CITADEL THEATRE ROB B I N S
RED BY JOHN LOGAN
BOB BAKER ARTISTIC DIRECTOR PENNY RITCO EXECUTIVE DIRECTOR SEASON SPONSOR
LEXUS OF EDMONTON IS PROUD TO SPONSOR THE CITADEL THEATRE
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2011/2012 THEATRE SEASON
BOARD OF GOVERNORS
Marshall Shoctor, Q.C. Chair Arliss Miller Past Chair J. G. Greenough, F.C.A. Treasurer Solomon Rolingher, Q.C. Secretary David D. Bentley, F.C.A. Frederick K. Campbell Jacqueline Charlesworth Marc de La Bruyère Anne Foote (Honourary) Ada Hole C. Ralph Loder Ralph B. MacMillan Sandy Mactaggart (Honourary) Jack McBain Barbara Poole Tom Redl Aroon Sequeira Ex Officio Chris Sheard Kayla Shoctor Ralph Young Dr. Robert Westbury
Created and performed by Ronnie Burkett September 17 - October 9/11
BOARD OF DIRECTORS Aroon Sequeira President Ralph Young Past President Catrin Owen Vice President Stuart Lee Treasurer Ken Bautista Guy Bridgeman Lesley Cormack Ted Hole Mike House Richard Kirby Al Maurer Lisa Miller Dave Mowat Rob Reynolds Guarav Singhmar Larry Staples
HONOURARY DIRECTORS Jack N. Agrios, Jan Bentley, Joanne Berger, Christine Bishop, Dan Block, Frank Calder, Gary G. Campbell, Betty Carlson, Donald A. Carlson, Marilyn Cohen, Reg Copithorne, Len Dolgoy, Allison Edwards, Dennis Erker, Grant Fairley, John C. Forster, Frank Gibson, James Gillespie, Jean Hamilton, Brian Hetherington, Gary Killips, Beverlee Loat, Maureen McCaw, Eva McGregor, Susan Minsos, Terry Nistor, Bob Normand, Ray B. Phipps, Ted Power, Jerry Preston, Henry (Hank) Reid, Charlotte Robb, Barbara Shumsky, Esther Starkman, Marianne Takach, Merle Taylor, Mr. Justice Dennis R. Thomas, Brian Tod, John Tweddle, Brian Vaasjo, Chief Justice A.H. Wachowich, Bob Walker, Dr. Marvin Weisler, Bart West, Eve Willox, David Wilson, Doris Wilson, John Yerxa
DEATH OF A SALESMAN By Arthur Miller September 24 - October 16/11
THE ROCKY HORROR SHOW Book, music and lyrics by Richard O’Brien October 29 - November 20/11
THIS IS WHAT HAPPENS NEXT Created by Daniel MacIvor and Daniel Brooks Written and performed by Daniel MacIvor November 12 - December 4/11
A CHRISTMAS CAROL Adapted by Tom Wood Based on the story by Charles Dickens December 2 - 23/11
SEUSSICAL Music by Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty January 14 - 29/12
BLIND DATE Created and performed by Rebecca Northan January 28 - February 19/12
RED By John Logan February 11 - March 4/12
GOD OF CARNAGE A new play by Yasmina Reza Translated by Christopher Hampton March 10 - April 1/12
A MIDSUMMER NIGHT’S DREAM By William Shakespeare April 7 - 29/12
THE SOUND OF MUSIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Howard Lindsay and Russel Crouse April 21 - May 20/12
We gratefully acknowledge the significant support of our donors who make it possible for the Citadel to present world-class theatre that is accessible, intelligent, passionate and relevant.
