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Machine De Cirque March 22, 2018

issue 008

February / March 2018

The Magazine of The Rose Brampton





<< February /March 2018

98 Queen St. W. 905.457.4445

February/March 2018




10 Sharron Matthewsâ&#x20AC;&#x2122; Girl Crush >> Queen of Cabaret 13 Louie Anderson >> Still winding up 14 Digging Roots and Dione Taylor >> Authentic music 16 Rosanne Cash with John Leventhal >> 30 years of country music 18 Tower of Power >> the legends of Urban Soul 20 Machine de Crique >> Circus, theatre, music and comedy






City Council

Wards 1 and 5

Wards 1 and 5

Wards 2 and 6

Regional Councillor Grant Gibson

Regional Councillor Elaine Moore

Regional Councillor Michael Palleschi

Wards 3 and 4

Wards 7 and 8

Wards 9 and 10

Regional Councillor Martin Medeiros

Regional Councillor Gael Miles

Regional Councillor John Sprovieri

Regional Councillors

Mayor Linda Jeffrey

Wards 2 and 6

Wards 3 and 4 Wards 7 and 8 Wards 9 and 10

CITY Councillors The Mayor and members of City Council invite your comments. Telephone

Brampton City Hall at: 3-1-1 â&#x20AC;˘ TTY 905.874.2130


<< February /March 2018

City Councillor Doug Whillans

City Councillor Jeff Bowman

City Councillor Pat Fortini

City Councillor Gurpreet Dhillon


Our Service Commitment

If there is anything we can do to make your experience more enjoyable, please do not hesitate to ask one of our volunteer ushers or staff members for assistance.

Hearing Assistance Bar Service

Most events at The Rose will include bar service. At these times, the bar will be open one hour before showtime and during intermission.

Babes in Arms

Are not permitted in the theatre, except for certain age-appropriate shows indicated. However, each person including children â&#x20AC;&#x201C; requires a ticket.

Arriving Late

Latecomers will be seated at the discretion of Front of House during an appropriate break in the performance.

The Rose Theatre


Devices may be obtained from the Box Office free of charge.


For more information on our accessible and barrier free seating options, please contact the Box Office at 905.874.2800.

Preorder Service

Avoid long lineups at the bar by taking advantage of our preorder drink service. Purchase drinks before the show.

Coat Check

There is a complimentary coat check located next to the entrance for Studio Two.

Free Parking

Food & Drink

Only cold drinks are permitted inside the theatre. Try to unwrap candies or lozenges prior to the performance as the crinkling paper can be distracting.


Parking in the Market Square parking garage beneath the theatre is always free for all evening and weekend events at the Rose Theatre Brampton.

Due to allergies and sensitivities, please refrain from wearing perfumes, colognes or other scented products.


Cameras and recording devices are not permitted in the theatre unless otherwise specified in the preshow announcement.


Please keep electronic devices turned off during the performance. The light from texting is distracting for other patrons and performers. BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 5


<< February /March 2018

While you’re online, sign up to receive our e-newsletter or subscribe to our blog (find it on the home page).


“Saw [A Christmas Carol] last night with our 9 and 11 year olds and my inlaws. We all agreed it was amazing!”

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“@fortunateonesNL delivering a wicked show @Rosetheatrebram loved the new tunes and old, thanks for the chat!” @torontonianAL





<< February /March 2018

The Magazine of the Rose Theatre Brampton

Managing Editor

Cristina Rizzuto


Jessica Spina

Art Direction & Design Vanessa Lewis


Nick Krewen David Paterson

To advertise with The Rose contact:

Advertising and Sponsorship 905-874-3405

905.874.2800 Rose Theatre Box Office

1 Theatre Lane, Brampton Mon to Sat: 10:00 am to 6:00 pm Sun: Closed if no event Hours are subject to change. Please call ahead or check the times online.

