CICF office 403.294.7414 calgarychildfest.org Calgary Philharmonic Orchestra Box Office at 403.571.0849 or in person at 205 - 8th Avenue SE cpo-live.com Downstage EPCOR CENTRE Box Office at 403.294.9494 or epcorcentre.org or in person at 205 - 8th Avenue SE downstage.ca One Yellow Rabbit EPCOR CENTRE Box Office at 403.294.9494 or epcorcentre.org or in person at 205 - 8th Avenue SE Show Information 403.294.7411 oyr.org / hprodeo.ca Theatre Calgary EPCOR CENTRE Box Office at 403.294.9494 or epcorcentre.org or in person at 205 - 8th Avenue SE Theatre Calgary office 403.294.7447 theatrecalgary.com