From Tori Sutton at the Stratford Gazette:
"The Stratford Shakespearean Festival has entered into a 20-year lease agreement for the Tom Patterson Theatre.
"At Monday night’s meeting, council passed a resolution to enter into the agreement, which will see Festival occupy the theatre 12 months of the year.
"The first year’s rent will be $52,710, with a five per cent increase each year, eventually climbing to $133,195.57 in 2028.
"This will be the first time the Festival has been granted sole occupancy of the building. In the past, the building has been used not only as a theatre, but a facility for the Stratford Badminton Club and local volleyball teams.
"The badminton and volleyball players have been relocated to the new Agriplex, which is currently under construction.According to background information provided by the community services department, the building generated $40,556 in rent income in 2007.
"The new agreement between the city and the Festival states the city will carry out all capital repairs or replacements, including roof repairs and structural defects. The Festival has been given the green light to renovate the lobby and washrooms at its sole cost and expense.
"The Festival is also to obtain a maintenance contract for the HVAC system and that repairs up to $5,000 be ordered and paid for by the Festival. The city will assume responsibility for any repairs over and above the amount."
Monday, April 21, 2008
Saturday, April 19, 2008
New Season, New Company
Richard Ouzounian's first article of the season. Is anyone else getting excited?
"Next Wednesday is Shakespeare's birthday. It also – appropriately enough – marks the start of the new Stratford Festival season, with a preview of Hamlet.
"This year heralds a new beginning for the festival, with general director Antoni Cimolino and artistic director Des McAnuff presenting their vision to the world.
"And, appropriately enough, it also welcomes a multitude of new faces bringing their energy to the task at hand.
"'Yes, it scares me,' admits Ben Carlson, who is playing the Prince of Denmark in this year's Stratford version, directed by Adrian Noble.
"Although he's a multi-year veteran of the Shaw Festival and played Hamlet before in 2006 at the Chicago Shakespeare Theatre, this will mark his Stratford debut.
"'It's a bit of leap for me,' confesses Carlson, 'coming into this company and playing this part right away, but I'm delighted to be here.'
"Carlson isn't the only newcomer on this year's roster. Leah Oster, playing the leading role of Marian Paroo in The Music Man, is also venturing into this celebrated institution for the first time.
"But instead of fear, she finds the experience inspires confidence.
"'You're surrounded by people who are so superb at what they do,' she says with admiration.
"'The best of the industry have gathered here and they're all devoted to making you look good on stage.'
"Another fresh face belongs to Nikki M. James, who portrays Juliet in McAnuff's signature production of Romeo and Juliet.
"Although she had played Dorothy in McAnuff's recent version of The Wiz, she was astonished when he wanted her to play Juliet.
"'At first, I wasn't sure it was something I could do,' she admits, 'but I knew that Des believed in me and I said, Okay, for you, I'll give it a chance.'
"It's the same kind of courage that's infused veteran lighting designer Kevin Fraser, who's tackling the new and edgy production of Cabaret by Amanda Dehnert with a sense he describes as 'purely intuitive. You see something that she's trying and it encourages you to experiment.'
"Actor Nigel Shawn Williams has been at Stratford before but he finds the work he's been offered this year 'incredibly exciting,' from the seldom performed Fuente Ovejuna by Lope de Vega to the world premiere of Palmer Park by Joanna McClelland Glass.
"'I'm always excited about doing things first,' he says, 'about birthing a play to the world and that's what's happening here this year.'
"Or, as Shakespeare himself said, 'O brave new world!'"
"Next Wednesday is Shakespeare's birthday. It also – appropriately enough – marks the start of the new Stratford Festival season, with a preview of Hamlet.
"This year heralds a new beginning for the festival, with general director Antoni Cimolino and artistic director Des McAnuff presenting their vision to the world.
"And, appropriately enough, it also welcomes a multitude of new faces bringing their energy to the task at hand.
"'Yes, it scares me,' admits Ben Carlson, who is playing the Prince of Denmark in this year's Stratford version, directed by Adrian Noble.
