NS2022 Ursa: A Folk Musical Program

Presented by: The Uncommon Folk Collective

Photo by Javier Allegue Barros on Unsplash

URSA: A FOLK MUSICAL

WELCOME TO THE 2022 NEXT STAGE FESTIVAL. We may have had to adjust our plans slightly but we still have many wonderful shows for you to experience.

It has been a long journey for these artists, whether experimenting with new online formats or suddenly recording a show in a venue, all of these companies have risen to the occasion and we are hoping that you, the audience, will not only support them but share their work with others.

Our image this year is that of the butterfly, our theme is returning and transforming. Part of that was about coming back into a physical theatre which alas is no longer possible but I believe the imagery and idea still stands. We are returning – we have a festival still, four pieces that were curated from the very beginning with a digital space in mind and several new pieces that had to quickly pivot into creating their shows for you online.

I could not be prouder of all that has been created both from our artists and the entire fringe team who have made this transformation happen.

All we ask from you is to join us, be an active part of the storytelling and this chapter of Next Stage and enjoy!

Happy Fringing,

Lucy Eveleigh Executive Director

December 30, 2021 Dear Next Stage Audience and Supporters, I am delighted to extend a warm welcome to everyone attending this year’s Next Stage Theatre Festival hosted by Toronto Fringe. It gives me great joy that this year’s festival is hosted at Daniel Spectrum in our dynamic Regent Park community here in Toronto Centre. Many of the previously planned in-person productions were filmed in this incredible venue.

I know these past two years have been especially hard on our arts community. I’m thrilled to see the continued success of this festival as I know its important role in the creation of new Canadian works. The Toronto Fringe and Next Stage Theatre festival have been instrumental as part of the development of new Canadian plays including Kim’s Convenience, Da Kink in My Hair, and helped foster the talent of the co-creators of Come From Away. Not only does this festival foster Canadian stories, but it promotes and encourages residents to participate in their community at large; creates new connections with emerging artists, and contributes to our community.

For the 15th year, the Next Stage Theatre Festival features a great number of productions that showcase dynamic and innovative styles and formats. Even in the face of a global pandemic, you have been adaptable, flexible, and resilient. Your platform has provided the opportunity for indie theatre-makers to continue to develop their craft and showcase their talents making up an integral piece of the cultural fabric of Toronto.

Congratulations to everyone involved and I wish everyone an enjoyable and memorable event.

Yours truly,

Kristyn Wong-Tam City Councillor Ward 13, Toronto Centre

Toronto Fringe would like to acknowledge that our office has been built on the traditional territory of Tkaronto, “the gathering place” - we acknowledge the original caretakers of this land, the Anishinaabe, including the Mississaugas of Credit, Haudenosaunee, Chippewa, and Wyndat nations.

To all the people of Turtle Island, Chi Miigwetch.

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PLEASE CONSIDER SUPPORTING OUR AMAZING LOCAL VENDORS WHO HAD PLANNED TO FILL OUR LOUNGE IN DANIELS SPECTRUM.

URSA: A FOLK MUSICAL Presented by The Uncommon Folk Collective

Book, Music, and Lyrics

Jake Schindler and Sam Boer

Director Margot Greve

Stage Manager

Taylor Young

Lighting Designer

Director of Photography

Graphic Design

Backdrop Design

Anita Cazzola

Sound Consultant

Luke Schindler

Mathilda Kane Patrick Hodgson Abby Nowakowski

Featuring Belinda Corpuz Stephen Ingram Jake Schindler Sam Boer

JAKE SCHINDLER, co-creator (book, music, and lyrics)— “Jake” Jake Schindler (he/him) is a Toronto-based musician, orchestrator, and composer. Originally from London, Ontario, a music education graduate from Western University, Jake currently works as a music director, music teacher, and audio engineer for various organizations around Toronto. As a music director: The Drowsy Chaperone, The Addams Family, The Theory of Relativity, Anne and Gilbert (Bravo Academy). As an orchestrator: Boy Falls From the Sky (Mirvish), Stars from Mars (Nightwood).

As a composer: The Light Goes Round (Toronto Fringe), Where Do We Begin? (self-produced).