ANNUAL SUPPORT ARTISTIC DIRECTOR’S CIRCLE ($5000 +)
David & Jan Bentley Marc de La Bruyère & Stacy Schiff Allison & Glyn Edwards Ada Hole Doreen Lutsky Rob & Beth Reynolds Chris & Dale Sheard Weir Family Fund Ralph & Gay Young
DIRECTOR’S CLUB ($2500 - $4999)
Madam Justice Darlene Acton Bob Baker & Tom Wood Dr. & Mrs. Luis & Alexis Baptista Guy Bridgeman & Dianne Ross John & Judith Cosco Doug & Wendy Davey Dr. Elizabeth Dixon & Dr. Ben Macedo Grant Dunlop & Erika Norheim Jim & Sheila Edwards Leslie Frankish Cecil & Anne Hoffman Don & Lorna Kramer Leo J. Krysa Family Foundation Sandy & Cecile Mactaggart Jack & Lorraine McBain Arliss Miller Ove & Susan Minsos Norbert & Patricia Morgenstern Fran & Al Olson Esther Ondrack Playhouse Publications Ltd. Barbara Poole Jerry & Mary Preston Sir Francis Price & Justice Marguerite Trussler Tom & Corrie Redl Penny Ritco Arnold & Grace Rumbold Aroon Sequeira
Kayla Shoctor Marshall & Debby Shoctor Moira & Larry Staples Buddy Victor Paddy Webb and Family
($1000 - $2499) Affinity Dental Group The Honorable John & Ruth Agrios Carol & Rae Allen Anonymous (2) Bill & Dorothy Astle Becker Bruce & Carol Bentley Dr. Doug & Mary Bosko Joyce Buchwald David & Marlene Burnett Butler Family Foundation Frank Calder Jacqueline Charlesworth J. Susan Davis Owen & Linda De Bathe Len Dolgoy & Catherine Miller Richard A. Gil Crystal Graham Greening Solutions Gregory Greenough Edward & Joan Holzapfel Brenda & John Inglis Wolfgang & Elizabeth Kaminski Linda & Siegfried Kowand In Memory of Dr. Kris Kristjanson Stuart & Sherry Lee Robert & Dawn Lemke Peter & Dorothea Macdonnell Fund Kim & Linda Mackenzie Colleen Maykut Don & Lynn McGarvey Lisa Miller & Farrel Shadlyn Q.C. Stanley A. Milner John & Maggie Mitchell David J. Mundy Catrin Owen
PCL Construction Inc. Tim Pinkoski – Richardson GMP Limited Solomon & Marilyn Rolingher Bruce Saville Gaurav & Margaret Singhmar Eira Spaner Suggitt Group Ltd. David Verbicky Barry & Valerie Walker Bill & Betty Lou Weir Bart & Carole West Dave Wilson & Wendy Kotow
($500 - $999) Dagny & Graeme Alston Fiona & Stephen Bamforth Jim & Helen Banks B. Baptiste & J. Neumann Chris & Leah Burrows Ronald Cavell Z. & M. Chrzanowski Louis & Marcelle Desrochers Heinz Feldberg Betty & Mike Gibbins James Gillespie & Shauna Miller Dale Gregg Ken & Karin Hayward Ghislaine Hebert Elizabeth, Rosalina & Cynthia Hicks Lou & Mary Hyndman Barry & Margo Johns Ken & Jennifer Kouri Christine Kyriakides Dr. Ray & Rosemarie Leivo James MacDonald Teresa Mardon – Royal Lepage Suzette Marxheimer Tom & Pat Mayson Ian & Linda McConnan Douglas & Claire McConnell Norma & Gordon McIntosh Gordon & Agneta McKenzie Art & Mary Meyer RED 5
PREMIER Maureen & Jim Moran Bill & Joyce Mustard Dr. Julianna M. Nagy Lewis & Lindsay Nakatsui Nelson Nickle Fred & Helen Otto Tom & Judy Peacocke Poster Tech Aline Pratch Curtis & Sandra Prosko Richard Remund Henry & Helen Resta Antoni & Lucyna Rojek Eric & Elexis Schloss Ken & Mary Skeith Bob & Eleanor Sugarman Neil & Merle D. Taylor Lorne Warneke Harry & Heather Zirk Leon & Vonnie Zupan
($200 - $499) Shirley Allder Diana & Laurance Andriashek Lorne & Anne Anfindsen James Archibald & Heidi Christoph Veronica Azizi Diana Bacon Roderick E. Banks William & Carol Barton Lola Baydala Walter & Stella Baydala Tim Beechey Joan Bensted Terri & Gary Biasini Barbara Blackley Wynne Blades Beverley Boren Norma Brekke Norman & Anne Burgess Susan & James Burns Harold Climenhaga Professional Corporation Brent & Adele Collingwood John Colter Lesley Cormack Marilyn Cree Robert & Marlene Crosbie Marilyn Darwish Patricia Dawson 6 RED