With gratitude for the purchase of specialized equipment


In the Studio >> february 13 & 14

Sharron Matthews’ Girl Crush by David Paterson

Learning to be comfortable in your own skin isn’t easy – even when you’ve spent your life in the spotlight. Sharron Matthews is Canada’s queen of cabaret. She’s performed all over North America, won awards for her raucous but warm-hearted shows and frequently appears on TV, most recently on CBC’s historical drama Frankie Drake Mysteries. Though audiences love to see her on stage or screen, Matthews sometimes struggled to love what she saw in the mirror. As a woman with a fuller figure, Matthews has felt the sting of judgmental attitudes towards bodies that don’t conform to mainstream standards of beauty. For more than two decades, she avoided being photographed in a bathing suit. When she finally asked her husband to take a photo, she says she felt “a lifetime of judgement” of her size and looks. 10

<< February /March 2018

“But then I thought, ‘What if I like myself the way I am right now. What if this is the way am and that is fine – or awesome.’” That became the seed for Matthews’ new show, Girl Crush. “That made me go back and look at all the influences that made me who I am: Charlie’s Angels, my childhood friends, the girl who bullied me, the boys I loved – so many universal moments,” says Matthews, who is a self-declared “body warrior.” The award-winning cabaret premiered at Calgary’s Lunchbox Theatre last spring, where it received glowing reviews. It features Matthews’ take on some of the most beloved music from the 80s, 90s and 2000s, including Blondie, Rick Springfield, Gavin DeGraw and Little Big Town – hit songs that the audience is encouraged to sing along to. Among the music, Matthews mingles in stories and anecdotes that are both funny and poignant.

The Calgary Herald called the show “as achingly personal as it is immensely entertaining.” It has certainly resonated with audiences, many of whom have told Matthews after the show that its message of “love yourself now” resonated deeply with them. A turning point for Matthews came when she was vocal coach on Global TV’s Canada Sings. While doing a wardrobe fitting for the show, she says she told the costume designer “I wanted, from the depth of my heart to look awesome. I wanted people to say, ‘She looks awesome’ – and not ‘for a girl her size.’” While doing the show, Matthews made the fashion pages of several newspapers and magazines. “It was a pretty spectacular moment in my life,” she says. “From that moment, I decided to like myself no

matter what size or shape I was.” Matthews’ current TV gig is a touch less glamorous, but equally inspiring. On Frankie Drake Mysteries she plays Flo, an enthusiastic mortuary assistant, who helps the titular character solve crimes in the 1920s. The show, which is from the same creative team as CBC’s popular Murdoch Mysteries, puts female talent front-and-centre with an all-women lead cast. “These women are strong and self-possessed and sure,” says Matthews. “I think in this time of female empowerment it is essential to have shows like this on TV, and I’m thrilled to be part of it.” It seems that whatever Matthews is doing, she brings an infectious positivity. That, perhaps, is the most inspiring thing of all. BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 11

Family fun

Machine de Cirque march 22, 2018 7 PM

Mini Pop Kids march 16, 2018 2 pm & 6:30 PM THE BERENSTAIN BEARS LIVE! march 15, 2018 12:30 PM & 3 PM

the polar bears go up april 10, 2018 7 PM


<< February /March 2018


r o s e t h e at r e . ca

by Nick Krewen

If it’s not one thing, it’s your mother. In the case of three-time Emmy-Award winning comedian Louie Anderson, he’s currently having the time of his life paying homage to his mom Ora by playing a version of her on Baskets, the hit FX comedy starring Zach Galifianakis in the dual roles of a local rodeo clown and his twin brother. Now it in its third season, Anderson plays the role of Galifianakis’ characters’ matriarch, Christine Baskets, for which he won a Best Supporting Actor Emmy in 2016. “It really is an extension of my mom,” Anderson, whose St. Paul, Minnesota-raised family includes 10 brothers and sisters, reveals on his website, “It felt like it was divine intervention when I got the call to be on the show… that somehow my mom, from the great beyond, was finally getting herself into show businessm where she truly belonged in the first place.” He’s not only channeling her on the small screen: his soon-to-bepublished fourth book, Hey Mom (available from Simon & Schuster in April,) is a love letter of sorts, catching her up on what’s been happening in his life since her passing several years ago. Anderson offered a similar catharsis with Dear Dad – Letters From An Adult Child following his father’s passing and has also written the selfhelp best-sellers Goodbye Jumbo…Hello Cruel World and The F Word, How To Survive Your Family. His therapeutic gifts in the written word are not surprising, considering that Anderson was a children’s counselor while moonlighting as a stand-up comedian, eventually being discovered by Henny Youngman, the King of the One-Liner, when Anderson won the 1981 Midwest Comedy Competition. Youngman hired him as a writer, and three years later Anderson received his big break when the legendary Johnny Carson invited him to make his national television debut on The Tonight Show. Since then, with his gentle, insightful and sometimes selfdeprecating routines, Louie Anderson has become one of the most in-demand performers on the circuit. Aside from numerous late-night appearances hosted by Jay Leno, David Letterman, Craig Ferguson