SAM BOER, co-creator (book, music, and lyrics)—“Sam” Sam Boer (he/him) is a musician and writer born and raised on the traditional territory of the Mississaugas of the Credit First Nation (Guelph, Ontario). Sam has toured Canada with several groups—most notably artfolk collective The Lifers—performing at major Canadian festivals including Hillside, Summerfolk, Mariposa, Blue Skies, and Flourish. Under the moniker Samson Wrote, Sam released his debut album Pigeon in 2019, which was nominated for a Canadian Folk Music Award in the “Pushing the Boundaries” category and praised by Exclaim! as “prolific and expansive.” Recently, he was selected for Otherwise Studios / Bumaroo Festival’s Co-Create Residency (April 2021) and contributed percussion and vocals on folk duo Tragedy Ann’s forthcoming album Heirlooms (2022). Ursa: A Folk Musial, which premiered digitally as part of the Watershed Festival at Queen’s University (May 2021), is his first musical.

MARGOT GREVE, Director Margot Greve (she/her) is a multidisciplinary playwright, director and producer in Toronto, Ontario. She is the artistic director of Mixtape Projects, a dance/theatre fusion company that’s quirky, colourful, and musical. Her original production, Mixtape, performed as part of the 2019 New Voices Festival over a sold-out run. Since that initial production she has directed both contemporary and classical works for independent companies in the Toronto area. Her second original show, Rebecca Love, performed for four sold out audiences this past December and is continuing it’s development through workshops this winter. She was the intimacy choreographer for the 2019 productions of Unfunny, Little Accomplishments, and Over Again and led the devising process for the 2020 Panoply Collective production of The Bacchae. As an artist she is dedicated to weaving story, movement and music to create sensorially exciting productions for audiences young and old.

BELINDA CORPUZ—“Ursa” Belinda Corpuz (she/her) is a Filipina actor, singer, musician, creator and producer based in Tkaranto, Treaty 13. Her debut EP, All I Am, received critically acclaimed reviews with radio-play across Canada, including features on CBC Radio. She has sung on the soundtracks for feature films The Witch, and Netflix’s In the Tall Grass.

Other album credits include: Retribution by Tanya Tagaq (as part of Christine Duncan’s Element Choir); Volume 1, Volume 2 and Volume 3 by Collective Order. Belinda holds a BMus in Performance - Jazz Voice from the University of Toronto, Faculty of Music. As an actor, Belinda has developed new works with Factory Theatre, Nightwood, Cahoots, Crow’s Theatre, Soulpepper, Ergo Arts, Bad Hats Theatre, Studio 180, Carlos Bulosan Theatre (CBT), fu-GEN, and the Canadian Film Centre. She is a founding member of all-Filipina group, the Tita Collective. Selected Acting: Lady Sunrise (Factory), Tita Jokes (Tita Collective), Hilot Means Healer (Cahoots), Prairie Nurse (Factory/Thousand Islands Playhouse/PlayMe CBC Podcast), Lola’s Wake (Canadian Film Centre) Jezebel (Reel Asian International FF).

STEPHEN INGRAM—“Bear” Stephen Ingram (he/him) is a Hamiton-born actor, singer, composer, multi-instrumentalist, music director, and music teacher. A graduate from Western University’s Don Wright Faculty of Music, he has worked professionally in theatres across Ontario, select performance credits including: Home for the Holidays (Theatre Aquarius), Juno’s Reward (Grand Theatre), Babble (Expect Theatre), Summer of ’69 (Victoria Playhouse Petrolia), The Haunting of Hungerford House, Aleck Bell (Tweed and Co. Theatre), Glory Days (Upper Canada Playhouse). He also music directed Plaid Tidings (Sudbury Theatre Centre) and The Haunting of Hungerford House (Tweed and Co. Theatre). Stephen wrote music and lyrics for the movie/ musical Not Cancelled: The Musical, a TYA musical written about the silver linings of the pandemic.