L.A. Dushenski R. N. Eidem Karen Farkas Lois Field Jean Fukushima Harry Gaede Frank Gibson W.L. Gibson Shirley Gifford Susan Gilmour Gaie Goin Leslie & Lilian Green Paul Greenwood Neil & Carol Handelsman Leonard & Sonia Hawreliak Nancy Heule Dr. & Mrs. Hnatko Patsy Ho Bill & Jana Holden John C. Holmes Ray & Elaine Hook Dr. Robert & Laurel Hudson Elesavata Hymonyk Chris Jager & Jean Coutts Norman & Evelyn Jensen Peter Jochimsen Bernie & Dorothy Keeler Doris Kent Loretta Klarenbach Chris Klein Norman & Valerie Kneteman James & Maggie Laing Gordon E. Langford Jack & Diane Latham Ruth & George Lauf Don & Gwen Lawrence Dr. Ed & Nikki Lazar Mary Lister Boris & Patricia Litwin Myron Liviniuk John & Barbara Luckhurst Mervyn & Teresita Lynch Estelle Marshall Neil & Pamela Martin A.D. & Frances Maskell Keith & Brenda McNichol Linda Medland Davis Dr. A & Evelyn Meer Earl Minogue Al Morrow Robyn & Kevin Mott Paul Nahirney
Ruth Nakai Craig Neuman Edna & Cal Nichols Ian & Lou Nicol Jennifer Oakes Kathy Packford Fred & Mary Paranchych Aleda Patterson Leslie & Rick Penny Sheila Petersen Fay Plomp Jean & Edward Posyniak Diana Purdy Andrew & Carol Raczynski William & Heather Ritchie Roger & Janet Russell Allan & Marianne Scott Glen & Margaret Sharples Richard Sherbaninuk Doug & Devika Short Ellie Shuster & Bryan Gutteridge Barbara Sinn Sheila Sirdar Allen & Myrna Snart Dale & Jane Somerville Elaine Solez Keith & Beverley Spencer Julie Sribney Elout Starreveld Delores Stefaniszyn Campbell & Rosalind Sydie Tony Thai & Alvin Schrader Allison Theman Maggie Thompson Kathleen Tomyn John & Alana Tucker Marion & Darcy Turner Mary-Ann Trachimowich John & Liz Tweddle Chris Vilcsak Doug Warren Walder G.H. White John Wodak Susan Wright Sarah Wylie Dr. Randall & Nancy Yatscoff
We are proud to recognize our Premier Supporters, our partners in the creation of theatre at The Citadel Theatre/Robbins Academy. THE HOLE FAMILY • THE JOHN AND BARBARA POOLE FAMILY FUND THE ELDON & ANNE FOOTE FUND • THE ROBBINS FOUNDATION CANADA THE JOSEPH H. SHOCTOR FUND
GOVERNMENT & FOUNDATION SUPPORTERS
DR. JOSEPH H. SHOCTOR, 1922 – 2001
executive producer and founder, the citadel theatre
Joe’s vision brought professional theatre to Edmonton Joe’s dream built The Citadel Theatre Joe’s spirit continues to inspire the theatre we create today Joe’s legacy lives on through a generous gift to The Citadel from his estate
HENRY HOLE, 1884 - 1954 On the Citadel’s 30th Anniversary, a gift was made by the Company of Harry Hole, James F. Hole, Ralph K. Hole and Robert W. Hole on behalf of the Hole family — in honour of their late father, Henry Hole. The Citadel Theatre is proud to honour Henry Hole’s integrity, compassion and leadership in the dedication of this complex to his memory.
To learn more about our Supporter Program and levels of support and benefits, please visit www.citadeltheatre.com or call Sydney Stuart at (780) 428-2142. As a registered charity, we rely on the generosity of our donors & sponsors.
Thank you to all of our supporters. Charitable BN 11922 7387 RR0001
THE CITADEL WOULD LIKE TO THANK THE FOLLOWING FOR THEIR ASSISTANCE ON
C O U R T E S I E S
Dr. Ghalib Ahmed and the friendly staff at Coast Edmonton House
ELECTRONIC DEVICES No doubt we have all been distracted by a cell phone, pager or watch alarm ringing or lighting up when attending the theatre. For every performance which is unmarred by one of these distractions, we will donate $5 to the Actorsâ€™ Fund of Canada. ALLERGY ALERT For the safety of those with allergies, please refrain from the use of perfumes or scented products before coming to the theatre. H E A R I N G A D VA N C E M E N T H E A D S E T S We offer headsets to patrons with hearing difficulties. Ask the usher at the door of the theatre. These are provided free of charge. You will be asked to leave your driverâ€™s license as a deposit until the headset is returned at the end of the performance.
T H E A T R E
AVAILABLE IN THE SHOCTOR AND MACLAB THEATRES.
L AT E S E AT I N G We endeavor to minimize the distraction for our patrons and the actors when seating latecomers. If you arrive late for a performance, you will be seated at the first appropriate moment in the play in designated latecomer seating. You are welcome to move to your assigned seat at intermission. If you must leave the theatre during a performance you will not be allowed to return to your seat until intermission.
