Royal Manitoba Theatre Centre
Vol 19 No 4 | feb/mar 2012
by
Wendy Lill
centre stage
Our community pride takes
Our performing arts groups are integral to our culture and our quality of life. We’re proud to support those who make our community a better place to live.
Message fro m the Artistic Director
Why did Wendy Lill call her play The Fighting Days?
An issue that had started to bring Manitoba women together now threatens to pit them against each other. Lill’s
The title refers in its most
characters arrive at that great
obvious form to the battle
theatrical divide—idealism
fought by an army of female
on one side, expediency on
soldiers in response to such
the other, and in the middle
laws as the 1906 Dominion
the audience, caught in the
Elections Act, which declared
mesmerizing crossfire.
that “no woman, idiot, lunatic or criminal shall vote.” The women proved to be a
This infighting wounds Francis Beynon, the hero
formidable force, led by those like Nellie McClung
of Lill’s play. The sisterhood that had given her
and the Beynon sisters who could speak and
a new home in Winnipeg—a circle that valued
write persuasively about the need for compassion
intelligence, progressive thinking and politi-
and equality.
cal action—now threatens her own ideals. The
Of course, the fight was complicated by another version of fighting days, when the Great War in Europe began to steal the nation’s focus away from domestic matters. As the women surren-
war within Francis herself, finally, reverberates beneath all the other conflicts in the play. Can her need for companionship (in love, family and work) overcome her need for freedom?
dered their husbands and sons to the war, they
Nellie McClung’s statue was unveiled at the
began to see Manitoba’s diverse ethnic popula-
Legislature last year, while Francis Beynon has
tion as being split between allies and enemies.
become a mere historical footnote. But while the
Should all women have the right to vote, or did
play rages on our stage, Francis wins the battle for
war demand that battle lines be drawn at home
our hearts and minds. That is the power of great
as well as abroad?
theatre. It forces us to revisit the old battle-
And, so, yet another fight begins, this one within the ranks of the suffrage movement. Those like
grounds and to choose anew our allies and, truth be told, our enemies.
Francis Beynon, who are opposed to the war on ideological grounds, are equally opposed to
Yours always,
discrimination against some Canadian women based on their country of origin. Those like Nellie McClung, who have a son in the Canadian army, are swayed by fear and the patriotic zeal of wartime. feb/mar 2012
3
Royal Manitoba Theatre Centre
Theatre Abbreviation Legend
Arts Club ATF ATP BAM Belfry Blyth Broadway CBC Centaur Citadel COC CS Dora Drayton Dry Cold GCTC Grand Mirvish MTYP NAC Necessary Angel Neptune NFB NTS Persephone PTAM PTE Rainbow RNT Royal Alex RSC RWB Segal Shaw SIR SNAC Soulpepper Stratford TA Tarragon TC TNB Toronto Free TPM TSO U of M U of T Black U of W VP West End WJT WSO YTP
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 Centaur Theatre Company, Montreal QC The Citadel Theatre, Edmonton AB Canadian Opera Company, Toronto ON The Canadian Stage Company, Toronto ON Dora Mavor Moore Award, Toronto ON Drayton Entertinment, Ontario Dry Cold Productions, Winnipeg MB The Great Canadian Theatre Company, Ottawa ON The Grand Theatre, London 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 Persephone Theatre, Saskatoon SK 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 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 Young People’s Theatre, Toronto ON
CMYK
MTC gratefully acknowledges the support of all corporate and individual donors and foundations, and the assistance of:
Pantone
We acknowledge the support of the Canada Council for the Arts which last year invested $5.9 million in the arts in Manitoba.
With the generous support of the Manitoba Arts Council
With the generous support of the City of Winnipeg through the Winnipeg Arts Council
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 19 No 4 | feb/mar 2012
Royal 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.
setting the stage
by Harry & Mildred Gutkin
On 27 January 1914, a large delegation of both men and women appeared before the Legislative Assembly of Manitoba, once again to present the case for granting women the right to vote in provincial elections. Included in the group were representatives of the Political Equality League, the Grain Growers’ Association, the Young Women’s Christian Association, the Trades and Labor Council, the Icelandic Women’s Suffrage Association, the Canadian Women’s Press Club, and the Women’s Christian Temperance Union. Dr. Mary Crawford, the President of the University Women’s Club and of the Political Equality League, introduced the five speakers, two women and three men, and the last to address the lawmakers was Mrs. Nellie McClung. Then rivalling Ralph Connor as Manitoba’s most popular writer, Mrs. McClung made her point with sharp lucidity. The delegation had come, she said, not to beg for a favour but to obtain simple justice. “Have we not the brains to think? Hands to work? Hearts to feel? And lives to live?” she demanded. “Do we not bear our part in citizenship? Do we not help build the Empire? Give us our due!”
into the arms of servant girls.” Then he added, gallantly, that there was “nothing wrong with a society that produced such attractive, pure, and noble ladies” as these now before him, but “the mother that is worthy of the name and of the good affection of a good man has a hundredfold more influence in shaping public opinion around her dinner table than she would have in the marketplace, hurling her eloquent phrases to the multitude.” Roblin’s flowery courtesies expressed the received attitude of his time and his social group towards the tender sex, simultaneously idealized and subjugated. He loved his mother, he said, and for her sweet sake he revered all women. “Gentle women,” he described the ladies, “queen of the home, set apart by your great function of motherhood ... Women are superior to men, now and always.” Nice women did not want to vote, the common argument ran, and since women exercised so important an influence for good, they must be sheltered from the world and its corruption. Absolutely not, the suffragist movement insisted; women must be given the right to act in that world, — 1906 Dominion Election Act to remake that world for future generations. They were constantly rebuked: was not woman’s place in the home with her children? “Yes,” retorted Nellie McClung to one opponent, “but it’s also in the world those children must enter!” The feminists of the early twentieth century envisioned a world in which the nurturing values of home and fireside would be paramount, putting an end to war and to the exploitation of the weak by the powerful.
“No woman, idiot, lunatic, or criminal shall vote”
The Conservative premier, Sir Rodmond Roblin, rejected Mrs. McClung’s demand absolutely. “Most women,” he told the petitioners, “don’t want the vote.” In Colorado, he informed them, where women could vote, “they shrank from the polls as from a pestilence.” Woman suffrage, he said, “would be a retrograde movement ... it will break up the home ... it will throw the children 6
feb/mar 2012
About the women confronting him at the legislature, Roblin’s perceptions were quite accurate
Political Equity league of Manitoba Photograph Originally published in The Grain Growers’ Guide, February 2, 1916. Courtesy of the Provincial archives of manitoba.