ON THE MAIN STAGE >> February 14

Louie Anderson

and most recently, Steven Colbert, Anderson has headlined his own Comic Relief, HBO and Showtime specials. He’s won two Emmys for his Saturday morning animated series Life With Louie, based on his childhood and life with his father, and hosted the game show Family Feud for a year. Other television appearances include guest stints on Grace Under Fire, Touched by an Angel and Chicago Hope while his silver screen credentials include memorable roles in Ferris Bueller’s Day Off and the Eddie Murphy comedy Coming to America. But it’s currently Baskets for which the 64-year-old comedian is best known. While accepting his Emmy in 2016 (he was nominated again for the same role last year), Anderson called the episodic weekly,” A show about not fitting in - and then fitting in perfectly.” Anderson, who recently taped a comedy special called Big Underwear at the Palace Theatre in Los Angeles, calls his Christine “the role of a lifetime,” but how he got it was highly unusual. Baskets star and creator Galifianakis was discussing numerous roles with executive producer Louis C.K. when they agreed the mother character would be prominent in the show. “I wanted to cast Brenda Blethyn and she wasn’t available,” he told Variety. “I told Louis, ‘It’s a voice I keep hearing, like Louis Anderson’s voice.’ He said, ‘Well, should we cast him?’ It was an a-ha moment, and those a-ha moments I tend to go with, instead of overthinking.” Anderson said he didn’t hesitate when he asked, and recently told the Northwest Herald that his goal with Christine “is to be everybody’s new favourite TV mother.” Anderson’s portrayal of the character exudes a warmth and humanity that extends to – and perhaps is borne from – his stand-up comedy. Because Anderson has been through it all – struggles with food, weight, drugs, gambling, extortion, depression – and his material carries an empathy that makes him entirely relatable to the average Joe. It seems karmic and fitting that nowadays, Louie Anderson is at the very top of his game. “Usually, you wind down at my age, but I’m winding up,” he recently told the Northwest Herald. “I really love where I’m at right now.” BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 13

ON THE MAIN STAGE >> february 22

Digging Roots & Dione Taylor: FULL SPECTRUM

It’s been awhile since Barrie’s Digging Roots and Regina-born, Toronto-based Dione Taylor have put out any new music, but all of that is about to change. The Rose’s audience will be receiving early previews of The Hunter and The Healer, the upcoming new effort by ShoShona Kish and Raven Kanatakta, the creative core of Digging Roots, while music from Taylor’s first recorded project in three years – as yet untitled - also makes its much-anticipated bow. 14

<< February /March 2018

by Nick Krewen

First up for the evening will be Dione Taylor, who says her new music will be more in line with her 2015 album Born Free than her earlier and jazzier I Love Being Here with You. “The material I recorded for Born Free is more of the style that I’m writing in in this particular moment,” says Taylor. “A lot of people like to separate jazz and soul and blues, but I don’t. I feel like they’re all intertwined into the same thing and they’re all stories about the truth. The truth is in the eye of the beholder, so whether it’s with a jazz group behind it or slide guitar, it’s authentic to what I do.”

We’re trying to make sense of the world for ourselves, our kids, our communities and just trying to live a good life.”