"Although he's a multi-year veteran of the Shaw Festival and played Hamlet before in 2006 at the Chicago Shakespeare Theatre, this will mark his Stratford debut.
"'It's a bit of leap for me,' confesses Carlson, 'coming into this company and playing this part right away, but I'm delighted to be here.'
"Carlson isn't the only newcomer on this year's roster. Leah Oster, playing the leading role of Marian Paroo in The Music Man, is also venturing into this celebrated institution for the first time.
"But instead of fear, she finds the experience inspires confidence.
"'You're surrounded by people who are so superb at what they do,' she says with admiration.
"'The best of the industry have gathered here and they're all devoted to making you look good on stage.'
"Another fresh face belongs to Nikki M. James, who portrays Juliet in McAnuff's signature production of Romeo and Juliet.
"Although she had played Dorothy in McAnuff's recent version of The Wiz, she was astonished when he wanted her to play Juliet.
"'At first, I wasn't sure it was something I could do,' she admits, 'but I knew that Des believed in me and I said, Okay, for you, I'll give it a chance.'
"It's the same kind of courage that's infused veteran lighting designer Kevin Fraser, who's tackling the new and edgy production of Cabaret by Amanda Dehnert with a sense he describes as 'purely intuitive. You see something that she's trying and it encourages you to experiment.'
"Actor Nigel Shawn Williams has been at Stratford before but he finds the work he's been offered this year 'incredibly exciting,' from the seldom performed Fuente Ovejuna by Lope de Vega to the world premiere of Palmer Park by Joanna McClelland Glass.
"'I'm always excited about doing things first,' he says, 'about birthing a play to the world and that's what's happening here this year.'
"Or, as Shakespeare himself said, 'O brave new world!'"
Friday, April 11, 2008
Check Out The YouTube Channel
The most recent webcast, which featured actors Ian Lake and Stacie Steadman, Birmingham Conservatory Director Martha Henry, and fight director John Stead, is now available on the Stratford Shakespeare Festival's YouTube channel.
If you've already seen it, there are a number of other videos to keep you amused this weekend:
Teaching Shakespeare at Stratford (in two parts);
Bruce Dow's video diaries;
A LEGO version of Emilia Galotti to get you excited for the touring production;
Plus all the behind-the-scenes featurettes with directors, designers, and actors from this season and last. Enjoy!
If you've already seen it, there are a number of other videos to keep you amused this weekend:
Teaching Shakespeare at Stratford (in two parts);
Bruce Dow's video diaries;
A LEGO version of Emilia Galotti to get you excited for the touring production;
Plus all the behind-the-scenes featurettes with directors, designers, and actors from this season and last. Enjoy!
Thursday, April 10, 2008
Webcasts On-Demand
Yesterday's live webcast with Birmingham Conservatory graduates and Love's Labours Lost actors Ian Lake (Berowne) and Stacie Steadman (Jacquenetta) is now available on-demand.
Click the link (the video isn't available on the Festival's YouTube channel yet), and enjoy the q-and-a with the actors and pre-recorded segments with fight director John Stead and Birmingham Conservatory director Martha Henry.
While you're there, check out the past webcasts:
#1 General Director Antoni Cimolino, who hosts all webcasts, introduces the 2008 season.
#2 Director Peter Hinton reveals that Queen Elizabeth I will be making a personal appearance in the induction of The Taming of the Shrew (2008).
#3 Peter Donaldson (Friar Lawrence) answers questions about the Romeo and Juliet (2008) you have to see.
#4 Though he's "never been an actor afraid of going out on a limb", Bruce Dow (Emcee) seems a bit concerned that his role in Cabaret (2008) isn't defined in the script.
#5 Gareth Potter (Romeo) and Nikki M. James (Juliet) talk about the play and a bit about themselves. Lucy Peacock (Nurse) appears in a pre-taped interview.
#6 Designer Patrick Clark walks through the costume and scene shops preparing for a very exciting production of The Music Man (2008).
