Ovation Vol. 18 No. 4

by

Patrick Friesen

Bent out of Shape Productions’

by

Beth charlie Daniela Graham Tomlinson Vlaskalic

Message fro m the Artistic Director

As I write this, thick snow is falling on the city. The skylights in our office have gone dark at noon, and the parking lot outside looks as if it’s filled with white buffaloes. It is only January, and already everyone talks of the coming flood. We measure the falling snow with our eyes, and imagine it melting, amazed that something so soft, so benign can be a threat.

We are, if the truth be told, a little afraid.

At times like this, we welcome a brief journey into the heart of someone else’s fear. Peter Neufeld is one of us, a Manitoba farmer who’s doubtless known snow and flood, but doesn’t immediately recognize a greater danger: his friends and neighbours. Playwright Patrick Friesen has set The Shunning in a place and time when community solidarity was essential for physical—and spiritual— survival, and anyone who rebelled needed to be brought back into the fold. Putting the fear of

Flood and fear come together as three brides face a watery end in The Drowning Girls, a mesmerizing true story that steals each bride’s giddy joy and replaces it with a fearful sisterhood.

The play seems simple—three bathtubs, three white dresses and three women undone—but co-creators Beth Graham, Charlie Tomlinson and Daniela Vlaskalic have plumbed the complexity of the murders. They help us understand how all three women could have failed, like Peter Neufeld, to see the danger that lurked so near them, the rising tide lapping at their naked feet.

Together, the plays are a kind of baptism for the audience, a cathartic immersion in tragedy that, paradoxically, quells our fears. We emerge from the theatre cleansed, purified, reborn, and we are reminded again that the theatre is a kind of temple, where entertainment and tragedy are pathways to enlightenment and transformation.

God into him, some might say. Yet Peter’s God has made each man different from the next, like

Yours always,

snowflakes, and the only way you can change a snowflake is by melting it.

feb/mar 2011

3

M a n i to ba T h e at r e C e n t r e

Theatre Abbreviation Legend

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

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

Black

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

With the generous support of the Manitoba Arts Council

Pantone

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

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

Vol 18 No 4

|

feb/mar 2011

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

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

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

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

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

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

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

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

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

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

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

RBC DOMINION SECURITIES

There is no terror in the bang... ...only in the anticipation of it.

Alfred HiTcHcock

Professional Wealth Management Since 1901

RBC Dominion Securities Inc.* and Royal Bank of Canada are separate corporate entities which are affiliated. *MemberCanadian Investor Protection Fund. ŽRegistered trademark of Royal Bank of Canada. Used under licence. RBC Dominion Securities is a registered trademark of Royal Bank of Canada. Used under licence. ŠCopyright 2010. All rights reserved.

Doowah Design Inc. Client: DZWM Job no: 1135

setting the stage Mennonite religious and peasant heritage. But the story he told was a troubling one. Shunning is the ultimate form of punishment for Mennonites, reserved for serious misdemeanours and implicating the offender in severe social isolation within the community. There is a strong element of shaming involved in this practice, aimed at bringing the offender to repentance and forgiving re-integration into the community.

by Di Brandt

was first published as a narrative long poem by Turnstone Press in 1980. It was a startling and exhilarating book, widely celebrated for its innovative form, its bold dramatic gestures, punctuated by white space and unnerving gaps and silences, its gorgeous visceral poetry of horses and sun and flesh and dirt and blood. It was admired for the wrenching story it tells, of a man caught between the dictates of tradition and community and the truth of his own mind and heart. It was a dramatic book, an obvious candidate for theatrical production.

For the Mennonites of Manitoba, a predominantly oral culture with a narrowly cohesive communal narrative and wish to remain apart from the modern mainstream, it was a shock to find themselves suddenly under critique in the bright light of contemporary Canadian poetry and theatre.

Mennonites love poetry. It is a performancebased genre they understand and about which they care deeply. Most important events include poetic recitations of one kind or another, from formal church gatherings to family events. The poetry recited ranges from homespun satirical ballads to sacred verse to Goethe and Schiller.

Drama is also a genre cherished and widely practiced in the community, from local skits in Plautdietsch at the village schoolhouse to full-scale Englishlanguage productions in rented halls.

Patrick Friesen’s poetic drama vividly captured the Biblical and sensuous, earthy rhythms of the

1

Non-Mennonites are frequently horrified by this practice, particularly when it is used to enforce conformity of thought, speech and action within the community. For traditionalist communities with oral narrative identities and intentional community practices based to a large extent on oral agreements, “freedom of speech” is not an affordable luxury. Shunning, furthermore, is seen as a superior form of social enforcement, compared to more guilt-based and punitively minded practices, such as incarceration or capital punishment.

(You will recall that Zacharias Kunuk’s 2001 award-winning feature film, Atanarjuat: The Fast Runner, set in a traditional Inuit village, ends with the exile of two young adult offending villagers, which re-establishes harmony in the community.

In this story the offenders are sent away together to begin a new life. This is perhaps a less harsh alternative than being isolated within the community, as Peter Neufeld is in The Shunning. But there is perhaps also less hope of re-integration in the future.)

Nevertheless, shunning is a harsh and painful practice, and there is considerable misgiving

2

photos courtesy of Prairie Theatre Exchange

the shunning among Mennonites about whether, indeed, it has been misused to suppress creativity, innovation and free-spiritedness, in ways that have been harmful to both individuals, their families and the larger community. As the pressures of assimilation to the mainstream have increased in the modern era due to the powerful influence of the electronic media, conformist pressures to preserve traditional ways have also increased, sometimes with tragic results.

October 10 to November 3, 1985. It was an electrifying and unforgettable performance for those fortunate enough to attend. The Shunning has, if anything, gained relevance to both the Mennonite community and to the larger cosmopolitan international community we all find ourselves in now, whatever our local affiliations and social practices. How wonderful that the Manitoba Theatre Centre has chosen to remount this important and insightful play this year.

All communities must ask themselves this question from time to time, whether the social practices that guarantee solidarity and security for the community are achieving their results in humane and acceptable ways, or whether, ironically, the community itself is being harmed by too-repressive conformist measures. It is a question modern nation-states are struggling with in very visible ways around the world at present, including Canada.

Fasten your seatbelts, or, rather, hold onto your horses—you’re in for quite a ride.

Di Brandt is an award-winning poet and critic, and holds a Canada Research Chair in Literature and Creative Writing at Brandon University.

4

The Shunning was first produced as a play by Prairie Theatre Exchange, running from Photos from Prairie Theatre Exchange’s 1985 production of The Shunning: 1 Peter Smith as Peter Neufeld and Stephen Walsh as Reverend Loewen.

2 Peter Smith. 3 Stephen Walsh and Peter Smith.

4 Peter Smith as Peter and Maggie Nagle as his wife, Helen. 5 Robb Paterson—director of MTC’s 2011 production of The Shunning—as Johann Neufeld.

3

5

curtain calls

the shunning writer. That was hard when self-conscious literary writing here in Manitoba pretty much began in his generation.”

What one hears in Friesen’s work, including in The Shunning, is music. According to Mierau, Friesen “listened hard” to Bob Dylan and The Guess Who, as well as the cadences of the King James Bible, which played a large role in his youth. This is apparent in “Earth’s Crude Gravity,” where Friesen writes, “how shall I live well / in the body of my death?”—a question that could very well have been asked by Peter, the main character in The Shunning. The queries posed in Friesen’s work have no easy answers. While one wonders what is right and what is wrong, the theme that invades the subconscious is that the act of wondering is itself poetic.

Patrick Friesen

by Tara Seel

“We worship everything, nothing is sacred” writes Patrick Friesen in “A Broken Bowl,” but to many, Friesen’s writing is nothing short of sacred. His pen has scratched a mark across the Canadian literary landscape, with work that is both lyrical and ambitious. Gord Shillingford of J. Gordon Shillingford Publishing, who published the latest edition of The Shunning, finds Friesen’s work imbued with a “lyrical toughness” that transcends the page, which is one reason The Shunning could shift from a long poem to a stage play.

8

feb/mar 2011

It is no surprise, then, that Friesen has also collaborated with the theatre. The rhythms of his words make music on the stage. In The Shunning, Friesen does not hold anything back and creates an experience, for this play is not only about the story, which is a powerful tale, but about the mood and the act of creation. “The Shunning as a play is unusual in Canadian theatre for its range of language—moving between rhythmic and imagistic passages to more regular, unaccented prose,” says Mierau.

Canadian literature nourishes itself on writers like Friesen, who refuse to be labelled and packed neatly into a genre. Friesen, the poet, the wordsmith, doesn’t fit any mold, just as his creation, Peter in The Shunning can’t conform, which makes this staging a beautiful experience of the essence of Friesen’s work.

To hear the author weave the tale of The Shunning, catch a brief reading by Patrick Friesen in the Shunning section of the MTC website under Videos/Extras. www.mtc.mb.ca

photo by Niko Friesen

Friesen is a Manitoba poet, in that he was born and raised in this province, but his poetry does not limit itself to these borders. “While his work is grounded in his experience, and hence his place, artistically he’s always seen himself as a world citizen,” explains Maurice Mierau, fellow poet and editor of TheWinnipegReview.com. “So he talked about Anna Akhmatova and Lorca, among others—he never saw himself as only a regional

Friesen is not satisfied with simply composing words—the sound is equally as important, and he reached across disciplines to entrench the lyrical quality in his poetry. “Patrick’s collaborations with artists from other disciplines were impressive and ambitious. Among others, he worked with choreographer Stephanie Ballard and did a number of remarkable recordings with the pianist/ composer Marilyn Lerner,” says Mierau. “These collaborations make him unique among poets in this region for his reaching across boundaries to the old sister-disciplines of poetry, especially dance and music.”