The Fighting Days
The executive of the Political Equity League of Manitoba, photographed after witnessing the passage of the Suffrage bill at the Manitoba Legislature, January 1916.
in one respect. These were no proletarian toilers, intruding into the deliberations of their betters. Such presumption, he implied, would be unthinkable: he was afraid, he said, that “my friend Mr. Rigg”—Richard Rigg, the labour activist—“might shortly come to us for the extension of the franchise to servant girls, on the plea that servant girls have as good a right to vote as any other class of women.” In the rank and file of the suffrage movement were to be found the wives and daughters of successful men, newly leisured and eager to assert themselves outside the narrow domestic sphere. Nellie McClung herself, as her writing and lecturing career developed, was able to entrust much of the household drudgery to a succession of immigrant servant-girls, and made one of them the heroine of a novel. In the growing torrent of dissent that was inexorably altering Canadian society, even before the turn of the century, one irresistible tributary stream was the demand of educated, well-informed women for change, primarily in the franchise legislation and the laws on property and dower rights, as well as in the provisions for the health and well-being of the community. With some degree of economic security, and in
many cases some access to men in positions of power, they demanded legal recognition of their equal worth. In Manitoba, significantly enough, the leaders of the woman suffrage movement, with some exceptions, stemmed originally from the self-confident, well-established British background of southern Ontario, a society that took for granted intellectual accomplishment and community leadership. Two decades earlier, in 1882, twenty-one-year-old Cora Hind had arrived in Winnipeg from Ontario, to carve out a career for herself in journalism. Her close friends were two women doctors, also originally from Ontario, the mother-and-daughter pair of Amelia and Lillian Yeomans; Amelia’s brother, William Dawson, became President of the Royal Society of Canada. The Beynon sisters, Lillian and Francis, were born in Kings, Ontario; Lillian earned a university degree, and both taught school before becoming influential journalists. Dr. Mary Crawford was the daughter of a Scottish schoolmistress who had emigrated to become the principal of an Ottawa ladies’ college. Nellie McClung, on the other hand, grew up on a remote Manitoba farm, of Scottish-Irish stock, but her immigrant parents instilled in their offspring the absolute determination to become something more than shop assistants or farm labourers. feb/mar 2012
7
setting the stage
The Fighting Days In the economy of western Canada, however, women’s role differed markedly from the situation in the settled Ontario townships, where the conventional structures of patriarchal society were the norm, assigning women to dependence on men. Farm women worked side by side with their men in the back-breaking task of establishing a homestead, and the urban centres tended to attract some strong-willed young women, already declaring their independence from their families, and as determined as their brothers to improve their own prospects. Prairie women were an assertive presence in the pioneer economy, prominent in farm organizations such as the Grain Growers’ Association, and the farm groups could generally be relied on to throw their support behind the suffrage movement, with its component demand for the reform of property laws. In the Canadian West, as in the American, women achieved the franchise ahead of their sisters in the conservative East.
When Manitoba entered Confederation in 1870, the right to vote in provincial elections was assigned to male householders; that is, to “the master or chief of a household; one who keeps house with his family,” if he either owned his home or occupied “a separate maintenance and table enjoyed by himself and his dependents, distinct from other householders.” The following year, the voter, identified specifically as a “male person,” was re-defined as a “rate-payer,” required to have owned property valued at $100 or more for a year prior to the election, or to have paid a yearly rent of at least $20. A single woman, under certain conditions, could be a property-owner and a rate-payer; once married, however, her holdings generally passed to her husband, and if widowed or separated, she had no “dower rights,” no legal claim on any part of her husband’s estate. In any case, whether she did or did not own property, no woman could vote. The federal Election Act, indeed, decreed flatly that “no woman, idiot, lunatic, or criminal shall vote.” 8
feb/mar 2012
Notwithstanding Manitoba’s radical concession, the suffrage battle there had barely begun. In 1888 the property qualification for provincial elections had been removed from the male franchise, permitting all adult men to vote, but excluding women, as before. Gathering strength, the campaign to enfranchise women and to establish their economic rights would continue for thirty years longer, led by a number of political-minded women.
Gutkin, Harry & Mildred. Excerpt from “Give us our due!” How Manitoba Women Won the Vote. Manitoba History: The Journal of the Manitoba Historical Society, Number 32: Autumn 1996.
Nellie McClung photograph originally published in Trail Magazine, december 1910. Courtesy of the Provincial archives of Manitoba
Nellie McClung
In Manitoba, a partial break came in 1887, when female rate-payers were granted permission to vote in municipal elections; and in 1890 they were declared eligible to vote in school elections and also to serve as school trustees. Eastern public opinion seems to have been aghast at the recklessness of the uncouth frontier in making this move, and from pulpits and editorial pages alarmed opinion-makers predicted catastrophe: marriage could not survive if a man could not be certain what his wife did in the secrecy of the polling booth, or worse, if she openly defied his judgment. If she opposed him, her vote would cancel his, and if she concurred, what was the point of her voting at all? In any case, nice women did not want to vote.
RBC DOMINION SECURITIES
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 2011. All rights reserved.
Doowah Design Inc. Client: DZWM Job no: 1135
Curtain Calls
The Fighting Days
Francis Beynon
The Fighting Days playwright Wendy Lill has had a diverse career, working as a community health worker, a mental health outreach worker, a radio broadcaster, and even a Member of Parliament. Many of her plays have delved into complex social issues and her characters are often hard-working women dealing with the realities of their period in history. We chatted with Wendy about her career and the staying power of The Fighting Days, 29 years after the play premiered at Prairie Theatre Exchange. What inspired you to write The Fighting Days?
The Fighting Days Playwright
Wendy Lill
The majority of the characters in The Fighting Days are real people from Canadian history. How close did you stick to historical fact? The characters in The Fighting Days were all working journalists at the 10
feb/mar 2012
Francis Beynon Photograph Courtesy of the Provincial archives of Manitoba
Q & A with
When I was living in Winnipeg in the early 1980s, Kim McCaw, who was then the Artistic Director of Prairie Theatre Exchange, and Leslee Silverman, the Artistic Director at Actors’ Showcase, approached me and asked me to write a play about women in Manitoba history. After getting over the initial terror of taking on such a momentous topic, I hit the archives for months in search of inspiration. It was there I found an essay by historian Ramsay Cook called Francis Marion Beynon and the Rise of Christian Reformism. It proved to be the catalyst for the play. The essay introduced me to someone I had never read about in history books, although Francis fought side by side with Nellie McClung to gain the vote for women. For Francis Beynon, the democratic rights of women could not be separated from the larger freedoms under threat with the arrival of the First World War.