TAYLOR YOUNG, Stage Manager Taylor Young (they/them) is a Toronto-based Stage Manager and Production Manager, originally from Calgary, AB. They hold a BFA from X University in Performance Production. Some of their recent projects include: Stage Manager, Citadel Dance Mix 2021, Citadel + Compagnie; Stage Manager, Allies & Friends, Wind in The Leaves Collective in Residence at Citadel + Compagnie (2021); Assistant Stage Manager, The Spectator’s Odyssey – o’dell’Inferno, DopoLavoro Teatrale & TOLive (2021); Stage Manager, Night Shift 2021, Citadel + Compagnie; Stage Manager, White Muscle Daddy, Pencil Kit Productions in Residence at Buddies in Bad Times Theatre (2021 Workshop); Production Manager, Paprika Festival (2019–current); Production Coordinator & Assistant Stage Manager, Toronto Dance Theatre 2020/2021 Season; Stage Manager, hollow mountain, Rock Bottom Movement (Wildside 2020); Stage Manager, Rebecca Love, Mixtape Projects (2019), Assistant Stage Manager, RING, Toronto Dance Theatre (2019).

NOTES ON THE PLAY: Ursa: A Folk Musical is a whimsical theatre-concert about the star-crossed friendship between an anxious bear and a restless teenager. It’s also a story about mental health, young adulthood, and the ways in which friendship can change how you see the world—which makes sense when you understand how this show was put together.

Just as Ursa pushes beyond the conventions of both a folk music concert and a black-box theatre musical to deliver something new, this show was created by ushing beyond the norms of musical theatre writing and, instead, asking the question: what if the development of a musical felt more like starting a garage band? What if, instead of doling out book, lyrics, and music responsibilities to various parties, two creative partners collaborated on every aspect of the show, following a process that felt more like that of a local band jamming relentlessly until they got an album’s worth of songs, refined them relentlessly, and suddenly got their big break at a major festival?

This, in a metaphorical nutshell, is how Ursa: A Folk Musical was created. Jake Schindler (a theatre lover, with a passion for folk music) reached out to Sam Boer (a touring folk musician, with a passion for musical theatre) and they soon found themselves dedicating their respective decades of divergent experience—and sheer enthusiasm—to writing a folk concert/musical theatre hybrid. Meeting over Zoom every week, this show as an anchor for Jake and Sam throughout the pandemic. And, eventually, they would bring on a talented array of up-and-coming top-notch-talented friends—old and new— to jam the show with them, democratically refining the book, the songs, and the meaning. When opportunity first knocked, in the form of the Watershed Theatre Festival at Queen’s, the team was ready; when the second knock came, and the Fringe NextStage Festival was at the door, the now-expanded team was overjoyed. All those late nights of jamming had been worth it.

It makes sense that Ursa came together through scrappy eagerness and the dedication typical of up-and-coming theatre creators, as the show revolves around themes of youthful ambition, friendship, and trying to overcome anxiety and depression in order to experience and appreciate the joys of being alive. Through the fabricated folktale featuring Ursa (a small-town Ontario teenager restless adventure) and the peculiar, lonely bear she meets (a bear that was abandoned at a young age, and has never met another bear), this fantastical show provocatively articulates the mixed-up and torn feelings of being young, wanting change, and struggling to make it happen. Whether weighed down by seasonal affective disorder or wanting to keep running for fear of slowing down and feeling anxiety creep back in, everyone who has been through their late teens and early twenties can relate to the feeling of being unable to make it through, whatever their barriers may be. But, as both this show and the creative process behind it demonstrate, open-hearted friendships can bring about extraordinary happiness, combat hopelessness, and, ultimately, make something wonderful happen.

THANK YOUS: The team behind Ursa: A Folk Musical would like to thank our partners, friends, and parents for their love and support. We would also like to thank the Watershed Theatre Festival at Queen’s University, Bravo Academy, and the Toronto Fringe for their contributions to, and support of, this show.

SPONSORS:

CONNECT WITH US: ursamusical.com Instagram, Facebook, Twitter: @ursamusical ursamusical@gmail.com #ursamusical

SHE’S NOT SPECIAL

THE SUNGLASSES MONOLOGUE

STAND UP COMEDY NIGHT

STORIES OF A DISH

TANGO IN THE DARK

THE COMPLEX

HEART OF A DOG

URSA: A FOLK MUSICAL

SAVING WONDERLAND

CHECK OUT THE FULL NEXT STAGE LINEUP AT

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