Calendar Girls, West End Cast. Photo by John Swannell.

next at

Based on the MiraMax Motion picture ‘calendar Written By

tiM Firth and Juliette toWhidi

presented By arranGeMent With

directed By MarTi Maraden

Girls’

david puGh & daFydd roGers starrinG

FiOna HigHeT FiOna reid

“The stage version of Calendar girls achieves the rare and pleasing feat of outstripping the film both in terms of heart and humour.” – london’s eveninG standard Based on a true story and the award-winning movie, a group of extraordinary women puzzle their husbands and embarrass their children after posing nude for what looks like a classic Women’s Institute calendar. After attracting global attention, the women end up revealing more than they ever planned.

Warning discreet nudity a co-production With DaviD Mirvish (toronto)

previeWs Mar. 14, 15 & 16

learn MOre aT

March 17 – april 9

www.mtc.mb.ca

Steven Schipper, Artistic Director

Zaz Bajon, General Manager

Presents

by

Patrick Friesen February 10 – March 5, 2011

Director Set & Costume Designer Lighting Designer Composer/Sound Designer Assistant to the Director Stage Manager Assistant Stage Manager Apprentice Stage Manager

Robb Paterson Brian Perchaluk Larry Isacoff Danny Carroll Ben Wiebe Karyn Kumhyr Kathryn Ball Michael Duggan

The Cast (in alphabetical order)

Deacon Penner Johann Neufeld Reverend Loewen Helen Neufeld Peter Neufeld

Murray Farnell Kevin Klassen Rob McLaughlin Daria Puttaert Mike Shara

There will be one intermission.

adapted for the stage by patrick friesen from his book The Shunning (turnstone press, 1980), and premiered in 1985 at prairie theatre exchange, winnipeg. the playwright would like to dedicate this production to margaret sawatzky friesen.

Thank you: Kevin Aichele, Lily Barg, Ted Barg, Hilary Carroll, Erika Engbrecht, Henry Engbrecht, Royden Loewen

10

feb/mar 2011

ARTISTS

Murray Farnell

Rob McLaughlin

Deacon Penner

Reverend Loewen

MTC First appearance.

OTHER THEATRE The Laramie Project (PTE); The Chip,

Bloodless: The Trial of Burke and Hare (White Rabbit Productions); Pirates of the North Saskatchewan (Celebrations Dinner Theatre); Paper Jack (Avatar Theatre).

TV Voice actor/puppeteer for Lost Tales of the Brothers

Grimm (Sunburst Productions).

TRAINING PTE@PTE, Adult Company, Film &

Television (PTE).

ET CETERA Much love to my parents, to my wife and

best friend, Kathryn, and to all of my friends and family for all of their love and support.

MTC The Seafarer, Pride and Prejudice. Assistant to the Director: Fiddler on the Roof.

OTHER THEATRE The Merry Wives of Windsor, Othello,

The Taming of the Shrew, A Midsummer Night’s Dream, As You Like It (SIR); Grand-Guignol On The Prairie (Echo Theatre); The Universal Wolf (No Sugar Added Productions); Blue Kettle (ChurchillFest 2010).

FILM/TV Capote, Nobody, Something Beneath (movie of the week).

Daria Puttaert Helen Neufeld

Kevin Klassen Johann Neufeld

MTC Top Girls, Pride and Prejudice, Shakespeare’s Dog (with NAC), The Tempest, A Christmas Carol.

OTHER THEATRE Strawberries in January, Unity (1918),

MTC White Christmas, It’s a Wonderful Life: A Radio Play, Bleeding Hearts, Our Town, The Tempest, A Christmas Carol, The Dresser, Feelgood (with GCTC), King Lear, Romeo and Juliet.

OTHER THEATRE Grand-Guignol On The Prairie, The

Skriker, The Poet and the Rent, Jumpers, The Twits (Echo Theatre); Death of a Salesman (WJT); Peter Pan (Rainbow); Urinetown (Dry Cold Productions); Mesa (PTE); well over a dozen productions as a member of Shakespeare in the Ruins.

FILM/TV New in Town, Elijah, Gavin Alcock, Niagara Motel.

Who Was That Masked Munsch? (PTE); Honour (PTE/ Belfry); Stretching Hide (TPM); Stripped Down Hamlet (SIR); Troilus and Cressida, Measure for Measure (TomTom Theatre); To the Country (Winnipegger Ensemble).

FILM Zooey and Adam (Bed Bug Films).

TRAINING Daria is a graduate of the University of

Winnipeg and the National Theatre School of Canada.

ET CETERA Much love to Jamie.

Mike Shara Peter Neufeld

ET CETERA Go see Kevin in the Shakespeare in the

Ruins production of King Henry IV, Parts 1 and 2 this year in Assiniboine Park! Love always to Charlie.

MTC It’s a Wonderful Life: A Radio Play, The Importance of Being Earnest, Long Day’s Journey into Night, Mating Dance of the Werewolf.

OTHER THEATRE As You Like It, The Winter’s Tale,

For a full list of theatre abbreviations, please Refer to legend on page 4

Cyrano de Bergerac (Stratford); The Heiress, Arms and the Man, You Never Can Tell, Nothing Sacred, You Can’t Take It With You, The Doctor’s Dilemma, Picnic, Hobson’s Choice, Hay Fever, Candida, An Ideal Husband, feb/mar 2011

11

ARTISTS The Petrified Forest, Marsh Hay (Shaw); It’s a Wonderful Life: A Radio Play, Take Me Out (CS); An Inspector Calls (TC); Black Comedy, The Real Inspector Hound, The Way of the World, Our Town, Platonov, The Play’s the Thing (Soulpepper); Picasso at the Lapin Agile, Opening Night, The Two-Headed Roommate (TA); Mojo (Theatrefront); Richard III, A Man for All Seasons, The Cherry Orchard, Caesar and Cleopatra (Citadel); Skylight, Rutherford and Son (NAC).

Immigrant, The Tale of the Allergist’s Wife (WJT); Beauty and the Beast (2009, 2005), Peter Pan, The King and I, Big: The Musical, Footloose, Crazy for You, 42nd Street (Rainbow); Rick: The Rick Hansen Story, Seussical the Musical, Pippi Longstocking (MTYP). Acting credits include: Marvin’s Room (PTE); Oliver!, Angels in America (Centaur); Chicago, The Music Man, Fiddler on the Roof, Oklahoma!, Damn Yankees (Rainbow).

FILM/TV XIII: The Series, King (Global TV), The Gathering,

ET CETERA Robb has appeared in more than 150

Little Mosque on the Prairie, Due South, Queer as Folk, Mayday, F/X, Aldrich Ames: America Betrayed, The Naked City 2.

productions in Canada over the past 30 years.

Patrick Friesen

OTHER THEATRE Directing credits include: The

Brian Perchaluk Set & Costume Designer

Playwright

Patrick Friesen, a resident of Winnipeg for 30 years, now lives on Vancouver Island. He has published more than a dozen books of poetry, a book of essays, and has written numerous stage and radio plays.

Friesen has collaborated with choreographers, dancers, dramatists, musicians and composers, including Per Brask, Margie Gillis, Stephanie Ballard, Big Dave McLean, Cate Friesen and Michael Matthews. He has also produced two spoken word/music CDs, in collaboration with improv pianist Marilyn Lerner.

Friesen has been nominated for several awards, including the Governor General’s Award and the Dorothy Livesay Award; he won the McNally Robinson Award for poetry in 1996. Jumping in the Asylum, a book of poems, will be coming out in the fall of 2011 with Quattro Press in Toronto.

Robb Paterson Director

MTC More than 40 productions, including recent and favourites: After Miss Julie, Steel Magnolias, Educating Rita, The Boys in the Photograph (with Mirvish), Pride and Prejudice, Shakespeare’s Dog (with NAC), Our Town, Trying, My Fair Lady, The Lonesome West, To Kill a Mockingbird, Patience, Quills, Travels with My Aunt, Picasso at the Lapin Agile, Oleanna, M. Butterfly (with NAC), Morning’s at Seven, A Midsummer Night’s Dream, Filthy Rich.

OTHER THEATRE Brian’s work has been featured at

theatres across the country, including two seasons each at the Shaw and Stratford Festivals. Selected recent credits include: Vimy (NAC/GCTC); Semele (Pacific Opera Victoria); Souvenirs, Bordertown Café, Lawrence and Holloman, Glorious (PTE); Transit of Venus (Manitoba Opera); The Light in the Piazza (Dry Cold Productions); King Lear, Fidelio (Atlantic Ballet Theatre of Canada).

TRAINING Brian is a graduate of the National Theatre

School and the University of Winnipeg.

ET CETERA Brian has received a Gemini Award for

production design and a Jessie Richardson Award for set design. He is a member of the Associated Designers of Canada.

MTC Directing credits include: White Christmas, It’s a Wonderful Life: A Radio Play, Bleeding Hearts, Pride and Prejudice, Our Town, Rope’s End, Guys and Dolls (with TC/Citadel), Trying, My Fair Lady, Steel Magnolias, An Inspector Calls, The Retreat from Moscow (MTC); Chicago, Cabaret, Grease, Little Shop of Horrors, The Pajama Game (MBA/MTC). Acting credits include: Richard III, Lady, Be Good!, True West, Little Shop of Horrors, Romeo and Juliet, Hamlet, Billy Bishop Goes to War, A Christmas Carol – The Musical.