Ou r c ommu nity. Our future.
Together.
Proud to support Royal Manitoba Theatre Centre.
Great-West Life and the key design are trademarks of The Great-West Life Assurance Company. ™ is a trademark of The Great-West Life Assurance Company.
Curtain Calls
The Fighting Days
time. They wrote for newspapers such as the Winnipeg Free Press and The Grain Growers’ Guide. They wrote fashion and recipe and advice columns to women living on isolated prairie farms. Every once in a while they were able to introduce radical ideas like having a public washroom for women when they journeyed into town, or schooling for girls or the vote for women. With their columns and the hundreds of letters they received and published, they provided a forum for the evolving ideas of this isolated population of women. In my research, I pored through years of articles and columns, as well as Francis Beynon’s own fictional account of her life in the book Aleta Dey to capture the colour and language of the period. The conflicts within the story are all rooted in reality. The Fighting Days was written in 1983 and explores women’s rights in the early 20th century. In 2012, do you think women have achieved the type of freedom Francis longed for? Francis Beynon was a feminist but also a pacifist and the freedom she fought for in the end was not gender specific. Francis fought against the glorification of war and, in this relatively young country of Canada, the freedom of people to live in peace without the threat of war. Canada’s military heritage has not diminished since then and I can’t help but think Francis would be horrified by the level of conflict around the world. If she lived today, I don’t think she would be shy about making her views known.
You’ve written for stage, screen and radio. Does your creative process change depending on the medium? In my experience, any success one may have in writing for stage, screen and radio all hinges on a good story and I have never found a story more poignant and powerful and relevant to modern times than the story of Francis Beynon. After all these years, I have to admit, I still love this story! Your plays tackle diverse social issues, from residential schools to stem cell research. What role do you think theatre plays in exploring complex issues? Theatre provides a place to explore ideas in the dark together. It gives us a chance to enter wildly different worlds and eras than our own and hopefully come out in some way altered. For me, the best plays are the ones where the conversations continue long after the lights come back on. I hope you can find some part of yourself in each of these characters in The Fighting Days. And, by the way, I’m sure all of these characters lived and worked and walked the streets right around this theatre almost a century ago.
Lillian Beynon Thomas Courtesy of the Provincial archives of Manitoba
Proud to support the MTC Rural Tour “The Melville Boys”.
next at
next at
BY TRACY
A comedy OF MANNERS, without ThE MANNERS DIRECTED by MILES pOTTER
MARch 15 – ApRIl 7 “A rancidly funny account of two couples tiptoeing around their mutual dislike” –the GuardiaN
The gloves come off when two couples come together to discuss a playground scrap. When the façade of politeness begins to fade, social niceties give way to a knock ‘em down, drag ‘em out battle… served with dessert and espresso. A CO-pRODUCTION WITh WARnInG Strong language
FIND OUT MORE AT
Gail SpONSORED and the late IN pART by Babs Asper
STARRINg MARThA hENRy
LETTS
DIRECTED by ANN hODgES
MARch 8 – 24 “Flat-out, no asterisks and without qualifications, the most exciting new American play Broadway has seen in years” – New York times
With the Westons, family time is blood sport. Leading the way through a minefield of dark secrets, repressed truths and emotional savagery is the pill-popping mommy dearest who stirs the toxic brew with perverse delight. gENEROUSLy SpONSORED by WARnInG Contains script-specific smoking of non-tobacco products, adult themes, mature content, strong language
www.mtc.mb.ca
Steven Schipper, Artistic Director
Camilla Holland, General Manager
Presents
by
Wendy Lill February 9 – March 3, 2012
Director Set & Costume Designer Lighting Designer Sound Designer Assistant Director Stage Manager Assistant Stage Manager Apprentice Stage Manager
Robb Paterson Brian Perchaluk Larry Isacoff Michael Wright Jennifer Lyon Margaret Brook Candace Maxwell Lisa Nelson
The Cast (in alphabetical order)
George McNair Francis Beynon Lily Beynon Nellie McClung
Richard Clarkin Sarah Constible Daria Puttaert Marina Stephenson Kerr
setting
ACT I Winnipeg, 1910-1914 ACT II Winnipeg, 1916-1917
The Fighting Days was commissioned by Kim McCaw at Prairie Theatre Exchange and Leslee Silverman at Actors’ Showcase in Winnipeg. It premiered at Prairie Theatre Exchange on March 16, 1983. The Fighting Days is staged by arrangement with Catalyst TCM INC, 100 Broadview #310, Toronto, ON, M4M 3H3
Thank You: Monique Dumontet, Brendan Carruthers & the Tara Players, Kim Hamin
14
feb/mar 2012
ARTISTS
Richard Clarkin
Daria Puttaert
George McNair
Lily Beynon
MTC The Price, Mating Dance of the Werewolf, Waiting for Godot, The Beauty Queen of Leenane, Death of a Salesman (with Mirvish), Goodnight Desdemona (Good Morning Juliet), The Miracle Worker.
MTC The Shunning, Top Girls, Pride and Prejudice, Shakespeare’s Dog (with NAC), The Tempest, A Christmas Carol.
OTHER THEATRE Hannah’s Turn (SummerWorks Theatre
Blatz, Stretching Hide (TPM); Strawberries in January, Unity (1918) (PTE); Honour (PTE/Belfry); Troilus and Cressida, Measure for Measure (Tom-Tom Theatre); To the Country (Winnipegger Ensemble); Stripped-Down Hamlet (SIR).
Festival); Sherlock Holmes: The Final Adventure, Dinner with Friends (TA); Festen, A Whistle in the Dark (Company Theatre); Half Life, The Eco Show (Necessary Angel); The Great War, The Red River Rebellion (VideoCabaret); Ring Around the Moon, Twelfth Night (Soulpepper); The Lion King (Mirvish); King Lear, The Merchant of Venice (Stratford); numerous shows for PTE, MTYP and WJT. Co-founder of Primus. FILM/TV Goon, You Are Here, Casino Jack, The Five Senses, The Firm, Lost Girl, Republic of Doyle, Heartland, The Listener, Murdoch Mysteries, Flashpoint, The Border, Naturally, Sadie (series lead).