#7 Jonathan Goad (Harold Hill) and Leah Oster (Marian Paroo) misbehave during pre-recorded segments with Music Man director Susan Schulman. And a bit on camera.
Click the link (the video isn't available on the Festival's YouTube channel yet), and enjoy the q-and-a with the actors and pre-recorded segments with fight director John Stead and Birmingham Conservatory director Martha Henry.
While you're there, check out the past webcasts:
#1 General Director Antoni Cimolino, who hosts all webcasts, introduces the 2008 season.
#2 Director Peter Hinton reveals that Queen Elizabeth I will be making a personal appearance in the induction of The Taming of the Shrew (2008).
#3 Peter Donaldson (Friar Lawrence) answers questions about the Romeo and Juliet (2008) you have to see.
#4 Though he's "never been an actor afraid of going out on a limb", Bruce Dow (Emcee) seems a bit concerned that his role in Cabaret (2008) isn't defined in the script.
#5 Gareth Potter (Romeo) and Nikki M. James (Juliet) talk about the play and a bit about themselves. Lucy Peacock (Nurse) appears in a pre-taped interview.
#6 Designer Patrick Clark walks through the costume and scene shops preparing for a very exciting production of The Music Man (2008).
#7 Jonathan Goad (Harold Hill) and Leah Oster (Marian Paroo) misbehave during pre-recorded segments with Music Man director Susan Schulman. And a bit on camera.
Slings & Arrows Travels to Brazil
Rhombus Media producer Niv Fichman has sold adaptive rights for Slings & Arrows to Brazilian director Fernando Meirelles (City of God), writes Gayle MacDonald for the Globe and Mail.
Fichman had been trying to convince Meirelles to collaborate on the adaptation of Jose Saramago's Blindness when he sent him the first season of the cult hit.
Meirelles promptly asked for the next two.
"'When he called, he asked me if I thought [this deal] would be possible? If it would be very expensive [for him to buy the rights]?" says Fichman, laughing, whose Toronto company has produced features films such as The Red Violin and the Emmy-winning Yo-Yo Ma Inspired by Bach. 'I said, Fernando, I can tell you one thing. Money is not going to be the issue here.'
"Fichman's Canadian cast - including big names such as William Hutt, Paul Gross, Martha Burns, Rachel McAdams, Don McKellar, Susan Coyne and Bob Martin - all worked for scale on the production.
"'I'm not going to make any money in Brazil doing this,' concurs Meirelles, an observation that prompts Fichman to quip: 'You can say that none of us are getting rich off this. But it's such a wonderful thing, and such a natural way, for us to continue our collaboration.'
"Blindness is expected to hit theatres in Brazil in mid-September and in North America Oct. 13. The Brazilian version of Slings & Arrows will start shooting in early July, and Meirelles expects TV Globo to air the miniseries in November.
"When Slings & Arrows was conceived, even its creators and writers - actor-playwright Coyne, Kids in the Hall alumnus Mark McKinney and Martin, co-author of the current Broadway hit The Drowsy Chaperone - did not expect it would have a very broad audience. After all, it got off to a rocky start - green-lit by the CBC and then dropped before ever being produced, the drama finally found a home with TMN and Movie Central. Showcase also later found a berth for the fledgling show, which eventually was picked up in the United States on the Sundance Channel, where it earned Entertainment Weekly's vote as the year's best TV import.
"In Canada, it picked up numerous Gemini awards during its three seasons. In the U.S., it was favourably received by television critics at The Washington Post, the Los Angeles Times, Newsday and The New York Times, which dubbed it 'absolutely addictive.'"
"Meirelles translated the script into Portuguese. He has had to cut about 10 minutes from each episode 'because our [broadcast] time slots are shorter.' He also tinkered a bit with some characters, taking into account obvious cultural differences.
"He said he hopes Slings & Arrows will 'bring some fresh air to Brazilian television.'"
It certainly did to ours.