12

feb/mar 2011

Larry Isacoff Lighting Designer

MTC The Seafarer, Looking Back – West, Bleeding Hearts, Rope’s End, The Retreat from Moscow, Fully Committed, Mating Dance of the Werewolf, The Miracle

WORLD PREMIE ERE! Theatre Projects’ heart clappers to present Armin Wiebe’s lostijch comedy

MOONLIGHT SONATA The

of

by Armin Wiebe Directed by Kim McCaw Featuring: Tom Keenan, Eric Nyland, Tracy Penner and Daria Puttaert

April 7-17, 2011 Rachel Browne Theatre – 211 Bannatyne FOR INFO & TICKETS: www.theatreprojectsmanitoba.ca or call 204-989-2400.

Armin Wiebe has won The McNally Robinson Book of the Year Award, the Prairie Fire Fiction contest and The Margaret Laurence Award for Fiction.

DRAMA

“Armin Wiebe does for Gutenthal…what Stephen Leacock did for Mariposa and its inhabitants. The results are similarly uproarious and touching, side-splittingly anarchic and wistful.” – Patrick Dunn for CM Magazine

The Moonlight Sonata of Beethoven Blatz Armin Wiebe

The Shunning Patrick Friesen

Available at McNally Robinson Booksellers

Thunderstick Kenneth T. Williams

ARTISTS Worker, Cloud Nine, Bedroom Farce, How I Got That Story, The Affections of May, Mrs. Klein, The Gin Game, Paper Wheat.

OTHER THEATRE Globe Theatre, 25th Street Theatre,

Karyn Kumhyr Stage Manager

Winnipeg’s Contemporary Dancers, PTE, MTYP. ET CETERA Larry divides his time between engaging

theatre projects and teaching yoga.

Danny Carroll Composer/Sound Designer

MTC It’s a Wonderful Life: A Radio Play, Pride and Prejudice, Rope’s End, Over the Tavern, The Retreat from Moscow, The Tempest, A Christmas Carol, Trying.

OTHER THEATRE Composer: Lenin’s Embalmers, Death

of a Salesman, Lebensraum, Einstein’s Gift, Via Dolorosa, Tales of the Allergist’s Wife (WJT); Having Hope at Home (PTE). Music Director: Company, Nine (Dry Cold Productions).

TRAINING Bach. of Music Composition (U of M),

MTC Steel Magnolias, It’s a Wonderful Life: A Radio Play, Bleeding Hearts, Pride and Prejudice, Fiddler on the Roof, Our Town, The Tempest, Driving Miss Daisy, The History of Manitoba from the Beginning of Time to the Present in 45 Minutes. Assistant Stage Manager: A Christmas Carol, The Foreigner, Doc. Crew: The Gin Game, Thimblerig, A Moon for the Misbegotten, The Tempest (1981), Side by Side by Sondheim.

OTHER THEATRE Rick: The Rick Hansen Story, Frog and

Toad, Invisible Girl, The Happy Prince (MTYP); The Savannah Disputation, The Fly Fisher’s Companion, Here on the Flight Path, Unity (1918) (PTE); Molière, The Beauty Queen of Leenane (ATP); The Woman in Black, The Gin Game (Valley Summer Theatre); Bump, Snow Dance (Ship’s Company Theatre); Urinetown (Dry Cold Productions); The Drawer Boy (ATF).

Master of Education (U of M).

Kathryn Ball

ET CETERA Danny is thrilled to be back at MTC and

Assistant Stage Manager

working with this talented cast and crew. Hugs to Laura and the girls. www.dannycarroll.ca

Benjamin Wiebe Assistant to the Director

MTC Steel Magnolias, Orpheus Descending, The Importance

of Being Earnest, Dreamgirls, Bad Dates.

OTHER THEATRE The Nutcracker, Carmen: The Passion

MTC Pride and Prejudice.

OTHER THEATRE Noises Off!, Miss Julie, Surrender

Dorothy, The Right Reason, Chopsticks, Archaeopteryx (Winnipeg Mennonite Theatre). Actor: The Long Christmas Dinner (WMT). Playwright: Notes from the Nuthouse (WMT).

TRAINING Stratford Shakespeare Festival Directing

Workshop I and II.

14

feb/mar 2011

(RWB); Tosca, The Barber of Seville, Madama Butterfly, Il Trovatore (Manitoba Opera); The Full Monty, Forever Plaid (Rainbow); An Illustrated History of the Anishnabe (MTYP); To the Country (Winnipegger Ensemble); Bloodless: The Trial of Burke and Hare (White Rabbit Productions).

TRAINING Theatre Production, Grant MacEwan College.

ET CETERA Kathryn is thrilled to be working on this

production, and she hopes you enjoy the show!

Canadian Brass FRIDAY, FEBRUARY 25 I SATURDAY, FEBRUARY 26 I SUNDAY, FEBRUARY 27 I

8:00 PM 8:00 PM 2:00 PM

This pioneering quintet certainly has no shortage of past glories upon which to reflect, but they are way too busy for that.

Whether rooted in classical, opera, jazz, or pop, they tackle their chosen compositions with a potent combination of enthusiasm, technical virtuosity and a charming sense of humour.

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

949-3999 www.wso.ca I

780-3333

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

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

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

Generously sponsored by: wine sponsors:

reception sponsors:

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

ARTISTS

The ringing of a cell phone

Michael Duggan Apprentice Stage Manager

during a performance can be quite distracting for both actors onstage and audience members. did you know texting and vibrating phones can be equally disruptive?

MTC Brief Encounter (with VP), The Seafarer, Steel Magnolias.

in an effort to eliminate cell phone disruptions during performances, the manitoba theatre centre will make a donation to the actors’ fund of canada for every cell phone-free performance.

OTHER THEATRE The Barber of Seville (Manitoba

Opera); Fen, FemFest (Sarasvàti Productions); Billy Bishop Goes to War, Saint Joan, Habitat (Theatre by the River); Monsieur d’Eon is a Woman (U of W); Zombie Prom (Winnipeg Fringe Festival); Altar Boyz (Winnipeg Studio Theatre); The Late Show (White Rabbit Productions).

as of

tuesday, february 1

TRAINING Mike has recently finished his BA (Hons.) at

the U of W in theatre production/stage management.

we’ve had

ET CETERA Mike is happy to be back at MTC.

116 Photo by David Cooper, Shaw Festival

shows this season without a

RING, BUZZ BEEP or

ks to Many than ! nce our audie

directing debut this winter when she discovered she had cancer. Four weeks later, she married actor and long-time partner Tom Rooney, who’d been rehearsing The Seafarer with her at our Tom Hendry Theatre. Eleven days later, she died at the age of 50 in Toronto. MTC audiences will remember her best as an actor — a dark- haired beauty with brains and a throaty voice — in a series of leading roles. She played Constance Ledbelly, the gender-bending, time-travelling scholar-sleuth in Goodnight Desdemona (Good Morning Juliet), and Li’l Bit, the niece with irresistible physical and intellectual endowments in How I Learned to Drive. Most recently (and perhaps memorably), she played the grown-up Scout, narrating To Kill a Mockingbird from an onstage swing, looking like an angel in her crisp white shirt and well-scrubbed face. She was, as Constance Ledbelly said of Shakespeare’s Juliet, “the essence … of beauty that will never fade, / of passion that will never die.”

16

feb/mar 2011

GreG ellwand in StronG PoiSon (2009/10). Photo by bruce Monk.

Gina Wilkinson was making her MTC

if you do brinG a cell into Pho ne or bee Per turn it the theatre, PleaSe ance orM Perf the off before you r cell beG inS. if you uSe Se Plea , Sion rMiS Phone at inte n it off reM eMb er to tur rinG nte re-e bef ore the the atr e.