OTHER THEATRE The Moonlight Sonata of Beethoven
FILM Zooey and Adam (Bed Bug Films). TRAINING Graduate of the National Theatre School
and the University of Winnipeg. ET CETERA Love to Jamie.
Marina Stephenson Kerr Nellie McClung
Sarah Constible Francis Beynon MTC Pride and Prejudice, Strong Poison, Shakespeare’s Dog (with NAC), The Goat or, Who is Sylvia?, Top Girls. OTHER THEATRE Bingo!, Apple, Chimera, Zadie’s Shoes, MTC The 39 Steps, After Miss Julie, Bleeding Hearts,
The Threepenny Opera (with SIR). OTHER THEATRE Generous (Theatre by the River);
Henry iv, The Merry Wives of Windsor, Othello, The Merchant of Venice, Richard iii, The Tempest, The Odyssey (SIR); The Monster Trilogy, Murder Ballads, Between Then and Now (TPM); The Edible Woman, Godspell, Unity (1918), Strawberries in January (PTE). FILM/TV The Stone Angel, Less Than Kind, House Party, High Life, The Many Trials of One Jane Doe, The Haunting in Connecticut, Todd and the Book of Pure Evil.
For a full list of theatre abbreviations, please Refer to legend on page 4
The December Man (PTE); Urinetown (Persephone); Waiting for the Parade (TC); Puttin’ on the Ritz (Belfry); Cat on a Hot Tin Roof, Who Has Seen the Wind (Citadel); Some Assembly Required, Bordertown Café (Sudbury Theatre Centre). FILM/TV TV: Todd and the Book of Pure Evil, Less Than Kind. Film: Capote, The Big White, Class Project, My Awkward Sexual Adventure.
Wendy Lill Playwright
Playwright and former politician Wendy Lill has written extensively for radio, magazines, film and television. Her work has resulted in two ACTRA awards, a Golden Sheaf award (for her film Ikwe), a New York Festivals Radio Program and Promotion Award in 2011 feb/mar 2012
15
ARTISTS (Backbencher) and four nominations for the Governor General’s Literary Award for Drama (The Occupation of Heather Rose, All Fall Down, The Glace Bay Miners’ Museum and Corker). Chimera, her first play since leaving politics, premiered at the Tarragon Theatre. She created and was head writer for the award-winning CBC Radio series Backbencher (2009-2011). Lill was born in Vancouver and grew up in London, Ontario. She completed a BA in political science at Toronto’s York University. Lill lived in Winnipeg from 1979 until 1984 and during this time she began writing plays and developed a productive association with Prairie Theatre Exchange and its artistic director, Kim McCaw. In 1988, Lill moved to Dartmouth, Nova Scotia and continued to write for theatre. She cofounded Dartmouth’s Eastern Front Theatre Company in 1993. In 1997, Lill was elected as a Member of Parliament (NDP) for Dartmouth. She was re-elected in 2000 for a second term.
Robb Paterson Director
MTC Directing credits include: The Shunning, 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 (1993, 2010), 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.
Brian Perchaluk Set & Costume Designer
MTC More than 40 productions, including recent and favourites: The Shunning, After Miss Julie, Steel Magnolias (2010), 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); To Kill a Mockingbird (TC); The Secret Mask, Burnin’ Love, The Savannah Disputation (PTE); Sweeney Todd, The Light in the Piazza (Dry Cold); King Lear, Fidelio (Atlantic Ballet Theatre of Canada); The Moonlight Sonata of Beethoven Blatz (TPM); Spring Awakening (Winnipeg Studio Theatre); Les Disparus (Theatre Vice Versa Theatre). TRAINING Brian is a graduate of the National Theatre
School and the University of Winnipeg. ET CETERA Brian has received a Gemini Award for
outstanding production design and Jessie Richardson and Prix Rideau awards for outstanding set design. He is a member of the Associated Designers of Canada.
Larry Isacoff Lighting Designer
OTHER THEATRE Directing credits include: The
Immigrant, The Tale of the Allergist’s Wife (WJT); Beauty and the Beast (2005, 2009), 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). ET CETERA Robb has appeared in more than 150
productions in Canada over the past 31 years.
MTC The Shunning, The Seafarer, Looking Back – West, Bleeding Hearts, Rope’s End, The Retreat from Moscow, Fully Committed, Mating Dance of the Werewolf, The Miracle 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,
Winnipeg’s Contemporary Dancers, PTE, MTYP. ET CETERA Larry divides his time between engaging
theatre projects and teaching yoga. Continued on page 20
16
feb/mar 2012
It’s bigger than just banking.
Peg City Car Co-op ACU Member
When you choose local banking, you are choosing a better community because your money stays here in Manitoba. By supporting Assiniboine Credit Union, you help local co-operatives, businesses and ventures thrive. Why do we care so much? Because we’re local too. Does local matter to you? Then join us. (1-877) 958-8588 www.assiniboine.mb.ca 9226 - ACU - Ovation 4.75 in x 3.75 in (half page) : full color
BROADWAY ROCKS FRIDAY, MARCH 16 SATURDAY, MARCH 17 SUNDAY, MARCH 18 Bravo Broadway concerts have been smash hits at WSO Pops for years. Each guest artist brings an impressive list of leading-role performances in popular Broadway musicals. Together with the WSO, they will light up the stage in a dynamic revue that will leave audiences breathless!