Fichman had been trying to convince Meirelles to collaborate on the adaptation of Jose Saramago's Blindness when he sent him the first season of the cult hit.
Meirelles promptly asked for the next two.
"'When he called, he asked me if I thought [this deal] would be possible? If it would be very expensive [for him to buy the rights]?" says Fichman, laughing, whose Toronto company has produced features films such as The Red Violin and the Emmy-winning Yo-Yo Ma Inspired by Bach. 'I said, Fernando, I can tell you one thing. Money is not going to be the issue here.'
"Fichman's Canadian cast - including big names such as William Hutt, Paul Gross, Martha Burns, Rachel McAdams, Don McKellar, Susan Coyne and Bob Martin - all worked for scale on the production.
"'I'm not going to make any money in Brazil doing this,' concurs Meirelles, an observation that prompts Fichman to quip: 'You can say that none of us are getting rich off this. But it's such a wonderful thing, and such a natural way, for us to continue our collaboration.'
"Blindness is expected to hit theatres in Brazil in mid-September and in North America Oct. 13. The Brazilian version of Slings & Arrows will start shooting in early July, and Meirelles expects TV Globo to air the miniseries in November.
"When Slings & Arrows was conceived, even its creators and writers - actor-playwright Coyne, Kids in the Hall alumnus Mark McKinney and Martin, co-author of the current Broadway hit The Drowsy Chaperone - did not expect it would have a very broad audience. After all, it got off to a rocky start - green-lit by the CBC and then dropped before ever being produced, the drama finally found a home with TMN and Movie Central. Showcase also later found a berth for the fledgling show, which eventually was picked up in the United States on the Sundance Channel, where it earned Entertainment Weekly's vote as the year's best TV import.
"In Canada, it picked up numerous Gemini awards during its three seasons. In the U.S., it was favourably received by television critics at The Washington Post, the Los Angeles Times, Newsday and The New York Times, which dubbed it 'absolutely addictive.'"
"Meirelles translated the script into Portuguese. He has had to cut about 10 minutes from each episode 'because our [broadcast] time slots are shorter.' He also tinkered a bit with some characters, taking into account obvious cultural differences.
"He said he hopes Slings & Arrows will 'bring some fresh air to Brazilian television.'"
It certainly did to ours.
Wednesday, April 9, 2008
Wednesday Webcast #8
This afternoon, Birmingham Conservatory graduates Ian Lake (Berowne) and Stacie Steadman (Jaquenetta) will be with Stratford Shakespeare Festival General Director Antoni Cimolino to discuss Love's Labours Lost (2008).
Follow this link to join in the live webcast, scheduled for 4:30 ET.
Remember, you can always ask a question in advance, and that all previous webcasts are available on-demand and through the Festival's YouTube channel.
Follow this link to join in the live webcast, scheduled for 4:30 ET.
Remember, you can always ask a question in advance, and that all previous webcasts are available on-demand and through the Festival's YouTube channel.
Thursday, April 3, 2008
Rehearsing The Music Man
If you missed yesterday's live webcast, or want to watch it again, it is now available in the archives and on the Stratford Shakespeare Festival's YouTube channel (the following links are specific to YouTube).
After a brief introduction of our host, General Director Antoni Cimolino, and guests, Leah Oster and Jonathan Goad, part one gives us a pre-taped interview with director Susan Schulman.
Part two begins on the stage of the Avon Theatre, where designer Patrick Clark shows us a surprising number of set pieces. Then it's back to the studio for audience questions. Leah Oster discusses her work history and the audition process; Jonathan Goad bandies with himself about the differences between Shakespeare and musical theatre; and they both gush about their costumes.
The question-and-answer period continues in part three. Oster and Goad talk about their characters falling in love, kissing on stage, preparing for their roles. There's also a sneak preview of Goad's rapping talents.
Enjoy!
NEXT WEDNESDAY: Ian Lake and Stacie Steadman on Love's Labours Lost (2008).