CITADEL THEATRE ROB B I N S
Citadel Theatre Corporate Subscription Program Please support these companies who support us Fountain Tire National Growth Partners Sequeira Partners Inc. The Citadel Theatre is excited to launch a brand new program designed specifically to benefit companies like yours. The Corporate Subscription Program will help you by providing: • A unique way to retain and thank both your clients and suppliers.
• Effective staff incentives and rewards. • An opportunity to publicly show your support and commitment to the ongoing enrichment of our community.
• Promotional recognition to increase branding and awareness. • First class priority service with Citadel Theatre customer service representatives.
For more information on this exciting program, please contact Gynger Callahan at email@example.com
Season Ticket Holders Benefits Season Ticket Holders receive exclusive perks from our partners. Show your ticket after tonight’s performance to receive the following:
• 100 Bar + Kitchen – Season ticket holders will receive one free glass of champagne
• Lux Steakhouse + Bar – Season ticket holders will receive one free glass of champagne
• Moriarty’s Bistro & Wine Bar - Season ticket holders • •
will receive manager’s pour of wine Eastbound Bistro and Bar - Season ticket holders will receive 50% off their food bill D’Lish Urban Kitchen and Wine Bar – Season ticket holders will receive 2-for-1 tapas or dessert. (Pre-show: free dessert with purchase of an entrée)
** Must be a current season ticket holder (Full Series, Landmark Group Mainstage Series, Rice Alternative Series, Robbins Family Series, Musical Series) ** Offer does not apply for Six Tix or Super Six Tix Holders ** Offer only valid the date of performance attended
and the Pechet Family
The stage is set For brilliance. It starts with an idea, then you add characters, and with the flick of the lights – it’s show time. 2011-2012 EPCOR is proud to be part of the 2010-2011 Citadel season because we’re passionate about people, and the power of imagination.
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A PROUD SUPPORTER OF THE CITADEL THEATRE
proud to support play development at the citadel
www.designdialog.ca RED 17
What better way to
photo by Ed Ellis Photography
SHAW TV IS PROUD TO SPONSOR THE CITADEL THEATRE’S PRODUCTION OF RED
he arrival of 2012 kicks off the second half of what has been a remarkable Students Club season!
The Maclab Enterprises Students Club is a Citadel Theatre/Robbins Academy program that offers a unique glimpse into the world of professional theatre to a wide range of junior and senior high school students from Edmonton and surrounding areas. On the first three Tuesdays and Wednesdays of the productions in our Landmark Group Mainstage series, Students Club members gather to enjoy a small reception before the show and then participate in a highly engaging, interactive presentation / demonstration involving one of the Citadel’s talented theatre artists. Following the performance, students are invited to stay for a lively talkback session with members of the production’s cast and crew. Prior to seeing Red, Student’s Club members will be treated to an in depth introduction to the world of the Maclab Theatre. Through a range of photos and video plus an in-depth exploratory tour, they will discover the many areas of professional work that go on in a theatre that might otherwise go unseen. If you would like to participate in this unique opportunity, or for more information, please contact email@example.com.
CITADEL THEATRE Academ y
LANDMARK GROUP MAINSTAGE SERIES
An hilarious new comedy from the playwright of ‘ART’
GOD CARNAGE of
YASMINA REZA TRANSLATED BY CHRISTOPHER HAMPTON
DIRECTED BY JAMES MACDONALD STARRING
FIONA REID • RIC REID • IRENE POOLE • ARI COHEN
“Gleefully nasty fun.” NEW YORK POST
C O M I N G N E X T T O T H E S H O C T O R S TA G E
March 10 - April 1, 2012
The Comedy of Errors by William Shakespeare
1 March 2012
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She Stoops to Conquer by Oliver Goldsmith
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ver the past several months I’ve come to appreciate how Abstract Expressionism, with Mark Rothko at the centre of it, was the first truly international art movement to come out of the United States. Prior to my research, I hadn’t understood that with the rise of these powerful individualistic painters, America, and more specifically New York, became the centre of modern Western culture. Early in their career, the Abstract Expressionists like Newman, Pollock, Still, Kline and Rothko had been very politically aligned but by the 1940s, in the wake of the atomic bomb, the Holocaust, and all the colossal devastations of WWII, a predominant disillusionment with political ideology had taken hold. Like many artists around the globe, these American painters had to disassociate themselves from an overt political agenda in order to find a way to portray world events and human experiences too catastrophic to depict by any conventional representation. They believed that beyond figuration lay the possibility of expressing a deep personal and political worldview using pure gesture, color and ‘action painting’. It’s easy today to forget that this had never been done before in quite that way, but removing all recognizable depictions of the natural world and making the work about a visceral expression of the artist’s immediate experience