Taylor, a graduate of the Humber College Jazz program, has even named her sound. “The term that I’ve coined for my music is ‘prairie blues,’” she explains. “It’s my music and truth according to Dione Taylor. So, I bring a very unique experience, being a pastor’s kid and growing up in Saskatchewan and Regina as a black female, there’s a lot of struggles there. I love to write these songs and give people a little perspective of what life was like for me growing up there, and what life was like for a lot of people of colour in Canada.” Taylor has had the distinction of singing for Queen Elizabeth II and President George W. Bush, and also performing a version, with legendary Montreal pianist Oliver Jones, of Oscar Peterson’s “Hymn to Freedom” at a gala honouring the iconic Peterson. She’s also recently re-recorded the number with the State Chorale and pianist Robi Botos and will be previewing that version at the Rose. “It’s a really great example of how gospel, jazz and the blues can really work together seamlessly,” she says. Juno Award winners Digging Roots is also gearing up for an evening of an exciting melange of musical styles that draw from blues, jazz, roots, rock and reggae, with lyrics encompassing political, spiritual, social and romantic fronts. However, singer and guitarist Raven Kanatakta admits that their love songs have been overshadowed by numbers about more serious issues. “There were love songs at the beginning of our career, but they didn’t surface as readily as the stuff that we were dealing with,” Kanatakta explains. “I think having grown up on a rez [reservation] and having seen the effects of oppression on everybody around me – I think as a young person I wanted to get that energy out. Instead of doing it in a destructive way, I found that music was a real productive release valve as well, with the music and the dancing, it was a really great way for me to manifest the kind of person I wanted to be and to deal with those greater issues that are difficult to do with. It comes down to Canadian history and what’s happened and what continue to happen.” Lead singer Kish and Kanatakta met by pre-ordained coincidence. “I was living in Boston; she was living in Ottawa,” Kanatakta recalls. “I was visiting my parents because I used to live in Ottawa, and at this party a writer friend of mine said, ‘There’s this person named ShoShona who just moved to Ottawa. She’s an artist and a musician.’ She had literally just moved there so he gave me a piece of paper with her address on it.” Kanatakta didn’t act immediately. In fact, it wasn’t until his next

home visit a number of months later when he happened to be driving his Thunderbird down the street where Kish lived and remembered it. She lived above the legendary folk club Rasputin’s and Kanatakta spent some time outside her apartment complex wondering how he could get in and introduce himself. An elderly tenant returned with an armful of groceries and asked Kanatakta for help transporting them up three flights of stairs, and after he was done being her good Samaritan, he returned to the second floor and bravely knocked on Kish’s door. “We just kind of hit it off and had three hours of coffee and chat,” he recalls. “And then she said, ‘Oh my God, I’m going to miss my audition.’” It turns out that Rasputin’s was holding auditions for the last remaining spot at the Ottawa Folk Festival and Kish asked Kanatakta to join her on stage. “We had never played music together,” recalls Kanatakta. “I pulled out my acoustic guitar and we jumped up on stage – she sang a tune, then I sang a tune, we backed each other up – and we got the final spot. That’s how we met and were creative within the first four hours.” The name Digging Roots also has an interesting back story: for seven years, Kanatakta didn’t play the guitar because he couldn’t physically hold one due to severe tendonitis and carpel-tunnel syndrome. “When I first met ShoShona I had already had these hand problems, where I could only perform for 15 or 20 minutes,” Kanatakta explains. “It progressively got worse. I couldn’t even lift a cup of water without using two hands.” After trying countless solutions, Kanatakta finally found relief with the medicine person in Kish’s Batchewana First Nation’s rez in Northern Ontario. Kanatakta went on a “medicine walk” – including through the middle of a swamp - and harvested several plants, eventually boiling their roots. “After a week, the pain was gone and within a month, I was playing guitar again.” Now completely recovered, Digging Roots – which performs as a fivepiece – is offering apt observations for these confusing times. “The Hunter and The Healer is essentially about the polarization of what we’re living in, in this world right now in the era of Trump,” Kanatakta notes. “On the other side, we have some really compassionate individuals willing to see people as people. We’re trying to make sense of the world for ourselves, our kids, our communities and just trying to live a good life. We don’t have all the answers because of the one-sided media – we all want more than we’re actually getting.” BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 15

ON THE MAIN STAGE >> february 25

Rosanne Cash Trailblazing Creative Warrior by Nick Krewen


<< February /March 2018

It’s been a little over 30 years since singer and songwriter Rosanne Cash released King’s Record Shop, something of a benchmark for female country artists when it was released back in 1987. “King’s Record Shop was a watershed record for me, and, if I may say so, an important moment for women in country music at that time,” notes the four-time Grammy winner on her website, “It was the first time a woman country artist had ever had four Number One singles from one album.