I 8:00 PM I 8:00 PM I 2:00 PM Richard Lee, conductor Bravo Broadway: Christiane Noll, performer Capathia Jenkins, performer Doug LaBrecque, performer Rainbow Harmony Project; Vic Hooper, director
Tickets available at the Winnipeg Symphony Orchestra and all Ticketmaster outlets WSO Box Office
949-3999 www.wso.ca I 1-855-985-ARTS
Royal Manitoba Theatre Centre Restaurant Partners
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 RE AFTER BEFOTER BEFORE & AFTER AFTER BEFORE & A & AFTER BE RE &Warm AF fantasticTE up to&some andFO beverages from RE & TER BEFORE AFTER BEFOTE R BE R BEFORE AF food R BEFORE &BE RE & AFTER&B AF & RE FO ORE & AFTE R TER BEFORER&BEFORE & AFTER BEFO TE AF & AF & RE R BEFORE B RE FO TE FO BE TE AF R & AF Winnipeg’s finest restaurants, all minutes from MTC. TE & RE TER BE AF & RE FO FO BE RE TER R R BEFO BEFORE & AF RE & AFTER&BE FORE & AFTE R FO BE TE ORE & AFTE R BE AF R TE & TE AF RE FORE & AF & FO BE RE R BE FO R TE BE TE AF R & AF TE & RE TER BEFORE RE steak, sandwiches FO FOcrave BE R BEyou Whether soufflé, these culinary BEFORE & AF TE AFTERor 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 delights libations willTE complete your night R BEand luscious & AFTE R BEFO RE on FOout RE & AF FO FORE & AFTE ORE & AFTE & AFTER BEAF RE & AFTER&BE & AFTER BE FO BEFORE & RE R BE RE FO R TE FO BE TE AF R BE TE ER & RE AF FT orTE after theFO show. REthe town, before R BE R BEFORE &BE & AF RE & AFTER&B AFTER BEFO & FO RE BE RE FO R FO BE TE ORE & AFTE R AF R TE RE & AFTE RE & AF R BEFORE & AFTER BEFOTE AFTER BEFOTE FTER BEFORE B FORE & AFTE R BEFORE &BE R BEFORE &BE FORE & AF RER& RE & AF R&BE FORE & AFTE R FO BE TE ORE & AFTE R AF R TE & TE AF RE FO AF & FO BE RE R BE RE FO R TE FO BE TE AF R BE & AF 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 & AF FORE & RE & AFTE AFTER BEFORE AFTER BEFORE RE & AFTER&BE AFTER BEFO TER BEFORER&BEFORE & AFTE TER BEFORER&BEFORE & AFTER BEFO BEFORE AF TE R AF EFORE & AF TE & TE AF & RE FORE AF & FO RE RE RE & AFTER BE AFTER BEFO RE & AFTER&BE AFTER BEFO AFTER BEFOTE RE & AFTE TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF EFORE & AF TE & AF FORE & FORE & AFTE AFTER BEFORE 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 FOR AF & FO RE FORE RE & AFTER BE AFTER BEFO RE & AFTER&BE & AFTER BE AFTER BEFOTE RE & AFTE TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF TE BEFORE & AF & & AF FORE FORE & AFTE AFTER BEFOR 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 FOR AF & FO RE FORE RE & AFTER BE AFTER BEFO RE & AFTER&BE & AFTER BE AFTER BEFOTE RE & AFT TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF TE BEFORE & AF & & AF FORE FORE & AFTE AFTER BEFOR AFTER BEFORE RE & AFTER&BE & AFTER BE TER BEFORER&BEFORE & AFT TER BEFORER&BEFORE & AFTER BEFO BEFORE AF TE R AF TE BEFORE & AF & TE AF & RE FOR AF & FO RE FORE RE & AFTER BE AFTER BEFO RE & AFTER&BE & AFTER BE AFTER BEFOTE RE & AFT TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF TE BEFORE & AF & & AF FORE FORE & AFTE AFTER BEFOR AFTER BEFORE RE & AFTER&BE & AFTER BE TER BEFORER&BEFORE & AFT TER BEFORER&BEFORE & AFTER BEFO BEFORE AF TE R AF TE BEFORE & AF & TE AF & RE FO AF & FO RE FORE RE & AFTER BE AFTER BEFO RE & AFTER&BE & AFTER BE AFTER BEFOTE RE & AFT TER BEFORER&BEFORE & AFTER BEFO FO RE BE FO R BE R AF TE BEFORE & AF & FORE & AF RE & AFTER BEFORE FORE & AFTE AFTER BEFO & AFTER BE RE & AFTER BE R BEFO TER BEFORER&BEFORE & AFT AFTER BEFOTE FORE & AFTE BEFORE & AF TE R BE AF R TE & AF R BEFORE &BE & RE AF & FO RE R BEFO R BE FORE R BEFO FORE & AFTE FORE & AFTE E & AFTER& AFTER BEFORE & AFTE & AFTER BEAF RE & AF & AFTER BE FO RE BE RE FO R FO BE RE TE R BE FO R TE BE & TE R RE FORE & AF RE & AFTER BEFORE & AF AFTER BEFO AFTER BEFO E & AFTER&BE R BEFORE & TER BEFORER&BEFORE & AF AFTER BEFOTE FORE & AFTE BEFORE & AF TE R BE AF R TE & AF R BEFORE BE & RE AF & FO RE R BEFO R BE FORE R BEFO FORE & AFTE FORE & AFTE E & AFTER& AFTER BEFORE & AFTE & AFTER BEAF RE & AF & AFTER BE FO RE BE RE FO R FO BE RE TE R BE FO R TE BE & TE AF R FORE & AF RE & AFTER BEFORE & FORE & AFTER BEFORE BEFORE & AFTER BEFO E & AFTER&BE AF R BE AFTER AFTER BEFOTE R BEFORE & FORE & AFTE R BEFORE &BE R BEFORE BE FORE & AFTE R BEF RE & AF R&BE FORE & AFTE R TE FO BE TE AF R & AF R TE & RE TE AF RE FO AF E& TER BEFORER BEFORE & AFTER BEFO FORE & AF RE & AFTER BE AFTER BEFOTE R BEFORE & AF RE & AFTER&BE FORE & AFTE AFTER BEF R BEFORE &BE AF R BEFO TE & RE AF & RE FO FO BE RE R RE & AFTER&BE FO R TE AFTER BE RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & AF ER BEFORER BEFORE & AFTER BEFO R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BE TE TE AF & AF RE RE & AFTE RE & A & AFTER AFTER BEFOTE & RE FO RE BE FO R TER BEFORER&BEFORE & AFTER BEFO BE ER FORE & AF RE & AFTER BEFORE & AF & AFTER BEAF AFTE & RE RE FO FO BE R BE RE & AFTER&BE FO R TE AFTER BE RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & F ER BEFORER BEFORE & AFTER BEFO R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BE RE & AFTE & AFTER BEFORE & AFTE AFTE RE & A & AFTER RE FO RE BE FO R TER BEFORER&BEFORE & AFTER BEFO BE TE ER FORE & AF RE & AFTER BEFORE & AF & AFTER BEA AFTE & RE RE FO FO BE R BE RE & AFTER&BE FO R TE AFTER BE RE & AFTE & AFTER BEFORE & AF RE & AFTER BEFORE & ER BEFORER BEFORE & AFTER BEFO R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BE RE & AFTE & AFTER BEFORE & AFTE & AFTER AFTER BEFORE & AFTE & AFTER BEFORE & A RE FO RE BE FO R BE TE ER RE 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 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