Your MeMbers of the LegisLative asseMbLY continue to

Work hard for

the Arts flor marcelino

nancy allan

jennifer howard

MLA for st. vitAL

MLA for fort rouge

MLA for weLLington

237-8771 nallan-mla@shaw.ca

946-0272 fortrouge@mts.net

788-0800 wellington.constit@shaw.ca

theresa oswald

dave chomiak

MLA for seine river

MLA for KiLdonAn

kerri irvin-ross

MLA for fort gArry

255-7840 theresaoswald@mts.net

334-5060 kildonanmla@mts.net

475-9433 kerriirvinross@mts.net

diane mcgifford

chris melnick

peter bjornson

MLA for Lord roberts

MLA for rieL

MLA for giMLi

253-5162 christinemelnick@mts.net

642-4977 gimlimla@mts.net

452-4320 dianemc@mts.net

R TER BE FORE & AFTRE & AFTER BEFORE & AFORE & AFTER BE FORE & AFTE RE & AFTER&BE R BE RE & AFTER BE AFTER BEFOTE FORE & A AFTER BEFO & FORE & AFTE RE RE FO FO BE R BE R TE & AF R BE RE & AFTER BE TE AF & RE FO FO BE RE R BE FO AFTER BE R TE BE TE AF R RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & FORE & AFTER BEFORE & A TER BEFORER&BE TER BE R BEFO TER BEFORE BEFORE & AF TE R BEFORE & AF FORE & AFTE AF R TE BE & TE AF R & RE AF TE & FO RE AF BE & RE FO FO RE RE & AFTER& AFTER BEFORE & A & AFTER BE RE & AFTER BE AFTER BEFO RE TER BEFORE AFTER BEFOTE RB R BEFORE & AFTER BEFOTE R BEFORE &BE & AF & RE BEFORE & AFTE RE FO FO BE ORE & AFTE R & AFTER AFTER BEFORE & AFTE & AFTER BEFORE & AF RER& AFTER BEFORE & TER BEFORE B & RE FO FO BE RE TE R R BE R BEFO FORE & AF RER& FORE & AFTE FORE & AFTE ORE & AFTE & AFTER BEAF RE & AFTER&BE FO & AFTER BE FO BE RE R BE FO R TE BE TE AF R TE & RE TER BEFORE BEFORE & AF TER BEFORE AFTER BEFO RE & AFTER B ORE & AFTER & AFTER BEFORE & AF TER BEFORER&BEFORE & AFTER BEFO TER BEFORER&B BEFORE & AF TE AF R & AF TE & RE AF FTER BEFORE & RE FO FO BE RE R R BE R BEFO FORE & AFTE FORE & AFTE FORE & AFTE ORE & AFTE & AFTER BEAF RE & AFTER&BE & AFTER BE FO RE BE RE FO R TER BEFORER&B FO BE TE AF R BE TE ER & RE AF FT RE FO R BEFORE &BE & AFTER BEAF RE & AFTE AFTER BEFO & FO RE BE RE FO R FO BE TE ORE & AFTE R R TE & AFTE R BEFORE & TER BEFORER&B BEFORE & AF TE AF R & AF TE & RE AF FTER BEFORE & RE FO FO BE RE R AFTE R BE R BEFO FORE & AFTE R BEFORE & FORE & AFTE ORE & AFTE & AFTER BEAF & AFTER BE FORE & AFTE BEFORE & RE R BE RE FO R TE FO BE TE AF R BE & TE ER & RE AF FT R BEFO R BEFORE &BEFORE & AFTER BEFORE RE & AFTER FORE & AFTE FORE & AFTE AFTER BEFO & AFTER AFTER BEFORE & AFTER BE R BEFORE & TER BEFORER& TE AF & AF & RE FTER BEFORE & RE FO FO BE RE R AFTE R BE R BEFO FORE & AFTE R BEFORE & FORE & AFTE FORE & AFTE & AFTER BE FORE & AFTE BEFORE & RE & AFTER BE R BE RE FO R TE FO BE TE AF R BE & AF R TE & RE TE AF AF AFTER BEFO R BEFORE & FORE & AFTER BEFORE RE & AFTER FORE & AFTE TER BEFORER&BEFORE & AFTER BEFO RE & AFTER&BE TER BEFORER& BEFORE & AF TE AF R & AF TE & RE AF RE FO AFTER BEFO FO BE RE R BE AFTE R R BEFO FORE & AFTE R BEFORE & FORE & AFTE FORE & AFTE & AFTER BE FORE & AFTE BEFORE RE & AFTER BE R BE RE FO R TE FO BE TE AF R BE & AF R TE & RE TE AF AF AFTER BEFO R BEFORE & FORE & AFTER BEFORE RE & AFTER FORE & AFTE TER BEFORER&BEFORE & AFTER BEFO RE & AFTER&BE TER BEFORER BEFORE & AF TE AF R & AF TE & RE AF RE FO AFTER BEFO FO BE RE R BE AFTE TER BEFO R BEFORE & AFTER FORE & AFTE R BEFORE & EFORE & AF & AFTE FORE & AFTE BEFORE RE & AFTER BE R BE RE FO R TE FO BE TE AF R BE & AF R TE & RE TE AF RE AF AFTER BEFOTER BEFORE & AFTER TER BEFORER&BEFORE & AFTER BEFO R BEFORE &BE EFORE & AF FORE & AF RE & AFTER BEFORE RE & AFTE & AFTER BEFORE & AFTE TER AF & RE AFTER BEFO FO RE BE FO R TER BEFO R BEFORE & AFTER BE TE AF R & AF TE & RE AF & RE FO FO EFORE & AFTER BE FORE & AFTE RE & AFTER BE R BEFORE BE RE FO R FO BE TE R BE AF R TE & TE AF RE FORE & AFTE AF & AFTER BEAF RE & AFTER TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE TE R EFORE & AF TE RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & FORE & AFTER BEFORE AFTER BEFO RE R BE FOfantastic AFTE R BEFO AFTE upRtoBE some FORE & AFTE R BEFORE & FORE & AFTE EFORE &Warm & AFTER BE FORE & AFTE BEFORE RE & AFTER BE R BE RE FO R TE FO BE TE AF R BE & AF R TE & RE TE AF RE FO AF RE & AFTE TER BEFORER&BEFORE & AFTER BEFO RE & AFTER BE AFTER BEFO EFORE & AF RE AFTER BEFOTE R BEFORE & FORE & AFTE AFTER BEFOTE R BEFORE &BE & AF TE & RE AF & RE FO & AFTER BE FO BE RE R FO food and beverages AF R TE TER BE R BEFORE & FORE & AFTE BEFORE & AF TE R BE AF R TE BEFORE & AF & R TE AF & RE FO AF & FO BE RE FORE RE & AFTER & AFTE AFTER BEFO RE & AFTER&BE & AFTER BE AFTER BEFOTE RE TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF TE BEFORE & AF & TE & AF FORE RE & AFfinest FOWinnipeg’s AFTER BEFOR from AFTER BEFORE RE & AFTER&BE & AFTER BE TER BEFORER&BEFORE & AFTE TER BEFORER&BEFORE & AFTER BEFO BEFORE AF TE R AF TE BEFORE & AF & TE AF & RE AF & FO RE R BEFOR FO R BEdiscounts FORE MTC subscribers great atFOsome ofAFTERE & AFTE RE & & AFTER BE FORE receive RE & AFTER BE & AFT & AFTER BEAF & AFTER BE FO RE AFTER BEFOTE BE RE FO R FO BE TE R BE R TE BEFORE &restaurants, & RE FOretailers!

RE & AFfinest & minutes FORE &allAF TER BE AFTER BEFOTR R BEFO & AF Winnipeg’s restaurants and TE RE AF & RE FO & AFTER BE FO BE RE R BE FO AF TE AFTER TER BE R BEFORE & R BEFORE & AF R BEFORE & BEFORE & AF FORE & AFTE R BEFOR FORE & AFTE FORE & AFTE & AFTER BEAF RE & AFTER&BE FORE & AFTE & AFTER BE FO BE RE R BE FO AFT R TE BE & TE AF R RE TE FO RE the VIP Subscriber Please remember to FO check from MTC. R BEFORE & BEFORE & AF & AFTER BE AFTER BE FORE & AFTE TER BEFORE AFTER BEFOTR R BEFORE &BE & AF TE & RE AF & RE FO & AFTER BE FO BE RE R FO TE your season Benefit that was included AFTER CardTE TER BE FORE & AF RE & AFwith R BEFORE & BEFORE & AF & AFTER BE AF R BEFOTE FORE R BEFO FORE & R BE FORE & AFTE tickets for fantastic deals at the following & AFTER BE RE & AF FORE & AFTE & AFTER BE FO BE RE R BE FO R TE BE TE AF R & RE & AFT AF TE & FO RE BE & AF you crave RE FO R FO BE TE R BE AF R TE BEFORE Whether & TE establishments: FO FORE & AF RE & AFTER BEFORE FORE & AFsteak, R BE RE & AFTER BE & AFTER BE FORE & AFTE AFT R BEFO AFTER BEFOTE &- AFTER BEAF R BEFORE & FORE & AFTE BEFORE & REd-the R BE FObehin MaN AF R TE BEative ITo & TE AF RyInform Ba & RE FO & FO BE RE pATROn SERvICES: (204) 942- TER BEFO theat AFTER BE TER BEFORE & AFTER AF RalsBEFORE re profe TE 6537 ssion & AF ECargi FORE & AF R BEFORE & BE ThE & AF RE & AFTE TE pATROR aTr & FO n or RE AF E SERvI BE & RE CES TOll-FREE: ll Board FO Bailey’s Restaurant sandwiches soufflé, R FO BE Room RE TE R at 1-877 BE FO AF -446 R TE BE -450 & TE AF Ro performan 0 RE FO RE & AF TER BEFORER&BEFORE & AFTER BEFO the BEFO pATROn SERvI RE & AFTER BE TEatR AF741 CES RE &) 947-3 FAx: (204 & AFces Eeatre FO AF TE RestaurantR BEFORE & AFTER BEFOTE AFJapanese (Serie R BEFORE & s Mon15 FORE & Blüfish REE).& AFTER BE BE FO pATRO AF R TE n SERvI & TE AF R BE CES & RE FO E-MAI AF l: & FO BE RE R BEFOREpatronserv TER AFTER BEFOTER BEFORE & AFTER BE & b.ca FORE & AFTE AFs are &actor REmtc.m Eh the FOices@ these culinary delights R BE & AFTER BEAF RE & AF TEAdMIn held & AF FO RE AF BE & RE FO R FO BE RE TE R Cake-ology BE FO R ISTRA TE BE & TIOn: TE AF Rlowing each Tuesday BEFORE & AF (204) 956-1340 R BEFORE & R BEFORE BEFORE & AFTER BEFO TER RE & AFTE & AFTER BEFORE & AFTE manc E& FO e atAF TER both theatres, as AFTER BE & AF www. mtc.mb.ca FORE The Current BEFORE & AF RE & TER BEFORE R BE FO Restaurant and Lounge R TE BEees ay matin TE AF R & AF at the John & RE R BEF BEFORE & AF RE FO R TE FO BE TE AF R BE & AF R TE & RE TE AF and luscious libations will & RE FO AF t the& MTC Mainstage and E FORE Inn AF at theTE ForksR BEFO R BEFORE & AFTER BE TER BEFORE & AF VIP BENE REry & AFTER BE FOHend ees R BEFORE & the Tom TEcard AFTE R atBE & AFFIT FORE & AF RE & AFTER BEF REexpire R BEFORE &BE R BEFO TE Offers & AFTER BE AF & REGrill Augu TC Wareh st & AF FO 31, RE 2011. ouse. TE disco RE FO R unts TER BEFO R BEFORE & A BE TE AF R & AF Don Pedro’s Authentic Mexican TE & RE AF & RE FO FO BE RE not valid with AF R R BE BEFOcomplete FO other TE ER prom otional & any FORE & AFTE BEIBE RE FORE & AFTE your night out on R BE TE AFTER BEF R TES are BE AF SuB R TE availa & Scr TE ble AF offers in & .