was the most profoundly daring painting of its time. This new art form resonated well beyond the borders of America and its message was this: Look, we in America are free to express ourselves, we are a free country, we are a democracy. Of course, in actual fact, McCarthyism was at its height and the American government found it quite useful to project a democratic image abroad through the promotion of these artists. Little did they know, their revolutionary movement was also part of a much larger political process at work. Whether these artists were successful in expressing anything meaningful or anything ‘useful’ to the mass public is of course up to each individual spectator. I think that this question, this nagging uncertainty, is essential in John Logan’s play about Mark Rothko and his young assistant Ken. Why? Because Mark Rothko’s life ultimately depended on it. I think that while Rothko believed that his paintings could affect powerful social change, he also deeply doubted their impact. This doubt is the engine that drives Rothko and that which threatens to bring him down. Could his passionate abstract images reach us on a spiritual level beyond politics, beyond time and social circumstance, touching our common humanity? That certainly was his intent. And, as a spectator in a gallery in the presence of his monumental paintings, that has been my experience. I have been 24 RED
truly moved, literally captivated and physically struck by his paintings. But is this effort a bourgeois exercise? Is it an elitist engagement? Do these paintings affect change in society? Do they stir us to action and give us an understanding of the human condition? Will they stand the test of time? In this sense, Red is a play about faith verses doubt â€“ in the artistic process, in ourselves, in our work, and in our place in the world. I think we all are confronted with the struggles that faced Mark Rothko: what does my lifeâ€™s work add up to? How will I be remembered? Have I been true to myself? These are all questions that eventually demand an answer from us. Can we overcome our own doubts and fears and find the strength and faith to move forward, to find life regardless of all these insurmountable questions standing between us and a sense of fulfillment? For both Rothko and Ken, art is the key to navigate life, to express its meaning and to survive the truth. And in Red we see Rothko struggle with the ultimate truth that we all have to eventually step aside and make room for regeneration, the cycles of life: rebirth, renewal, life and death. Red has made me chase down painters and ideas and books; I hope you find the content of this play as inspiring as I do. Thanks to all the extraordinary artists that came together to make this production and thank you to Jim Mezon and David Coomber; I am thrilled to be working with two extraordinary Canadian actors. Kim Collier Director, Red Associate Artist, Canadian Stage
JOHN LOGAN John Logan is an American playwright, screenwriter and film producer. Logan was born in San Diego on September 24, 1961. His parents emigrated to the US from Northern Ireland via Canada. The youngest of three children, he has an older brother and sister. Logan grew up in California and New Jersey, before moving to Chicago to attend Northwestern University, where he graduated in 1983. Logan was a successful playwright in Chicago for many years before turning to screenwriting. His first play, Never the Sinner, tells the story of the infamous Leopold and Loeb case. Subsequent plays include Hauptmann, about the Lindbergh baby kidnapping, and Riverview, a musical melodrama set at Chicago’s famed amusement park. His play Red, about artist Mark Rothko, was produced by the Donmar Warehouse, London in December 2009, and on Broadway, where it received six Tony Awards. Logan wrote Any Given Sunday and the television movie RKO 281, before gaining an Academy Award nomination for co-writing the Best Picture-winner, Gladiator in 2000. He gained another nomination for writing 2004’s The Aviator, starring Leonardo DiCaprio and directed by Martin Scorsese. Other notable films written by Logan include Star Trek: Nemesis, The Time Machine, The Last Samurai, and the Tim Burton-directed musical, Sweeney Todd: The Demon Barber of Fleet Street, for which he received a Golden Globe Award. Logan’s most recent feature films include Rango, an animated feature starring Johnny Depp and directed by Gore Verbinski, the film adaptation of Shakespeare’s Coriolanus directed by and starring Ralph Fiennes, and the film adaptation of The Invention of Hugo Cabret directed by Martin Scorsese. Logan wrote the script to the upcoming James Bond film, Skyfall, along with Neal Purvis and Robert Wade. 26 RED
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PLAY RED introduces us to the compelling Abstract Expressionist artist Mark Rothko and
his young assistant, Ken. Set in his studio in the late 1950s, the play is a fictionalized account of one of Rothkoâ€™s historic artistic commissions: to create a series of murals for the new Four Seasons restaurant in the Seagram Building in New York City. As he paints, Rothko begins to question the project heâ€™s committed to and his role as an artist. When he sees that his great commission will reduce his paintings to being merely decorative rather than transformative, he confronts this new truth through a visceral and passionate debate of ideas, art and relevance.