“I was tremendously proud, and deeply honored to work with the musicians who played on the album. Rodney Crowell was the guiding force, and he says he feels ‘blessed to have been a member of the team.’ I feel the same way: we were a team, and the work we created was captured in a shining moment that still gives pleasure these 30 years later.” In landing that quartet of chart-toppers – “The Way We Make A Broken Heart,” “Tennessee Flat Top Box,” “If You Change Your Mind” and “Runaway Train” - with then-husband Rodney Crowell at the production helm, Cash provided a game changer for women in raising the bar for potential success. Overall, the album was hailed as an influential forerunner of the genre that evolved into Americana and gave Cash artistic license to branch out and explore her own songwriting whims and desires. An interesting side note to the inclusion of “Tennessee Flat Top Box:” when Rosanne heard the song and decided to record it, she didn’t realize it had been written by her father, Johnny Cash; she thought it was taken from the public domain. That realization spoke volumes about her tense and isolated relationship with her father, whom – after moving the Memphis-born Rosanne, her three sisters and their mother Vivian Liberto to Southern California - divorced them to take up with June Carter. Rosanne Cash details the complexities of the father-daughter dynamic in her 2010 memoir Composed; they grew closer and their relationship improved before John’s passing in 2003. As successful as King’s Record Shop was (her sixth album, it had followed a string of triumphs that included Seven Year Ache and Rhythm & Romance and yielded the No. 1 hits “My Baby Thinks He’s A Train,” “Blue Moon with Heartache,” the Grammy-winning “I Don’t Know Why You Don’t Want Me” and “Never Be You,”) it was 1990’s Interiors that served as the catalyst for the writer and musician Rosanne Cash is today. Interiors, produced by Cash herself, is brooding and introspective, and signalled that life changes were afoot. She not only broke up with Crowell, but Nashville itself, relocating to Manhattan and meeting and eventually marrying John Leventhal, a guitarist and producer who also serves as her creative and performance collaborator. The majority of her subsequent albums – The Wheel (an examination of her failed marriage to Crowell); 10 Song Demo, Rules Of Travel,

Black Cadillac and The River And The Thread – have been poignant and personal (2009’s The List was a cover album of a list of country songs that her father once gave her) containing exceptional and expressive narratives that have further endeared Cash – a member of Nashville’s Songwriters Hall Of Fame - to her audiences. She’s also carved out a second career as an author with four books (including the children’s book Penelope Jane – A Fairy’s Tale) and continues to be an outspoken advocate and social critic. In 2017, when a neo-Nazi during the violent Charlottesville, Virginia clash was photographed sporting a Johnny Cash t-shirt, Rosanne, her sisters and their brother John Carter Cash announced their repulsion of the act and reinforced their father’s message of love, peace and tolerance. “To any who claim supremacy over other human beings, to any who believe in racial or religious hierarchy: we are not you. Our father, as a person, icon, or symbol, is not you. We ask that the Cash name be kept far away from destructive and hateful ideology. “We Choose Love,” they wrote. And when country music festival goers lost their lives in Las Vegas last October due to a sniper, Cash wrote an opinion piece in the New York Times calling for gun control, entitled: “Country Musicians: Stand up to the N.R.A.” Throughout her life, Cash has overcome a number of personal and health issues ranging from substance abuse to throat polyps. In 2007, after enduring headaches for years, she was diagnosed with a rare condition that found her cerebellum was crushing her brain stem and underwent brain surgery. In 2010, a New York Magazine writer asked Cash if she was worried that she was a changed person post-surgery. “I’m not!” Cash replied. “I’m totally not the same person. I have a lot more manic energy. And I experience music differently. My theory is, my brain problem was like a veil over my experience of music, and they took the veil off. It’s so great.” Currently working on both a new album that should be out later this year – and a musical – with Leventhal, Cash says her approach to creativity is matter-of-fact. “I have a real worker-bee mentality,” she told New York Magazine. “Just show up, just do it. Even if you feel like shit and you think you’re terrible and you’ll never get better and it will never go anywhere, just show up and do it. And, eventually, something happens.”