RE AF pleas r R BEFORER&BE e prese & REBenefits Card nt this RE FO R BEFO R BE & AFTE TEorder & AFTE Hermanos Restaurant FORE & A n of $5. A great RE AFwhen & RE FO FO BE gift RE TE R BE FO AF R TE BE & ing.

TE & AF doNorFORE ER AFunt does not apply TER BEFORE & RE & disco sion, gift certificates & AFTER BEAF AFTER BE & RE TER BEFO AF & RE FO AF to alcoholic bever & FO BE RE R BE RE FO ages R TE or any John HirschRE AFTE wiseFORE TER BE unlessRother &Asian Hu’s Bistro & AFTER BEFORE & AF RE & AFTER BEFORE & & AF or town, FO the indica before after ted.

TEhantsBE partic ER AF ipatin &or g merc uction,BE R BEF RE Winnipeg TE ve TER BEFORE AFTER BEFO AF &reser FORE & AFTE AF FringeR BEtheFO RE right RE FO toRaskBE R BEFORE & for ickets & perso TE nal or passes and AF ident TE & ificat FORE & A RE & AFTER BE AF ion.

BE & RE FO Independent Jewellers R FO BE RE TE R BE FO AF R TE BE & TE AF ER & RE MTC does not ns. Available at the MTC BE & AF assume liability RE for any inaccuracy or error on this TER BEFORE AFTER BE AFTER BEFO TER cardFO AF and will not be responsi REment& RE .mtc.m& ble ifFO R BEFORE & TER BEFORER&BEFORE & A any establish b.ca.AF R BE breaches its & AF man AF the itobTE contractTE aRestaurant Velvet Glove FORE the& BEFORE & AF orshow. refuses to honour the terms TE TE atrAF R e AF cen R TE & tre and conditio ER BEFORER&BE RE AF ns BE set forth. & FO RE 174 R BE BE Mark RE et ave. Winni peg, R FO R BEFO MB r3BRE FORE & AFTE T: (204) 956-13 40 F: FO 0p8 & AFTE BE RE & AFTE & AFTER BEFORE & AFTE The&Fairmont Winnipeg (204)R 947-37 41 w: WWW.M tc.MB .ca AFTE FORE & A RE & AFTER BE BE RE FO R FO BE RE TE R BE FO AF R TE BE & TE AF ER R BEFORE &BEFORE & AFTER BEFORE BEFORE & AF TEWinnipeg RE & AFTER BE ORE & AFTER& AFTER BEFORE & AF R ArtTE Gallery AFTER BEFOTE RE & AF R BEFORE & R BEFORE &BE AF TE & AF & RE TER BEFORER BEFORE & AFTER BEFO FO RE FO R TER BE TER BE FORE & AFTE BEFORE & AF R BE ORE & AFTE & AFTER BEFORE & AF R TE TE AF & AF & FORE & RE BE RE FO R FO BE RE TE R BE FO AF R TE BE & TE AF R RE TE AFTER BE BEFORE & AF TER BEFORER&BEFORE & AFTER BEFO R BEFORE &BE ORE & AFTER& AFTER BEFORE & AF FORE & RE & AFTE & AFTER BEFORE & AFTE TER AF & RE TER BEFORER BEFORE & AFTER BEFO FO RE BE FO R TER BE TER BE FORE & AFTE BEFORE & AF R BE ORE & AFTE & AFTER BEFORE & AF R TE TE AF & AF & FORE & RE AFTER BEFO R BEFORE E & AFTER BE FTER BEFORE