Rothko is widely recognized for his signature “colour-field” composition and unique painting techniques. In Red, actors Jim Mezon (Rothko) and David Coomber (Ken) paint live on stage in Rothko’s style. To prepare, they became familiar with Rothko’s approach through painting rehearsals, research and information sessions with artists.
Photo of David Coomber, Kim Collier and Jim Mezon at Hamilton Scenic Specialty Inc. studios.
Pictured here is the Seagram Building in New York City, home to the Four Seasons restaurant where the mural series that is discussed in Red was meant to hang. Photo by Tom Ravenscroft
Mark Rothko in his studio c. 1952-53. Photograph by Henry Elkan, Copyright © 2012 Kate Rothko Prizel and Christopher Rothko
Here, Rothko is pictured at work in one of his studios. Red is set in Rothko’s studio at 222 Bowery in New York City, which was a former YMCA gymnasium that he rented in the summer of 1958 specifically to work on the Four Seasons mural.
Excerpt from a letter to the New York Times in 1943, written by Rothko, Gottlieb, and Newman, now commonly referred to as Rothko’s Manifesto. RED 33
By the late 1950s, Rothko was a celebrated (if not wealthy) artist, winning him three mural commissions that would dominate the latter part of his career. Only in the last of these, The Rothko Chapel in Houston, was he able to realize his dream of a truly contemplative environment in which to interact deeply with his artwork. Red presents a fictionalized account of Rothko’s frustrated first attempt to create such a space in New York’s Four Seasons restaurant. Rothko sought to create art that was timeless; paintings that expressed basic human concerns and emotions that remain constant
not merely across decades but across generations and epochs. He looked to communicate with his viewer at the most elemental level and, through his artwork, have a conversation that was intense, personal and, above all, honest. A viewer’s tears in front of one of his paintings told him he had succeeded. While creating a deeply expressive body of work and garnering critical acclaim, Rothko battled depression and his brilliant career ended in suicide in 1970. –As provided by Dramatists.com
4 In the late 1950s, Rothko’s work darkened dramatically and he moved away from his signature style. Many credit this change to the frustrations he faced while working on the mural commission for the Four Seasons restaurant in the Seagram Building in New York City. Although Rothko ultimately withdrew from this project, today the completed works hang at the Tate Modern gallery. Pictured here is a painting reproduced by Hamilton Scenic Specialty Inc. for Red. Sources: http://www.nga.gov/feature/rothko/ and Mark Rothko: A Biography by James E. B. Breslin, University of Chicago Press, 1998.
Designed and compiled by Canadian Stage. 34 RED
a midsummer night’s dream
Colin MacLean is the dean of Edmonton theatre reviewers. In 2007, Colin was presented with a Lifetime Achievement Award for Outstanding Contribution to Theatre in Edmonton at the Sterling Awards.
Julien Arnold is relentlessly upbeat. In conversation, his eyes sparkle
and words spill out of his mouth in a cascade of exuberance. It’s been suggested that his immediate accessibility on stage is due, in no small part, to his self-effacing humour and a genuine love of life. Or perhaps, posits director Bob Baker, it’s because of his affinity and skill in playing “charming, huggable, underdog, teddy-bear characters.”
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foreshadowing with Colin MacLean You know Julien. He’s been practically unmissable on Edmonton stages since he burst on the Edmonton scene in the early ‘90’s. He was Cogsworth in the Citadel’s superlative Beauty and the Beast. His Cowardly Lion in The Wizard of Oz may not have erased Bert Lahr’s performance in the film, but the character was given Arnold’s own unique (and highly effective) twist. His Petruchio in the Freewill Players’ The Taming of the Shrew won him a Sterling Award nomination in 1996. Earlier this season, he played the Narrator in the Citadel’s production of The Rocky Horror Show. He registered strongly and as Baker points out, “It was a tough job – having to play through John Ullyatt, (who played the outrageous Frank N. Furter in stiletto heels and glittering corsets). Having the audience yell ‘boring’ at you every time you open your mouth is pretty daunting but he held on with his own kind of fireworks.” (Arnold did indeed have to hold onto his actor’s reserve when, during one performance, he was describing oncoming storm clouds. In a short pause, to catch his breath, a voice in the audience called out, “Describe your testicles.” The next words in the script were, “huge, black and pendulous.”) And, of course, there is his signature role of Bob Cratchit in Baker’s A Christmas Carol which he’s been playing to great acclaim since it opened over a decade ago – only a heart attack kept him from playing it for the complete run. “I don’t think I even ‘read him’ for the part,”
‘What an amazing place to discuss
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a midsummer night’s dream remembers Baker. “There was absolutely no question that he could carry it off.” Arnold is Bottom the Weaver in Tom Wood’s upcoming production of A Midsummer Night’s Dream – billed over the supporting cast of seasoned young professionals who are part of this year’s Citadel/Banff Centre’s Professional Theatre Program. Julien Arnold grew up on Vancouver Island watching his father, an amateur actor, perform in community theatre. “I remember watching him as a kid, spellbound by his ability to hold an audience. I thought, ‘What an amazing place to discuss big issues and big themes.’” He came to Edmonton to get a BFA from the University of Alberta in 1986 and just stayed. “I found wonderfully supportive audiences here,” he says. One of the local actors who noticed him at the U of A was Jeff Haslam (a fine performer himself and currently Artistic Director of Teatro La Quindicina), who had graduated just before him. “I dragged Stewart (writer/director Lemoine) to see him,” remembers Haslam. Lemoine immediately cast Arnold in his The Glittering Heart and thus began a long and mutually beneficial relationship with the Teatro company of elite players. “That was the first show he did with us and it not only had a good run here but we took it to Toronto where it did well. Stewart then wrote a play called Shocker’s Delight for the two of us (along with Davina Stewart)
big issues and big themes.’