I have a real worker-bee mentality … Just show up, just do it. Even if you feel like shit and you think you’re terrible and you’ll never get better and it will never go anywhere, just shut up and do. And, eventually, something happens”

BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 17


Tower of Power by David Paterson


<< February /March 2018

In the summer of 1968 – a year before man walked on the moon, when the Boeing 747 “jumbo jet” made its first flight, and when the Bay Area was still better known for hippies than hightech ¬– two sax players met in Oakland, California, and forged a partnership that has lasted half a century. Tenor sax player Emilio Castillo, at the time not quite 18 years old, was auditioning musicians for a band he had formed the previous year called The Motowns (Castillo is originally from Detroit). A baritone sax player called Stephen “Doc” Kupka came through the door and – on the advice of Castillo’s father – he signed him up straight away. A name change later, and the pair went on to become the foundations on which was built Tower of Power, one of the most enduring acts to emerge from the West Coast. This year, the band is marking 50 years in business. Tower of Power continues to win fans and entertain audiences with a sound that is truly unique. The band calls its music “urban soul,” though it’s also been variously described as R&B or funk. On its website, the band notes that, emerging from the Bay Area at around the same time as acts like The Grateful Dead and Journey, Tower of Power is sometimes deemed part of the “San Francisco Sound,” but the band “has always claimed Oakland, California, as their home town.” Whatever the designation or geography, Tower of Power’s music is truly uplifting. The band itself makes an impressive sight with 10 musicians on stage, including vocalists, a drummer, a keyboard player, trumpeters and saxophonists. Tower of Power’s sound has powerful rhythms with intricate horn melodies. And when the band is on stage there’s a genuine sense that they’re having a good time up there. Over the course of its long history, Tower of Power has put out more than two dozen albums. The band has regularly charted on the Billboard 100 in the 1970s with hits including “You’re Still a Young Man,” “So Very Hard to Go” and “What Is Hip?” So it has a big back catalogue to draw from during performances. Long-lived bands often go through several line-ups and Tower of Power is no different. What is exceptional about the band is, because of the size of its 10-person line up, it has a lot of alumni. Around 60 musicians have at one time or another been part of Tower of Power, alongside Castillo, Kupka, Rocco Prestia and David Garibaldi, original members who are still performing. In 2016, Memphis singer Marcus Scott joined Tower of Power as lead vocalist. Ahead of a recent performance in Michigan, Castillo told MLive, a news website, that Scott is “one of the most fabulous soul singers you’ll ever see.” Even after 50 years, Tower of Power is still writing new chapters in its story.

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ON THE MAIN STAGE >> march 22 With its current production, Québec City’s Machine de Cirque is going for the jugular. Umm…make that the juggler. Aside from being an acrobat’s dream date, they’re also aiming for the funny bone. “There’s a lot of comedy in this show,” admits company founder, president and CEO Vincent Dubé, as he describes the apocalyptic backdrop of Machine de Cirque, which is also the name of the show as well as the five-man troupe that performs it. 20

<< February /March 2018

Machine De Cirque

Circus, theatre, music and comedy by Nick Krewen

Dubé describes the survivalist story as “dramatic, lace with contrast and comedy.” “Everything is kind of broken,” he says of the set. “During the show, the cast builds a machine with the tools they find around them. It’s a communication device with an antenna and they’re trying to send a signal to find other survivors.” As bleak as the premise sounds, Dubé says it’s the human moments of interaction that provide the warmth and humour. “While they’re building this machine, we seize moments and get to know each of them in their own little world,” he explains. “We see what they miss from their previous world. In this micro-community, they’re all buddies – a group of men who support each other.” The Machine de Cirque ensemble includes performer/ acrobats Raphaël Dubé, Yohann Trépanier, Maxim Laurin and Ugo Daria, who have all been performing together since the act launched in 2015. There’s also a musician, Frédéric Lebrasseur, who, simply put, is more than a musician. “The music plays a big role because there’s only one musician on stage and he performs the entire soundtrack,” Dubé explains. “But while he does this, he’s a character on stage as well, and he never stays in one spot. Sometimes we put him in the acrobatic structure and with different props. He’s mainly a drummer, but there’s an act where he drums with juggling pins, throwing them and catching them while he keeps rhythm.” Dubé, a former circus artist himself, says he came up with the idea of Machine de Cirque to blend his loves of three-ring performance and engineering. “I retired last year after performing over 20 years and my goal with Machine de Cirque was to create stuff where I wasn’t touring,” he says. “I have my family based in Québec City and wanted to spend more time at home, but I wanted to keep creating. I’m just as excited to be in the audience and seeing the work we’ve created on stage than when I’m