Before After &

ITS

cENTrE 2010/11 SEaSoN

VIP card

FOR EFORE FORE RE & AFTER B RE & AFTER&BE RE & AFTER BE AFTER BEFOTE RE & AFTER&BE AFTER BEFO AFTER BEFOTE AFTER R BEFORE BE AF R BEFO R BEFORE & TE & RE AF & RE FO AF & FO BE RE E R FO OR R TE EF & AFTE FORE & AF RE & AFTER BEFORE RE & AFTER BE TER BEFORE RE & AFTER BE AFTER BEFOTE R R BEFO R BEFORE & AF AFTER BEFOTE FORE & AFTE FORE & AFTE BE R EFORE & AF RE & AFTER BEFORE &BE AF & FORE RE & AFTER BE BE RE FO R FO BE TE R FO AF R TE BE & TE AF R & AF AFTE R BEFORE &BEFORE & AFTER BEFORE RE & AFTER TER BEFORE FORE & AFTE TER AFTER BEFOTE BEFORE & AF R BEFOR RE & AFTER BE R BEFORE &BE BEFORE & AF AF R TE & TE AF & RE AF & FO RE AFTER BEFOTE RE FO R BEFO & AFTER BEAFTER BEFORE & AFTER& AFTER BEFORE & AFTE RE FO BE R BEFORE & AF TE & FOR RE RE RE & AF AFTER BEFO RE & AFTER&BE AFTER BEFO AFTER BEFOTE AFTE R BEFORE & TER BEFORER&BEFORE & AFTER BEFO RE AF & FO AF & BE RE R RE FO TE FO BE BE & AF FOR RE & AFTER & AFTER BEFORE & AFTE AFTER BEFORE RE & AFTER&BE AFTER BEFOTE TE R BEFORE BEFORE & AFTER BEFORER&BEFORE & AFTER BEFO BEFORE AF R TE TE AF R BEFORE & AF & AF TE & FOR RE AF RE FO FORE & & AFTER BEAF RE & AFTER&BE AFTER BEFO & FO RE BE & AFTER BEAF RE FO R TE FO BE TE AF R BE R TE FORE & AF RE & AFTER BEFORE & FORE & AFTER BEFORER BEFOR BEFORE & FOTE RE & AFTER BE TE R BE BEFO AF R TE & TE AF & RE AF & FO RE BE & AFTER BEAF RE FO R R BE R BEFO FORE & AFTE FORE & AFTE FORE & AFTE BEFORE & FOTE FOR RE & AFTER BE RE & AFTER&BE RE & AFTER BE AFTER BEFOTE RE & AFTER&BE AFTER BEFO & FO RE BE & AFTER BEAF RE FO R FO BE AFTE R BE AF R TE & RE TE AF & RE FO & FO BE RE R BE RE FO R TE FO BE R BE RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFO FORE & AFTE AFTER BEFO & AFTER BEAF FORE R BEFO R BEFORE & FORE & AFT FORE & AFTE RE & AFTER BE FO BE R BEFORE & FOTE TE & AFTER BE FO RE & AFTER BE AF & RE FO FO BE RE R BE R TE BE TE AF R & RE & AFTER&BE AF & FO RE BE & AFTE RE FO R FO BE TE AFT R BE AF R TE & RE TE AF & RE FO AF & FO BE RE R BE RE FO R TE FO BE AF R BE R BEFO FORE & AFTE R BEFORE &BE FORE & AFTE & AFTER BE FORE & AFTE & AFTER BEAF FORE & AFTE R T TER BEFORE FORE & AFTE BEFORE & AF RE & AFTER BE R BE FO R TE BE TE AF R & AF R BEFORE & TE & FO RE AF RE FO FORE & & AFTER BEAF RE & AFTER&BE AFTER BEFO & FO RE BE & AFTER BEAF RE FO R T FO BE TE AF R BE R TE RE TE AF R BEFORE & AFTER BEFOTE R BEFORE &BE R BEFORE & R BEFO FORE & AFTE R BEFORE &BE FORE & AFTE AF R TE & TE AF & RE AF & FO RE & AFTER BEAF RE FO TER BEFO AFTER BE RE & AFTER& AFTER BEFORE & AFT R BEFORE & FORE & AFTER BEFORER&BEFORE & AFTER BEFO FO FORE & AFTER BE & AFTER BEAF AFTE & RE RE FO E & AFTER BE FO BE TER BEFORE R BE & AF R TE & RE TE AF & RE FO AF & FO BE RE R BE RE FO R TE FO BE TE R R BE FORE & AF RE & AFTER BEFORE & AF FORE & AFTE AFTER BEF RE & AFTER&BE FO R BEFORE & E & AFTER BE AFTER BEFO FORE & AFTE BEFORE & AF RE AFTER BE R BE FO R TE BE TE AF R & AF R BEFORE & TE & F RE AF RE FORE & AFTER BEFO RE & AFTER&BE AFTER BEFO E & AFTER BE AF R BEFORE & TER BEFORER&BEFORE & AFTER BEFO RE TE AF & FO AF & BE RE R RE FO TE FO BE TE AF R BE R BEFORE &BEFORE & AFTER BEF FORE & AFTER R BEFORE & AF FORE & AFTE R E & AFTER BEAFTER BEFORE & AFTE FORE & AFTE RE & AFTER BE R BEFORE & AF BE FO R BE TE R AF TE ER BEFORE & & F AF & RE FORE & AFTE FO BE RE R BE FO R TE BE TE AF R & RE & AFTER&BE AF TE & FO RE BE RE FO R E & AF FO BE TE AF R BE AF R TE & RE TE AF & RE FO AF & FO BE RE R BE RE FO R TE FO BE TE AF R ER BE R BEFORE &BEFORE & AFTER BEF FORE & AFTE R BEFORE & AF FORE & AFTE R E & AFTER BEAFTER BEFORE & AFTE FORE & AFTE RE & AFTER BE R BEFORE & AF BE FO R BE TE R AF TE ER BEFORE & & F AF & RE FORE & AFTE FO BE RE R BE FO R TE BE TE AF R & RE & AFTER&BE AF TE & FO RE BE RE FO R FO BE RE & AF TE A R BE AF R TE & RE TE AF & RE FO AF & FO BE RE R BE RE FO R TE FO BE TE AF R ER BE FORE & AF RE & AFTER BEFORE & FORE & AFTER BE FORE & AFTE RE & AFTER&BE FO R BE RE & AFTER BE AFTER BEFO FORE & AFTE RE AFTER BE R BEFORE & A FO BE R TE ER BEFORE & AF & RE & AFTER&BE FORE & AFTE FO BE RE R BE FO R TE BE TE AF R RE & AFTER&BE AF TE & FO RE BE RE FO R FO BE RE & AF TE A R BE AF R TE & AF & AFTE R BEFORE BEFORE & AFTER BEFORER BE R BEFORE &BE TER BEFORE FORE & AFTE R FORE & AFTE AFTE R TE BE & TE AF R & RE AF TE & FO RE AF BE & RE FO R FO RE A AFTER BE TER BEFORE & AFTE & AFTER BE TER BEFORER&BE R BEFORE &BE TER BEFORE FORE & AF RE & AFTER BEFORE & AF FORE & AFTE RE & AFTE & A AFTER & FO BE RE FO R FO BE RE & AFTER BE TE R BE AF R TE & AF & AFTE R BEFORE BEFORE & AFTER BEFORER BE R BEFORE &BE TER BEFORE FORE & AFTE FORE & AFTE R TER & AFTE FORE & AFTE BEFORE & AF RE & AFTER BE TER BEFORE R BE R TE TE AF & AF & RE R BEFORE &BA BEFORE & AF FO R TE BE TE AF R & AF TE & RE TER BEFORE AF & RE FO R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BE TER BEFORE & AFTER ORE & AFTE & AFTER AFTER BEFORE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & TER BEFORE BEFORE & FORE & AFTER BEFORE BEFORE & AFTER BEFOTER BEFORE & AFTER B R TE AF & E OR & AFTER BE RE & AFTER & AFTER BEFORE & AF RE & AFTER BEFORE & TER BEFORE AFTER BEFOTE FO RB FORE R BEFORE &BE & AF R BE FORE & AFTE RE & AFTER BE RE FO ORE & AFTE R & AFTER BE RE & TE AFTER BEFOTE & RE FO AF & FO BE RE R BE RE FO R TE FO BE AF R BE & AF RE & FTER RB BEFORE & AFTE TER BEFORE AFTER BEFOTE BEFORE & AFTE ORE & AFTER & AFTER BEFORE & AF R BEFORE &BE FORE & AF RER& AFTER BEFORE & FORE & AFTE R BE TE R AF TE & AF FTER BEFORE & RE FO R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BE TER BEFORE & AFTER B ORE & AFTE & AFTER AFTER BEFORE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & RE FO BE FTER BEFORE & FORE & AFTER BEFORE BEFORE & AFTER BEFOTER BEFORE & AFTER B R TE AF & E OR & AFTER BE RE & AFTER & AFTER BEFORE & AF RE & AFTER BEFORE & AFTER BEFOTE FTER BEFORE FO R FORE R BEFORE &BE & AF R BE FORE & AFTE RE & AFTER BE RE FO FORE & AFTE R & AFTER BE TE AFTER BEFOTE & RE FORE & AF & FO RE BE RE FO R FO BE R BE & AFTER BEAF AF TE & RE AF FTER & RE FO R FO BE RE TE R BE FO R TE AF R BE R BEFORE & FORE & AFTE R BEFORE &BE FORE & AFTE FORE & AFTE R BEFORE & RE & AFTER&BE FORE & AFTE R TE BE TE AF R & AF TE & RE AF RE FO AFTER BEFO R R BEFO R BEFORE FORE & AFTE RE & AFTER BE FORE & AFTE FORE & AFTE RE & AFTER BEFOTE RE & AFTER&BE RE & AFTER&BE AFTER BEFOTE R BEFORE &BE AF R BEFO TE & RE AF RE FO AFTER BEFO R FO BE RE R FO AF R TE AF R BE R BEFORE & FORE & AFTE R BEFORE &BE FORE & AFTE FORE & AFTE R BEFORE RE & AFTER&BE FORE & AFTE R TE BE TE AF R & AF TE & RE AF RE FO AFTER BEFO R R BEFO R BEFORE FORE & AFTE RE & AFTER BE FORE & AFTE FORE & AFTE RE AFTER BEFOTE RE & AFTER&BE RE & AFTER&BE AFTER BEFOTE R BEFORE &BE AF R BEFO TE & RE AF RE FO AFTER BEFO R FO BE RE R FO AF R TE AF TER BE R BEFORE & FORE & AFTE R BEFORE &BE EFORE & AF FORE & AFTE R BEFORE RE & AFTER&BE FORE & AFTE R TE BE TE AF R & AF TE & RE AF RE FO AFTER BEFO AFTER BE TER BEFORE & AFTER TER BEFORER BEFORE & AFTER BEFO R BEFORE &BE EFORE & AF FORE & AF RE & AFTER BEFORE RE & AFTE & AFTER BEFORE & AFTE AFTER & RE AFTER BEFO FO RE BE FO R TER BEFO R BEFORE & AFTER BE TE AF R & AF TE & RE AF & RE FO E FO BE TE R EFOR R BEFORE BEFORE & AF RE & AFTER&BE FORE & AFTE R BE TE R AF TE & AF RE FORE & AFTE AFTER BEFO R FO BE RE R BE FO R TE BE TE AF R & AF TE & FORE & AFTE RE BE RE FO R FO BE TE R BE AF EFORE & AF R TE & RE TE AF & RE FO AF & FO BE RE R BE RE FO R TE FO BE TE AF R BE & AF R RE AFTE RE & AFTE AFTER BEFOTE TER BEFORER&BEFORE & AFTER BEFO BEFORE & AFTE R BEFORE &BE EFORE & AF FORE & AF RER& AFTER BEFORE RE & AFTE & AFTER BEFORE & AFTE R TE AF & RE FO AFTER BEFO & AFTER BEAFTER BEFORE & AFTE TER BEFORER BEFORE & AFTER BEFO EFORE & AF AFTER BEFORE RE & FORE & AFTE AFTER BEFORE TER BEFORER&BEFORE & AFTER BEFO AF & & AFTER BE RE FO TER BEFORER&BEFORE & AFTE BE EFORE & AFTE TE ORE & AFTER R BEFORE & AF

setting the stage O r i g i n a l ly p u b l i s h e d i n T h e N e w Yo r k T i m es, M a r c h 1 9 1 5

Beatrice Mundy

Alice Burnham

Margaret Lofty

20

feb/mar 2011

LONDON, March 23.—George Joseph Smith was charged by Public Prosecutor Bodkin in the Bow Street Police Court today with murdering three of his wives, the crime in each case being committed shortly after he had married the woman.

Each of these women was found dead in her bath. Consequently the case has come to be known as the “Brides in Baths” case.

Smith has described himself as a man of independent means. According to the evidence of Scotland Yard, which has been inquiring into the deaths of these women, Smith

made use of various fictitious names in his matrimonial ventures. The women he married were found dead a few days after the ceremonies.

Verdicts of accidental death were returned, but now some of the bodies have been exhumed, with the result that the charges of murder have been preferred.

The Public Prosecutor gave the names of the three women and the dates of the alleged murders as Beatrice Mundy, July, 1912; Alice Burnham, December, 1913, and Margaret Lofty, December 1914.

the drowning girls Smith, according to the police, was born in London, the son of an insurance agent, and is 45 years of age. He was married, according to the evidence given at the preliminary hearing today, under the name John Lloyd, to Margaret Elizabeth Lofty at a registry office at Bath in December, 1914. The couple came to London the same day, and the next morning the bride was found dead in her bath, her husband calling in a doctor, who reported the matter, as a result of which an inquest was held. The jury brought in a verdict of accidental death.

In February, information having reached the police that Lloyd was not the husband’s name, he was arrested and identified, the police say, as George Joseph Smith, who in November, 1913, had married at Portsmouth Miss Alice Burnham, who a month later also had been found dead in her bath. In this case, too, a Coroner’s Jury brought in a verdict of accidental death.

The police also have had the body of another woman exhumed.

This woman, who also died in her bath shortly after her marriage, at Herne Bay, was married to a man who gave the name of Henry Williams, and who is believed by the police to be George Joseph Smith.

Prosecutor Bodkin said the accused had been married five times in

all. His first wife was Caroline Beatrice Thornhill, whom he married in 1898, and who was now on her way to London from Canada.

“The prisoner will now be charged with the murder of the three of these five women,” Mr. Bodkin continued. “The case is remarkable for the greed for wealth which was the dominant motive in the taking of these three lives. We shall show that at the death of two of them £2,800 ($14,000) was obtained, and that the prisoner when arrested was in a fair way to obtain £700 ($3,500) more.” The Public Prosecutor related how Smith had ardently courted each woman and had obtained from each a will making him the sole legatee.

“In the death of these three women precisely similar circumstances existed,” Mr. Bodkin went on.

“Each was found in her bath; each died of drowning, and each was first discovered by the prisoner.”

The prosecutor said he considered it remarkable that the prisoner had been able to face the Coroner’s Juries untrapped after each death, and that he should only at the last have been brought to court on a technicality regarding the use of a false name in an application for a marriage license.

Below: Handwritten note by George Joseph Smith to his counsel, Edward Marshall Hall, indicating that he did not wish to give evidence in his own defence.