After a brief introduction of our host, General Director Antoni Cimolino, and guests, Leah Oster and Jonathan Goad, part one gives us a pre-taped interview with director Susan Schulman.
Part two begins on the stage of the Avon Theatre, where designer Patrick Clark shows us a surprising number of set pieces. Then it's back to the studio for audience questions. Leah Oster discusses her work history and the audition process; Jonathan Goad bandies with himself about the differences between Shakespeare and musical theatre; and they both gush about their costumes.
The question-and-answer period continues in part three. Oster and Goad talk about their characters falling in love, kissing on stage, preparing for their roles. There's also a sneak preview of Goad's rapping talents.
Enjoy!
NEXT WEDNESDAY: Ian Lake and Stacie Steadman on Love's Labours Lost (2008).
Behind the Scenes: Millinery
Judy Gerstel, reporting for the Toronto Star, brings us behind the scenes of the millinery department at the Shaw Festival (I know).
"Margie Berggren is the head milliner, working with assistant Christine Grosskurth in what is charmingly referred to as the 'hats, spats and cravats' area of Shaw's wardrobe department.
"The milliners are responsible for 'any decoration on the head' of Shaw actors, including flowers, tiaras and military caps, explains Berggren. Helmets, however, are considered props and fall within the purview of the props department. 'I don't do metal work,' quips Berggren.
"What she does do is translate the designer's sketches into fabric. 'My job is to create their vision,' she explains. The process begins with selecting swatches and compiling a loose-leaf book for each show ('my bible') with a page for each costume with a hat.
"For musicals, says Berggren, there may be as many as 180 hats to fashion. This year, Wonderful Town, set in 1935, required 77 hats, including a handsome brown felt fedora worn by the character Ruth, the older sister.
"'The women's hats are mostly felts, hand blocked with creases,' she says, 'and we've tried to make them so they're not shading their faces or interfering with the sound, because the girls are all miked.'
"'Seasons can be very different in volume depending how much the characters are indoors or outdoors,' Berggren says.
"During Shaw's era (the Irish playwright lived 1856-1950), anyone who was getting ready to go outside would put on a hat but generally wouldn't wear one indoors, she says. [Hats were also essential to Shakespeare's era, and are often quite prevalent even in displaced productions at the Stratford Shakespeare Festival.]
"The theatrical millinery process finishes with the fittings on the actors: 'Is there a wig? Is there a quick change? Any special action the hat has to do?'"
Leah Oster (Marion Paroo), who spent two seasons at the Shaw Festival, addresses the functionality of wardrobe in Wednesday Webcast #7: Rehearsing The Music Man. It will be posted to the archives and the Festival's YouTube channel later today.
In the meantime, you can continue reading about millinery at the Shaw Festival.
"Margie Berggren is the head milliner, working with assistant Christine Grosskurth in what is charmingly referred to as the 'hats, spats and cravats' area of Shaw's wardrobe department.
"The milliners are responsible for 'any decoration on the head' of Shaw actors, including flowers, tiaras and military caps, explains Berggren. Helmets, however, are considered props and fall within the purview of the props department. 'I don't do metal work,' quips Berggren.
"What she does do is translate the designer's sketches into fabric. 'My job is to create their vision,' she explains. The process begins with selecting swatches and compiling a loose-leaf book for each show ('my bible') with a page for each costume with a hat.
"For musicals, says Berggren, there may be as many as 180 hats to fashion. This year, Wonderful Town, set in 1935, required 77 hats, including a handsome brown felt fedora worn by the character Ruth, the older sister.
"'The women's hats are mostly felts, hand blocked with creases,' she says, 'and we've tried to make them so they're not shading their faces or interfering with the sound, because the girls are all miked.'
"'Seasons can be very different in volume depending how much the characters are indoors or outdoors,' Berggren says.
"During Shaw's era (the Irish playwright lived 1856-1950), anyone who was getting ready to go outside would put on a hat but generally wouldn't wear one indoors, she says. [Hats were also essential to Shakespeare's era, and are often quite prevalent even in displaced productions at the Stratford Shakespeare Festival.]