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 R TE & RE RE RE & AF TER BEFO R BEFORE & AFTER BEFO AFTER BEFO RE & AFFO AFTER BEFOTE & AFTE AFTE R BEFORE & TER BEFO & RE AF & RE FO AF & BE RE R BE RE FO R TE FO BE BE RE & AF R BEFOR RE & AFTER & AFTER BEFORE & AFTE AFTER BEFOTE AFTER BEFOTE BEFORE & AFTE RER&BE TE R BEFORE BEFORE & AFTER BEFO FORE & AF RER& AFTER BEFORE & AF TE R BEFORE & AF AF TE & FOR 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 RE AF RE & AFTER BEFOTE BEFORE & FOTE TER BEFORER&BEFORE & AFTER BEFO R BEFOR R BEFORE &BE AF TE BE RE & AF & TE AF & RE AF & FO RE & AFTER RE FO FO AFTER BE TER BEFORE & AFTER AFTER BEFORE & AFTE & AFTER&BEAF BEFORE TER BEFORER&BEFORE & AF FOR FORE & FORE RE & AFTER&BE AFTE & RE & AFTER BE & AFTER BEAF RE FO AFTE BE AFTER BEFO R TER BEFO & 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 &BEFOTE TER BEAF R BEFORE TE & AF FO RE & AFTER BE AF & RE FO FO BE RE R BE R TE TE 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 R BE TE & AFTER BEFORE & AF RE & AFTER BEFO FORE & AF FORE & AFTE & AFTER BE FO & AFTER BEAF FORE & AFTER BE TER BEFORE FORE & AFT & RE & AFTER BE FO BE TER BEFORE R AF R BEFORE TE & FO RE & AFTER BE AF & RE FO FO BE RE R BE FO 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 R BE AFTER FORE & AF RE & AFTER R BEFORE &BE FOTE R BEFORE & AF BEFOT RE & AFTER BE & AFTE R BEFO FORE & AFTE AFTER FORE & AFTE BEFORE & AF RE & AFTER BE R BE FO R TE BE TE AF R & AF R BEFORE & TE & FO 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 R R BE F FORE & AF RE & AFTER BEFORE & AF FORE & AFTE & AFTER BE & AFTER BE FO E & AFTER BE FOREItaliana Cucina TER BEFORE wine lounge & AF AFTER BE FORE BEFORE & AF RE & AFTER BE R BE FO R TE BE TE AF R & AF R BEFORE & TE & RE AF FORE & R BEFORE BEFORE & AFTER BEFO R BEFORE & AFTER BEF E & AFTER BE FORE & AFTE R BE RE & AF TE & AFTER AFTER BEFOSECOND RE & AFTE AF & RE MAIN F LOOR RE FO FLOOR AFTER BEFOTE FO BE R R BE R BEF BEFORE & FORE & AFTER BEFORE &BE FORE & AFTE AF R & TE RE AF & FO RE R E & AFTER BE R BE & AFTE Ave. MFO cDermot ARE ve. & AFTER BE AFTE173 173 M cDermot FORE BEFORE & AF R BE FO R TE BE TE AF R & AF TE ER BEFORE & & F RE AF FORE & TER BEFORE AFTER BEFOTER BEFORE & AFTER BE E & AFTER BE 49-‐& 9AF 032 BEFO9RE & AF R(204) TER BEFORER&BEFO(204) 75-‐ 0 160 &9AF RE TE AF & RE FO AF & BE RE R RE FO TE FO BE TE AF R ER BE RE & & AFTE RE & AF R BEF FORE AFTER BEFOTE AFTER BEFO trevisirestaurant.com BEFORE & AFTE FORE & sensiwinelounge.com E & AFTER BEAFTE R BEFORE & FORE & AF RER& AFTER BEFORE & AF RE & AFTER BE BE FO R BE TE R AF TE ER BEFORE & & F AF FORE FORE & AFTER BEFOTER BEFORE & AFTER BE & AFTER BE RE & AFTER BE Reservations Recommended &A R BEFORE TER BEFORER&BEFO No R eservations & AF RE TE AF & RE FO AF & BE RE R RE FO 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
Before Curtain
After Encore
TRE VISI
SENSI
ARTISTS
Michael Wright
Jennifer Lyon
Sound Designer
Assistant Director
MTC Romeo and Juliet, The Seafarer, Looking Back – West,
Top Girls, Rope’s End, Fully Committed, The Last Five Years, The Beauty Queen of Leenane, Cherry Docs. OTHER THEATRE North Main Gothic, The Monster
Trilogy, The Elmwood Visitation, Age of Arousal (TPM); Everything is Coming Up Roses (Gearshifting Performance Works); Mmm Munsch, Something Drastic, Puppet Munsch (PTE); Macbeth (SIR); The Designated Mourner (Persona Theatre); Hedwig and the Angry Inch (Winnipeg Fringe Theatre Festival); Hedwig and the Angry Inch Atrocity Tour 2004 (Rose Tinted Productions, UK).
MTC Actor: White Christmas, Pride and Prejudice, Guys and Dolls (with TC/Citadel), My Fair Lady, A Christmas Carol – The Musical, Steel Magnolias (1993). OTHER THEATRE Actor: My Fair Lady (Arts Club);
FILM The Last Harvest, Métis, Métis Not, Dead Mothers Kitchen Floors.
Skylight (TNB); I Love You, You’re Perfect, Now Change (PTE, Belfry); The Road to Hell, Communicating Doors (Persephone); Jacques Brel is Alive and Well and Living in Paris, Godspell (PTE); Hairspray, Singin’ in the Rain (Rainbow); Comet in Moominland (MTYP, Toronto, Montreal, NYC); Camelot, Man of La Mancha, The Miracle Worker (Stratford); The Who’s Tommy (Elgin Theatre, Canadian Tour).
ET CETERA Michael is active in the music world with
ET CETERA Jennifer gratefully acknowledges the sup-
over two dozen album credits. He lives in Winnipeg with his partner Arlea and is a member of iatse 63.
port of the Manitoba Arts Council and the Winnipeg Arts Council.
Continued on page 22
Cosmo 32 The new Cosmo 32 direct vent gas fireplace expands the Cosmo series of modern products. Featuring the smallest contemporary linear design in the market, the Cosmo 32 brings style to any space. A unique reflective black glass interior liner option displays exceptional angles of the contemporary ribbon of flames enhanced by glass media.
LARG SELECT EST & LOWION PRICE EST S IN WPG
943-5263
318 L O G A N AV E.
( J U S T O U T S I D E C H I N AT O W N )
Furniture I Fireplaces I Accessories
w w w . f l a m e . m b . c a
2011/2012 season
heavenly off-broadway musical | in association with winnipeg studio Theatre
february 22 - march 11 Full of sharp parody, sinfully tuneful songs and irreverent humour, this is a pitchperfect spoof about a boy band trying to save souls, one screaming fan at a time.