on stage. For me, it’s the perfect fit.” Although he acknowledges the larger and more established Cirque du Soleil for “opening many doors” when it comes to circus artistry, Dubé was looking to create an antithesis to expensive production. “I wanted to create sets that were well thought out but didn’t involve a big budget - one where every object is used and reused in different ways and is connected throughout the show.” He said the show was created as a collective and the four circus artists who perform the Machine de Cirque routines are experienced veterans who worked as pairs and partners long before he approached them. Although Machine de Cirque is Dubé’s first offering, it won’t be the last. He received a generous Canada Council of the Arts grant for a new outdoor production called Truck Stop that he says is about “a group of young people crossing North America.” It will travel from Halifax to Vancouver during the summer and feature a completely different cast and stop off in communities that normally don’t secure circus-centered shows. “It’s entirely self-sufficient,” Dubé declares, “We even have a generator if we need to stage it in the middle of a field where there’s no electricity, so it will allow small communities to host it.” Machine de Cirque, which has already performed in 30 cities and countries including France, Spain and Romania, will also continue – Dubé says the program is booked well into the first six months of 2019 – with plans for the troupe will splinter, create their own spin-offs and hire replacements so the franchise can continue. But that’s getting ahead of the game a little. For the Rose Theatre audience, Vincent Dubé says the program has triple appeal. “People who like theatre, music and comedy will find this piece really enjoyable,” he notes.

while they’re building this machine, we seize moments and get to know each of them in their own little world … in this micro-community, they’re all buddies – a group of men who support each other.”

BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 21


To The

Rose Theatre Presents

Sponsors & Donors Official Vehicle Sponsor Northwest Lexus

Corporate Sponsor Bramalea City Centre

Family Series Sponsor


DRESS CIRCLE DONORS Lois Rice, Gottfried & Brigitte Schwarzer


Featured Sponsor


Bramalea City Centre


Collaborating with The Rose Theatre has been a rewarding experience for our team and together we will continue to bring smiles and opportunities to the Brampton Community .

Francis Sim & FAMILY George Elmer Henry & Sonia Adcock ROLLIE PHILLIPS DR. WILLIAM G WHITTAKER WARD FUNERAL HOMES C Gordon Edgar Chris & Michelle Hatch



DON & HEIDI WILKER, Barbara East, Eva Andrews, Ian MacDonald, Florence Wilkinson, Bill & Jean Lawrence, Henry C Verschuren 22

<< February /March 2018

nors Featured Do rraine Marie & Lo

vibrancy Happy contributors to the n tow wn do of the Brampton community.

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Acknowledgement Information: Please use the following name(s) in all acknowledgements: _____________________________________________________________________________________________________________ I (we) wish to have our gift remain anonymous Donor Signature: Theatre Staff Signature:

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Donations of $20 or more include a charitable tax receipt. Your tax receipt will be a little less than your total donation. Governments require that we Personal information is being collected under the authority of the Municipal Act for the purpose of sending email newsletters and processing payments. Questions about this collection may be directed to the Rose Theatre, 2 Wellington St. W., Brampton, ON, L6Y 4R2, 905.793.8490.


E T 905.874.3405 W

Mailing Address: 2 Wellington St. W Brampton, ON L6Y 4R2

BOX OFFICE 905.874.2800 ROSETHEATRE.CA >> 23


February/ March 2018 Revue Magazine  
February/ March 2018 Revue Magazine