George Joseph Smith

On July 1, 1915, George Joseph Smith was found guilty by a jury of his peers. The jury took a mere 20 minutes to decide Smith’s verdict. He was sentenced to death and hanged in Maidstone Gaol on August 13, 1915.

curtain calls

Taking a shower.

Sounds simple, right? Well, not if you’re onstage. You can’t have The Drowning Girls if you don’t have water, and getting water onstage is a tad tricky.

There are so many considerations when integrating water into a production, and The Drowning Girls is no different. First, there’s actually running the water lines to the shower heads above the bathtubs, then the added weight of the water on the stage, the removal of the water

22

feb/mar 2011

during and after the performance, the protection of the stage floor, and the matter of recognizing the actors appearing in this production are going to get soaking wet.

Despite the myriad of concerns, MTC Warehouse Technical Director Rick MacPherson has it covered.

“The three actors are in wedding dresses, and they’re in the tubs immediately. I think within the first five minutes of the show, they’re all wet. So the big challenge for this

the drowning girls show is the temperature in the theatre—because we’re doing it in February—and also (keeping the water) temperature constant for the three shower heads because the shower heads are operational during the show,” he explains.

All photos this spread by Cylla von Tiedemann

The water has to be kept warm, so the first order of business for the Warehouse crew was to check on the hot water tanks because hot water is not only a necessity for the stage, but for the Green Room, the dressing rooms and the washrooms. After determining the two large hot water tanks in the building were sufficient to run the show and the rest of the building, the next step was to actually get the water on stage. Many theatres do not have water easily accessible to the stage, but the Warehouse is equipped with two taps within easy reach. “As far as running the taps,” says MacPherson, “we’ll run a hose to a three-way splitter, and the three-way splitter will feed each of the shower heads. Each shower head has a chain, and the chains operate a lever.

When the lever is pulled, water will come out.”

When it came to the added weight of tubs full of water on the stage, MacPherson knew the stage could hold it. “Our deck is masonite plywood and then about three inches under that is concrete,” he says. The stage is protected with a pond liner that sits right on the stage floor. The removal of the water during and after the performance is a little more complicated. The Drowning Girls runs approximately 90 minutes, but the clean-up process keeps the production crew working long after the audience has left the theatre. After each performance, the crew uses little sump pumps and a shop-vac to drain all the water from the stage. After the water is drained, everything has to be thoroughly dried out so the humidity in the theatre is not affected. Not only the stage needs to be dried out, but the costumes as well, as the same dresses are used for every performance.

The whole process is a well-oiled machine, making sure the show is top-notch for every audience.

Staying soaking wet in the afterlife: Natascha Girgis as Margaret, Beth Graham as Alice and Daniela Vlaskalic as Bessie in The Drowning Girls (above). Opposite: Girgis, Vlaskalic and Graham.

As Technical Director, MacPherson has to plan for any contingencies well in advance. Whether it be getting warm water on stage or timing the striking and hanging of lighting grids between shows, MacPherson has to consider a wide variety of factors when planning a production, even something as seemingly simple as snow removal.

“For example, I’ve had to approach (snow-removal companies) and ask the guys to not clean the parking lot until after 10 pm during the duration of the run of The Drowning Girls because when you clean that parking lot with a loader, it shakes the building,” he chuckles.

As you sit in the darkened theatre watching The Drowning Girls, enjoying the riveting performances given by the actors and the haunting tale they tell, MacPherson and his crew are waiting in the wings to make sure everything runs smoothly.

After all, the show must go on.

For more behind-the-scenes magic, catch a peek at how these beautiful actors transform into the haunting dead brides in the Drowning Girls section of the MTC website under Videos/Extras. www.mtc.mb.ca feb/mar 2011

23

Steven Schipper, Artistic Director

Zaz Bajon, General Manager

Presents

bent out of shape productions’

by

Beth Graham, charlie tomlinson, daniela Vlaskalic February 24 – March 12, 2011

Director Set & Costume Designer Lighting Designer Sound Designer Stage Manager

Charlie Tomlinson Bretta Gerecke Narda McCarroll Peter Moller Cheryl Millikin

The Cast (in alphabetical order)

Margaret Natascha Girgis Alice Beth Graham Bessie Daniela Vlaskalic

The Drowning Girls runs approximately one hour and 15 minutes (no intermission).

bent out of shape productions acknowledges with gratitude their producing mentor eva cairns.

24

FEB/mar 2011

ARTISTS

Natascha Girgis

Daniela Vlaskalic

Margaret

Bessie/Co-creator

MTC Evita (with TC).

MTC First appearance.

OTHER THEATRE Selected: Communion, The Palace of

OTHER THEATRE The Drowning Girls (Tarragon, Gateway

the End, Life Skills (Theatre Network); The Trespassers (Belfry); The Drowning Girls (Canadian tour); Humble Boy (TC/Citadel); Love (Northern Light Theatre); Seussical the Musical, Blue Light, Picking Up Chekhov, Oliver Twist, The Stone Angel, Scary Stories, Mad Boy Chronicle, Oleanna, Two Weeks with the Queen (ATP); Counsellor-At-Law, Dangerous Corner, Sherlock Holmes (TC); Lion in the Streets (Sage Theatre); Amadeus, Macbeth (ATF); Blues in the Night, The Complete Works of William Shakespeare (abridged) (Lunchbox Theatre); Abundance, The Beggar’s Opera (Caravan Farm Theatre); Speak (Globe); The Barber of Seville (Persephone Theatre); Man of La Mancha (Royal Alex); Possible Worlds, Philanthropist (Theatre Junction); The Mystery of Edwin Drood (Vertigo Theatre); Beautiful Lake Winnipeg (Pleiades Theatre); The Last Resort, Nunsense II (Stage West Calgary); Lend Me a Tenor (Arts Club); Speaking in Tongues (Shadow Theatre).

Theatre, Belfry, Persephone Theatre, Citadel); Boston Marriage (Skeleton Key Theatre); Doubt, A Parable (CS); All’s Well That Ends Well, Hamlet, The Taming of the Shrew (Stratford); Vimy, Equus, Einstein’s Gift (Citadel); Arms and the Man (NAC/Citadel/VP); The Cripple of Inishmaan (TC); The Blue Light (Firehall Arts Centre); A Doll’s House (Persephone Theatre); Hippies and Bolsheviks, Picking Up Chekhov (ATP playRites ’06); Twelfth Night, Strawberries in January, The Red Priest (Globe). As a playwright, Daniela has collaborated with Beth Graham on several plays, including: Comrades, The Last Train, Mules, A Foolish Boy and The Unknown Woman.

Charlie Tomlinson Director/Co-creator

TRAINING Mount Royal College.

Beth Graham Alice/Co-creator

MTC First engagement.

OTHER THEATRE Director: A Beautiful View, Hedwig

MTC Summer of My Amazing Luck.

OTHER THEATRE Nevermore (Catalyst Theatre, Vertigo Theatre, NYC’s New Victory Theater, London’s Barbican Theatre, Luminato Festival, Magnetic North Festival); The Drowning Girls (ATP playRites Festival 2008, Tarragon, Gateway Theatre, Belfry, Persephone Theatre, Citadel); Strawberries in January (Globe); A Christmas Carol, Penelope vs. The Aliens (Citadel); The Blue Orphan (Catalyst Theatre, Edinburgh Fringe Festival, Glasgow’s Tron Theatre). Beth has co-written several plays with Daniela Vlaskalic, including: Comrades, A Foolish Boy, The Last Train and Mules.

TRAINING Beth received her Bachelor of Fine Arts in

and the Angry Inch, The Shape of a Girl, The Anger in Ernest and Ernestine, Closer, Bash, Never Swim Alone, Cherry Docs, The Yalta Game, Jewel, Proof, The Shape of Things (c2c theatre); The Infinity Plays, Say Nothing Saw Wood, The Atom Station (Resource Centre for the Arts Theatre Company); The Innocence of Catherine Snow, The Nobleman’s Wedding, Salt-Water Moon, Jewel, Stars in the Sky Morning (Rising Tide Theatre); To the Wall, King o’ Fun (Andy Jones Productions).

Actor (selected): Rising Tide Theatre, Wonderbolt Productions, Resource Centre for the Arts Theatre Company, c2c theatre (St. John’s); Catalyst Theatre, River City Shakespeare Theatre Company (Edmonton); Grand Theatre (London, Ontario); Theatre Passe Muraille, Nightwood Theatre, Theatre Smith-Gilmour (Toronto); Nakai Theatre (Whitehorse, Yukon).

acting from the University of Alberta, where she met Charlie and Daniela.

For a full list of theatre abbreviations, please Refer to legend on page 4

feb/mar 2011

25

ARTISTS

Bretta Gerecke

Narda McCarroll

Set & Costume Designer

Lighting Designer

MTC First engagement.

MTC First engagement.

OTHER THEATRE Bretta works extensively with

OTHER THEATRE Lighting Designer: As You Like It

Catalyst Theatre, the Citadel Theatre, the Canadian Stage Company, Factory Theatre, Edmonton Opera, Calgary Opera, Victoria Opera, Theatre Calgary and the Globe Theatre.

TRAINING Bretta graduated from the U of M with a

Bachelor of Interior Design and from the University of Alberta with a Master of Fine Arts in Theatre Design.

ET CETERA Bretta is the recipient of 20 Awards for

Outstanding Achievement in Set, Lighting and Costume Design, the Enbridge Award for Best Emerging Artist, The Global Women of Vision Award, Edmonton’s Top 40 Under 40, and was shortlisted twice for the Siminovitch Prize.

(Citadel); Shakespeare’s Dog (ATP); The Forbidden Phoenix (MTYP/ LKTYP/Citadel). Set & Lighting Designer: The 39 Steps (Vertigo Theatre). Set & Costume Designer: The Trespassers (Belfry/VP).