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foreshadowing with Colin MacLean
“Bottom is such a good role for Julien because he’s got unfailing comic timing and instincts. ...” and that was another watershed production for Teatro. It was the first time we had done something serious together and we’ve been working together ever since.” (Most recently The Ambassador’s Wives in 2010.) Arnold also developed a bond with the newly formed Freewill Players presenting summer Shakespeare in Hawrelak Park. His lengthy resume there shows numerous supporting (Malvolio/ Jaques) and lead (Petruchio/Romeo) roles with the company. Observes Baker, “Bottom is such a good role for Julien because he’s got unfailing comic timing and instincts. He’s also thoughtful and intelligent and Bottom will certainly give him the chance to explore those elements. He’ll also be a mentor for the younger, mid-career actors in the partnership between Banff and the Citadel. His ability and experience will add a lot to their on-stage development.” Some of Arnold’s favourite roles include the Butler in The Drowsy Chaperone. “It wasn’t a huge role but there was something about the stillness of the man. I love that ultra deadpan thing
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a midsummer night’s dream – like John Gielgud in (the movie) Arthur.” (Said Dudley Moore as Arthur, “I think I’ll take a bath.” “Oh good,” deadpans Gielgud as Hobson, the butler, “I’ll summon the press.”) The Cowardly Lion? “That was a big challenge and a gift. It was a big singing role on a big stage. I had to work to keep on key and there were nights when I was happy to be able to sing all the right notes in the right order.” Bob Cratchit? “One thing I’ve learned about acting – you have to keep learning. I’ve grown into the role and, because of it, have become a better actor, I hope. It’s very emotionally challenging and doing it night after night I’ve been able to take that pain and emotional truth into other roles.” In A Midsummer Night’s Dream, Bottom is a stage-struck weaver. He and his company of five bumpkins (“rude mechanicals,” Puck calls them) have taken to the forest to rehearse a play to be presented at court. Through a series of misunderstandings, the fairy Puck places a donkey’s head on poor Bottom and through the mystical magic of the enchanted forest, causes Titania, the Queen of Fairies, to fall in love with him. Later the deluded fellow, who is batting way above his stats on this one, thinks his night of passion was a dream, “past the wit of man.” Later at court, their play, “Pyramus and Thisbe”, which they think of as a
“One thing I’ve learned about acting – you have to keep learning. ...”
foreshadowing with Colin MacLean stark tragedy, is performed so badly it becomes a comedy in the eyes of the audience – much to the consternation of the troupe. Puck reappears and sets everything right (“restores amends”) and all ends happily as the sprite reminds us that all is but a dream. “I’ve seen ...Dream played cynically but I think that goes against what’s written,” offers Arnold. “Bottom and his fellow actors are drinking buddies and it’s like when you get together with your pals and decide to put on a show. They love theatre.” That makes them a lot like the actor himself – who loves to get together with his pals and talk. And maybe do some theatre too. “I think it might be Shakespeare’s way of reminding us that theatre can be playful. I think people need a sense of play in their lives – and I think that goes for audiences as much as it does actors.” About 5 years ago, Julien almost died from a massive heart attack. “That sure has a profound effect on your life,” he observes ruefully. “Theatre is a very stressful lifestyle. For one thing, you’re always out of work – though I’ve been incredibly lucky in that area. But you’re always worried about the future. After a near death experience, you tend to take life more seriously. Theatre was always a kind of fun thing for me and a great way to make a living. But I came to feel there had to be a reason for it and so I think I became a better actor – trying to share what was in my heart with audiences. To tell them great stories.” To that end, he established his own company, Atlas Theatre. In keeping with his general attitude toward life, you won’t find any Sartrian existential theatre in the Atlas season. No Waiting for Godot. The mandate of the company is to produce rich plays with interesting characters. As the newly minted Artistic Director says, “celebrating the human spirit.” But in the near future, there is the Citadel’s Bottom to be considered. “He’s a character actor’s dream,” says Julien Arnold with the same anticipation and elan that marks the rest of his life. A Midsummer Night’s Dream opens on the Mainstage on April 7th.