"The theatrical millinery process finishes with the fittings on the actors: 'Is there a wig? Is there a quick change? Any special action the hat has to do?'"
Leah Oster (Marion Paroo), who spent two seasons at the Shaw Festival, addresses the functionality of wardrobe in Wednesday Webcast #7: Rehearsing The Music Man. It will be posted to the archives and the Festival's YouTube channel later today.
In the meantime, you can continue reading about millinery at the Shaw Festival.
New Directors Named to Krapp/Hughie
A press release today from the Stratford Shakespeare Festival announces two replacement directors for the double bill of Krapp's Last Tape (2008) and Hughie (2008).
Toronto-based Jennifer Tarver will direct Brian Dennehy in Samuel Beckett's Krapp's Last Tape (2008). General Director Antoni Cimolino is very excited about her debut at the Festival, calling her an "outstanding young talent".
According to the press release, "Tarver, winner of the 2006 Pauline McGibbon Award and the 2002 John Hirsch Directors Award, is a respected director and creator, known for work that resounds with clarity and sophistication. She was named Now Magazine's best director of 2007. Her most recent productions include Thom Pain (based on nothing), a one-man show featuring Tom McCamus, and Sarah Kane's Crave for Nightwood Theatre, for which she received a Dora nomination for best director."
Robert Falls will direct Dennehy and Joe Grifasi in the second half of the double bill: Eugene O'Neill's Hughie (2008). "I'm thrilled that Robert Falls can step in on Hughie so that he can continue his fruitful creative relationship with Brian Dennehy," says Artistic Director Des McAnuff.
"Falls has been the artistic director of Chicago's Goodman Theatre since 1986. Under his leadership, the Goodman was named by Time magazine the number one regional theatre in the U. S. Two of his most highly acclaimed Broadway productions, Death of a Salesman and Long Day's Journey Into Night, both starring Brian Dennehy, were honoured with seven Tony Awards and three Drama Desk Awards. Death of a Salesman went on to a long run in London's West End."
Toronto-based Jennifer Tarver will direct Brian Dennehy in Samuel Beckett's Krapp's Last Tape (2008). General Director Antoni Cimolino is very excited about her debut at the Festival, calling her an "outstanding young talent".
According to the press release, "Tarver, winner of the 2006 Pauline McGibbon Award and the 2002 John Hirsch Directors Award, is a respected director and creator, known for work that resounds with clarity and sophistication. She was named Now Magazine's best director of 2007. Her most recent productions include Thom Pain (based on nothing), a one-man show featuring Tom McCamus, and Sarah Kane's Crave for Nightwood Theatre, for which she received a Dora nomination for best director."
Robert Falls will direct Dennehy and Joe Grifasi in the second half of the double bill: Eugene O'Neill's Hughie (2008). "I'm thrilled that Robert Falls can step in on Hughie so that he can continue his fruitful creative relationship with Brian Dennehy," says Artistic Director Des McAnuff.
"Falls has been the artistic director of Chicago's Goodman Theatre since 1986. Under his leadership, the Goodman was named by Time magazine the number one regional theatre in the U. S. Two of his most highly acclaimed Broadway productions, Death of a Salesman and Long Day's Journey Into Night, both starring Brian Dennehy, were honoured with seven Tony Awards and three Drama Desk Awards. Death of a Salesman went on to a long run in London's West End."
Don Shipley resigned as director of the both productions on March 12.
Wednesday, April 2, 2008
Wednesday Webcast #7
Stars Jonathan Goad and Leah Oster are set to chat about The Music Man (2008) this afternoon at 4:30 ET. (Follow the link here to watch.)
If you can't make it, you can ask a question in advance, and then watch the archived version tomorrow. Or watch last week's webcast with designer Patrick Clark now.
If you can't make it, you can ask a question in advance, and then watch the archived version tomorrow. Or watch last week's webcast with designer Patrick Clark now.
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