Production Designer: Extinction Song, Vimy (with Bretta Gerecke), Shining City (Citadel); Mary’s Wedding, Apple (Workshop West Theatre). Costume Designer: Julius Caesar, The Pillowman (Citadel). Narda has designed costumes for Edmonton’s Freewill Shakespeare Festival for 12 seasons.

ET CETERA Narda is the recipient of three Sterling

Awards and one Betty Mitchell Award. She would like to thank Beth and Daniela for the incredible experience of touring this wonderful, wet and wild production across the country. continued on page 28

Fundraiser

A

HorSe Trade THeaTer’S

By Clay McLeod Chapman | Performed by Hanna Cheek

a play exploring the bond forMed between three woMen in the wake of a high school tragedy. an actor of rare gifts …. Someday Hollywood will steal her, so you snatch at every chance to see (Hanna Cheek) onstage.”

“…

have to

15

$

12

$

.50

Early Bird (until March 7)

– Helen Shaw, Time Out NY

TickeTs available aT The MTc box office

942-6537 or online aT

winnipegfringe.com

8pm

Tom Hendry Theatre at the MTC Warehouse 140 RupeRt Avenue At LiLy StReet

For over 10 years Kenaston Wine Market has been serving Manitoba wine lovers - 363 days a year. We invite you to visit our unique and contemporary shop at 1855A Grant Avenue in the Kenaston Village Mall, where we offer 2000+ lovingly selected wines from around the world. And we don’t just offer wine, we also specialize in wine accessories and tools that are functional and stylish. Check out our amazing selection of Riedel Crystal Glassware. If you are interested in learning more about wine, our Education Team offers a wide range of entertaining and informative classes.

Kenaston Wine Market – Serving Manitoba’s wine loving public, top restaurants, hotels and private clubs since 1994.

Kenaston Village Mall 1855A Grant Avenue, Winnipeg, Canada P. 204-488-WINE (9463) F. 204-487-0834 E. kenwine@mts.net

DOWNTOWN WINNIPEG’S MOST SPACIOUS EXECUTIVE SUITES Daily and extended stay accommodations Spacious studio, one and two bedroom suites Leather furniture, granite countertops, 32” flat panel HDTV Complimentary high speed wireless internet Well appointed kitchens with new appliances Proudly S upporting the arts for over 20 years

www.placelouisriel.com 190 Smith Street, Downtown Winnipeg, MB, Canada TF: 1.800.665.0569

ARTISTS

Peter Moller

Cheryl Millikin

Sound Designer

Stage Manager

MTC Assistant Stage Manager: To Kill a Mockingbird (with Citadel), Of Mice and Men (with Citadel).

MTC First engagement.

OTHER THEATRE Selected: The Forbidden Phoenix

(Citadel/LKTYP); When That I Was … (The Shakespeare Company); The Pillowman (Ground Zero Theatre); The Syringa Tree (ATP); Dream Machine, Mata Hari (One Yellow Rabbit Performance Theatre).

ET CETERA Peter is a Calgary-based musician/

designer/performer. He has run Egg Press Co., a graphic and sound design establishment, forever.

He is the recipient of a number of Betty Mitchell and Sterling Awards and nominations for his theatre sound designs. He plays and tours with Calgary’s Kris Demeanor and His Crack Band. A new CD of his music, The Responsibilities of Evolution, was released this year by Concrete Discs. Selections of his sound and graphic designs can be heard and seen at www.eggpress.ca.

be inspired

OTHER THEATRE Cheryl has been stage managing

shows across Canada and abroad for many years.

Selected credits include: Extinction Song, Popcorn (Citadel); The Importance of Being Earnest (Citadel/ Grand); The Blue Light, My One and Only, The Red Priest, Mary’s Wedding, Apple (Workshop West Theatre); Get Away, The Leisure Society (ATP playRites Festival); Buddy, Alias Godot, Choke (Theatre Network); The Blue Orphan, Carmen Angel (Catalyst Theatre, Edinburgh, Glasgow, Cardiff and Adelaide); Thunderstick (Theatre Network/Persephone Theatre, Kamloops, Vancouver).

Upcoming: Thunderstick at PTE in March/April 2011!

FILM/TV Cheryl works regularly in the film, television and music industries.

TRAINING Graduate of the National Theatre School

of Canada.

RED 40 Series Linear Direct Vent Gas Fireplaces

Introducing to you, the RED 40 and RED 40 see-thru fireplaces from Heat-&-Glo. Modern design is about innovative, non-traditional shapes and materials that create an atmosphere of style and sophistication.

943-5263

31 8 L O G A N A V E.

(JUST OUTSIDE CHINATOWN)

Furniture I Fireplaces I Accessories

w w w . f l a m e . m b . c a

Winnipeg Jewish Theatre presents

A wickedly tempting new comedy!

One of

OURS Written & Directed by Michael Nathanson

MARCH 31 to APRIL 10 THE BERNEY THEATRE, 123 DONCASTER STREET

TICKETS 477-7478

www.wjt.ca SET & LIGHTING DESIGN: Hugh Conacher COSTUME DESIGN: Janelle Regalbuto STAGE MANAGER: Ivory Seol FEATURING: Gwendolyn Collins, Aviva Hoffman, Adrian Marchuk, Dov Mickelson Warning: language, brief nudity.

SEASON SPONSORS:

The Gail Asper Family Foundation Inc.

WE GRATEFULLY ACKNOWLEDGE ALL OF OUR SPONSORS:

individual giving

“It’s not so easy to live apart.” – Peter Neufeld in The Shunning

It has always been important

FO

ERS’ D N U

MTC is blessed with a strong and dedicated community of actors, artisans, staff, volunteers, subscribers and donors. Within this collection of supporters is a passionate group of individuals called The Founders’ Circle. Established in 2009, The Founders’ Circle was set up to honour MTC Artistic Director Steven Schipper—with Ruth Abernethy’s Tom Hendry and John Hirsch statue, Imagine, MTC—extends the invitation to take a seat in the Founders’ Circle.

Making a planned gift is relatively easy and can take several forms:

CIRCLE

for individuals to be part of a community. For generations, we’ve gathered with family, friends and kindred spirits to celebrate special occasions, share common interests and accomplish collective goals.

Similarly, we come together at the theatre to be entertained, challenged and inspired. In The Shunning, Peter Neufeld is deprived of this social interaction when he is isolated from his community.

and recognize those who make a planned gift to MTC. From modest beginnings, the Founders’ Circle has grown to 17 members: individuals committed to ensuring that great theatre and programming excellence are enjoyed by future generations of audiences and performers.

• A bequest in your will • Life insurance • Charitable gift annuity • Charitable remainder trust

You or your estate can potentially realize tax benefits from a planned gift as well. Talk to your financial advisor about possible tax savings.

photo by steve salnikowski, chroniccreative.com

In addition to his annual gift, past MTC Board Member Gordon Keatch has committed to a planned gift. He believes that, “MTC creates great community spirit and is an integral part of the local scene … and is deserving of the support each of us can give.” For MTC Artistic Director and Founders’ Circle member Steven Schipper, “MTC is where I have spent some of the happiest hours of my life, and I want future generations to find their own glorious moments here.”

It was this kind of forward thinking that inspired MTC co-founders John Hirsch and Tom Hendry to create a professional theatre company 53 years ago as “a celebration of community, of the values which a society holds.” With the visionary support of Founders’ Circle members, their dream will live on for generations to come.

We are all part of a greater community. Consider joining the Founders’ Circle by making a planned gift today. Information about our Planned Giving program and the Founders’ Circle is available in the lobby or from the MTC Development Office.

To make a planned gift or for more information, visit www.mtc.mb.ca or contact Garth in the Development Office at 956-1340 ext. 240.

Winnipeg culture on every corner

THE

gs

in sav

r

ne r o c

Don’t let any show go on without you!

Exclusive offers, e-deals and entertainment bundles.

Find out more at

cultureoneverycorner.ca

Big

Laughs. music.

support.

Make a BIG DIfference at Mtc!

DiD you know your ticket price only pays for half your seat?

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

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

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

Black

| SEASON PARTNERS |

CMYK

|

John Hirsch Theatre |

Babs & Gail Asper

| Tom Hendry Theatre |

Production co-Sponsors

|

production sponsor

Pantone

John Hirsch Theatre | Performance SPONSORS

WITH

|

theatre for young | audiences

|

wordplay |

| BACKSTAGE PASS: THEATRE | perspectives for STUDENTS

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

|

regional tour |

|

black & white |

| Community

play |

| Design

Sponsor

|

Gala Ball

|

2010

winnipeg fringe theatre festival |

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

| StrindbergFest

|

calendar |

2011

|

|

media sponsors |

Sponsor

feb/mar 2011

33

Behind the scen es Honorary Members

Accounting/Finance

Patron Services Office

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

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

Executive Officers

Administration

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

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

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

chair, governance & Strategic planning

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

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

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

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

Carpentry Louis Gagne, Layout Carpenter Chris Hadley, Scenic Carpenter Brent Letain, Master Carpenter Chris Seida, Scenic Carpenter

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

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

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

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

Paint Susan Groff, Head Scenic Artist Lawrence Van Went, Scenic Artist

34

feb/mar 2011

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

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

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

Tele-Sales Representative Sandra Rubin

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

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

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

Wigs Beverly Covert, Wigs & Makeup Supervisor

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

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

Call to reserve your personal tour today.

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

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

Revera: Canadian owned since 1961 with over 200 locations.

04710

bravo!

retirement living Portsmouth 204-284-5432 125 Portsmouth Blvd

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

CATCH ALL THIS & MORE EVERY THURSDAY.

Be in the

KNOW. THURSDAYS IN THE