CALL 942-5483 | WWW.PTE.MB.CA
PRAIRIE THEATRE EXCHANGE
3rd floor of Portage Place (next to IMAx)
SponSored In pArt by:
MedIA SponSor:
Marc devigne, Simon Miron, Jeremy Walmsley, Joseph Sevillo and Michael Lyons as the Altar boyz. photo: rodney braun
ARTISTS
Candace Maxwell
Lisa Nelson
Assistant Stage Manager
Apprentice Stage Manager
MTC The Boys in the Photograph (with Mirvish), The Syringa Tree, Over the Tavern, The Constant Wife, Fiddler on the Roof, Driving Miss Daisy, MTC 50th Anniversary Homecoming. OTHER THEATRE Salome, The Magic Flute, Tosca,
Carmen (Manitoba Opera); Bingo!, The Savannah Disputation, Munscha Meeya, Chimera, The Vertical Hour, Honour (PTE); La Tragédie de Carmen, Siren Song (Banff Centre); Pride and Prejudice (Banff Centre/Citadel). TRAINING University of Winnipeg and the Banff Centre. ET CETERA Thank you to all my family and friends for
MTC First engagement. OTHER THEATRE Way to Heaven, Talk at Prairie
Scene Festival, Sunday Father (WJT); The Moonlight Sonata of Beethoven Blatz, Encore (TPM); H.M.S. Pinafore, The Pirates of Penzance, The Gondoliers, The Mikado (Redressed), Ruddigore (Gilbert & Sullivan Society of Winnipeg); StreetZone (FemFest/ Sarasvàti Productions). TRAINING University of Winnipeg. ET CETERA A big thank you to all my friends and
family for all their love and support—especially Nick and Dave!
their constant love and support. Enjoy the show!
2012 Regional Tour PRESENTED BY
For more info, visit: mtc.mb.ca PRESENTING SPONSOR
TOUR SPONSORS
Doowah Design Inc. Client: Manitoba Theatre Centre
Job no: 2462
WITH TOURING ASSISTANCE FROM
SUPPORTING SPONSORS Transport
Cast & Crew
Regional tour
1
2
Norm Foster NormNorm FosterFoster by
by
by
3
Photos by Leif Norman
4
As part of MTC’s commitment to the whole region, we’ve been sharing professional live theatre with enthusiastic audiences in Manitoba and northwestern Ontario for more than 50 years. Communities hosting the tour are well-known for their warm hospitality and keen appreciation of the art form. This year’s regional tour of Norm Foster’s The Melville Boys brings a touch of summer to 25 communities from January 24 to February 24.
1 Murray Farnell as Owen Melville 2 Kevin Klassen as Lee Melville 3 Alix Sobler as Mary 4 Elizabeth Stephensen as Loretta 5 Murray Farnell and Kevin Klassen 6 Elizabeth Stephensen and Kevin Klassen 7 Alix Sobler and Kevin Klassen 8 Murray Farnell and Elizabeth Stephensen (seated), Alix Sobler and Kevin Klassen (background)
5
6
7
8
PRESENTING SPONSOR
TOUR SPONSORS
WITH TOURING ASSISTANCE FROM
SUPPORTING SPONSORS Transport
Cast & Crew
The Royal ManiToba TheaTRe CenTRe honouRs heR MajesTy Queen elizabeTh ii on The oCCasion of heR diaMond jubilee, CelebRaTing 60 yeaRs of heR sTeadfasT seRviCe and dediCaTion To Canada.
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
Individual Giving
“I do not want to pull through life like a thread that has no knot. I want to leave something behind when I go.” – Nellie McClung in The Fighting Days Leaving a legacy is a natural inclination for many of us, something we contemplate on our journey through life. The women of The Fighting Days accomplish something far greater than many of us could ever hope to achieve: a legacy of democratic change and a more equitable society.
FO
• A bequest in your will • Life insurance • Charitable gift annuity • Charitable remainder trust • Listed securities You or your estate can potentially realize tax benefits from a planned gift as well. Talk to your financial advisor about possible tax savings. feb/mar 2012
For Founders’ Circle member Heather Power, leaving a legacy to MTC in the form of a life insurance policy made good sense. She pays a tax deductible premium on a policy and has named MTC as the beneficiary. “I have loved, been involved with, and supported the theatre all my life. Through a life insurance policy, I can make a big impact after I’m gone. Each year, I pay the premium and get a tax receipt in return,” said Ms. Power. “It’s a small monthly donation, probably less than most people spend on coffee in a month, but it can be quite big in the end.”
ERS’ D N U
Making a planned gift is relatively easy and can take several forms:
26
Founders’ Circle member Heather Power takes a seat alongside MTC co-founders Tom Hendry and John Hirsch.
CIRCLE
At MTC, we are blessed w i t h a ve r y committed group of supporters who have decided their legacy includes showing confidence in the future of live theatre by making a planned gift to MTC. The Founders’ Circle was established in 2009 to honour and recognize those who make a planned gift to MTC. From modest beginnings, the Founders’ Circle has grown to 21 members: individuals committed to ensuring that great theatre and programming excellence are enjoyed by future generations of audiences and artists.
photo courtesy of the winnipeg free press
Will You Leave Something Behind?
It was this kind of forward thinking that inspired MTC co-founders John Hirsch and Tom Hendry to create a professional theatre company 54 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. Be part of the dream. 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 right now or from the MTC Development Office.
To make a planned gift or to obtain more information, visit www.mtc.mb.ca or contact Garth in the Development Office at 956-1340 ext 240.
The ROYAL MAniTObA TheATRe CenTRe And The MAniTObA bAR AssOCiATiOn pResenT The 2012 COMMuniTY pLAY
the
by AgAthA Christie
DireCteD by
steven sChipper
“One Of the mOst skillfully written murder mysteries ever prOduced” – New York Times
May 2 – 5, 2012 Tom Hendry WareHouse | 7:30 pm curTain
TickeTs $95 On sale nOW!
Call 942-6537 CliCk www.mtc.mb.ca/mousetrap GeNerouslY spoNsored bY:
spoNsors:
desiGN spoNsor:
Proceeds from this fundraising Play benefit the royal manitoba theatre centre and its Programs.
Doowah Design inc. Client: MTC Job no: 2225 insertion: January 18, 2012 MTC Mousetrap ad - Ovation / CMYk / 4.75”x3.75” Problems or questions, call Brent at (204) 949-7230 is proud to
Hilary Druxman support the royal manitoba tHeatre Centre
ONLY
$40 100% of the net proceeds available at
258 McDermot Ave. 947-1322 Toll Free 877-212-8122 Monday to Friday | 9 am to 5 pm Saturday | 10 am to 5 pm
available online at
hilarydruxman.com/philanthropy.asp
from each LIVE necklace sold will be donated to MTC’s Backstage Pass: Theatre Perspectives for Students program.
We need YOUR
SUPPORT. dOnate tOdaY! MTC relies on the generosity of donors and friends to help produce great theatre at accessible prices.
gifT today!
donate online at
www.mtc.mb.ca or call 956-1340 today!
L-R Fiona Reid as Chris and Fiona Highet as Annie in Calendar Girls. Photo by Bruce Monk.
Make your
Supporting Partners
MTC expresses sincere thanks to our major corporate and government sponsors. Black
|
SEASON PARTNERS |
CMYK
|
John Hirsch Mainstage |
|
Production co-Sponsors
Gail
and the late
Babs Asper
Tom Hendry Warehouse | production sponsors
Deborah Gray
Deborah Gray
Pantone
|
John Hirsch Mainstage | Performance SPONSORS
| 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 |
|
Talkbacks |
| Design Sponsor |
Gala Ball
|
2011
winnipeg fringe theatre festival |
Exchange The
DISTRI CT
|
ShawFest 2012 |
|
media sponsors |
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
feb/mar 2012
29
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 Kerry Dangerfield, chair-elect/chair, community relations Patrick Green, Treasurer/Chair, Organizational Performance David Carefoot, Assistant Treasurer Anthony C. Fletcher, Secretary Robert Eastwood, chair, resource development Jim McLandress, Chair, Governance & Strategic Planning
Brian Adolph, IT Manager Zaz Bajon, General Manager Emeritus Natascha Hainsworth, outreach coordinator Camilla Holland, General Manager Daphne MacMillan, Administrative Secretary 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, Alison Derksen, Natercia Doucet, Anna-Laure Koop, Victoria Popp, Michaela Porter, Jessica Ross
Trustees
Artistic
David Atkins Brenlee Carrington Trepel David Christie Derrick Coupland Sandy Gousseau Jeff Lamothe Bruce Leslie Michelle Weinberg Rick Workman Richard L. Yaffe Brenda Zaporzan
Jeff Kennedy, Wordplay Coordinator Laurie Lam, Producer Robb Paterson, Associate Artistic Director Steven Schipper, Artistic Director Casey Shapira, Literary Apprentice* Melinda Tallin, Artistic Coordinator
Advisory Council Gerry Couture, Chair Gail Asper Morley Blankstein Doneta Brotchie Angus Campbell 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 Lawrence Prout Jeff Quinton Patricia Rabson Margaret Redmond Susan Skinner Al Snyder Maureen Watchorn
Carpentry Louis Gagné, Layout Carpenter Brent Letain, Master Carpenter Chris Seida, Scenic Carpenter Lloyd Thomas, Carpenter
Communications Sue Caughlin, Marketing & Communications Manager Doowah Design, Design Bruce Monk, Photographer Brent Phillips, Director of Marketing & Communications Mark Saunders, Marketing & Communications Coordinator Teri Stevens, Publicist & online media coordinator
Production Laura Enns, Bookkeeper/Assistant Ian Kirk, Assistant Technical Director/Tour Technical Director Laura Lindeblom, Assistant Production Manager Rick MacPherson, Technical Director, Tom Hendry Theatre Russell Martin, Production Manager Benjamin Ross, Technical Director, John Hirsch Theatre Robert Smith, Interim assistant Technical Director
Properties Peter Baureiss, Properties Builder/Buyer Larry Demedash, Senior Properties Builder Ali Fulmyk, Apprentice Properties Builder Kari Hagness, Head of Properties James Sutherland, Properties Builder
Stage Crew Beverly Covert, Wigs & Makeup Supervisor Hart Greenberg, Head Carpenter Joan Lees-Miller, Head of Wardrobe Kayla McSwain, Dresser Claude Robert, Head Electrician John Tomiuk, House Stage Hand Michael Wright, Head of Sound
Tele-Sales Representative Sandra Rubin
Development
Tom Hendry Theatre
Kristine Betker, Director of Fund Development Garth Johnson, Major, individual & planned Giving Officer Michael Joyal, Development Assistant Stephanie Lambert, Special & Donor Events Coordinator
Randy Harder, Head Electrician Rick MacPherson, Technical Director Alison Nutt, Head Carpenter Greg Wood, Head of Sound Michael Wright, Head of Sound
John Hirsch Theatre Front-of-House Deborah Gay-de Vries, Front-of-House Manager Sheena Baird, Assistant House Manager Kim Cossette, Assistant House Manager Jaimie Chapman, Jonny Hall, Elfie Harvey, Kelsey Johnson, Sherri Kostecki, Tia Levine, Robyn Milligan, Rachael Neal, Jessica Olson, Amariah Peterson, Angela Rajfur, 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 Assisted by: Kim Hamin, Julie Slessor
Tom Hendry Theatre Front-of-House Kim Cossette, Front-of-House Manager Scott Tweedy, Assistant House Manager Phyllis Hildebrand, Tia Levine, Pam Neal, Cristin Sinclair, Chelsea Zacharias
Wardrobe Amanda Isaak, sewer Donna Jenkyns, Sewer Norma Lachance, Sewer Thora Lamont, Cutter Barb Mackenzie, Sewer Lorraine O’Leary, Head of Wardrobe Lois Powne, First Hand Hollis Spevack, Sewer Jackie Van Winkle, Buyer/Accessories Iris Wood, Sewer
Winnipeg Fringe Theatre Festival & Master Playwright Festival Samantha Harrison, Festival Assistant Chuck McEwen, Executive Producer Rob Ring, Interim Festival Director
*Position Funded through the Jean Murray – Moray Sinclair theatre Apprenticeship Program
30
feb/mar 2012
It’s a Winnipeg thing.
Supporting the arts in Manitoba
Unrivaled Arts Coverage In Manitoba Winnipeg free Press is your leading source for arts & entertainment and proud to be a partner with the Royal Manitoba Theatre Centre.
Subscribe today! Call: 697-7001 or Email: fpcirc@winnipegfreepress.com PRINT • ONLINE • MOBILE
We’re there for you