CITADEL THEATRE Robbins
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a midSummer night’s dReam One of the Bard’s most beloved comedies
BY WILLIAM SHAKESPEARE DIRECTED BY TOM WOOD STARRING JULIEN ARNOLD
April 7- 29 “ Celebrates love in all its glory and generates wonder… Shakespeare’s great romantic fantasy.” LIZ NICHOLLS, EDMONTON JOURNAL
FEATURING PARTICIPANTS OF THE 2011/2012 CITADEL/BANFF CENTRE PROFESSIONAL THEATRE PROGRAM
C O M I N G N E X T T O T H E M A C L A B T H E AT R E
bios JIM MEZON
This is Mr. Mezonâ€™s first appearance at the Citadel. Recent theatre credits include Big Daddy in Cat on a Hot Tin Roof for Shaw Festival. Other credits include Love for Love, How I Learned to Drive, Patience, Wit and Six Degrees of Separation for Canadian Stage; Benedict in Much Ado About Nothing and Macbeth for Chicago Shakespeare; Nixon for Neptune Theatre; Heisenberg in Copenhagen for NAC and Mirvish; 27 seasons with Shaw Festival both as actor and director, including productions of The Cherry Orchard, The Seagull, Major Barbara, HeartBreak House, Moon for The Misbegotten, The Crucible, Peer Gynt, Pygmalion, Picnic, Caesar and Cleopatra, Uncle Vanya, Coronation Voyage and Rashomon; numerous productions for other theatres including Vancouver Playhouse, Theatre Calgary, MTC, Stratford Festival, Pittsburgh Irish Classical Theatre Company, Studio Arena, Tarragon Theatre, Factory Theatre, Theatre Plus, Centaur, and Neptune Theatre. His film and television credits include Passchendaele, Guns, Best Years, Road to Avonlea and Dieppe. Jim will be directing His Girl Friday and appearing as Judge Brack in Hedda Gabler for Shaw Festival 2012 Season. He is a Director/Teacher for Brock University, National Theatre School, University of Alberta and University of Northern Colorado as well as Co-Director of The Shaw Festival Academy.
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bios DAVID COOMBER
This is the first appearance at the Citadel for David. Other theatre credits include Clint in Bullet for Adolf (dir. Woody Harrelson, 2011 Birdland Theatre Young Actor Award); Mark in RENT for Fallen Rock Prod.; Young Ebenezer in Scrooge, the Musical for Rose Theatre; Post Eden for Suburban Beast; Serious Money and Richard III for Ryerson Theatre School; The Last Liberal for Great Canadian Theatre Co. and Love’s Labour’s Lost, Angel Square, An Enemy of the People and The Secret Garden for National Arts Centre. His film and television credits include Wingin’ It for Family Channel/ BBC. Upcoming for David in spring 2012 is Post Eden. He is a 2010 graduate of Ryerson Theatre School.
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bios KIM COLLIER
Kim directed Studies in Motion last season at the Citadel. She is currently the Artist in Residence at Canadian Stage heading up their new Masters in Directing program in collaboration with York University. Kim co-founded Electric Company Theatre in 1996 and after being the Artistic Producer for fourteen years she is now an Artistic Associate at Electric Company. Recent directing credits for the company include: Tear the Curtain! co-produced with the Arts Club Theatre, Brilliant! presented by the Belfry Theatre, and the live cinematic version of No Exit that toured to Theatre Calgary, Western Canada Theatre Company, Nightwood Theatre and American Conservatory Theatre in San Francisco. Her work with Studies in Motion has toured to The Yukon Arts Centre, Vancouver Playhouse, Canadian Stage, Alberta Theatre Projects, and Festival Transamerica, originally premiering at the Push Festival. In 2009 Kim received the Vancouver Mayorâ€™s Arts Award for Theatre and she is the recipient of three Jessie Richardson Awards for directing and the 2010 Siminovitch Prize. She is a graduate of Studio 58.
bios ANDY CREEGGAN
Red is Andy’s first production at the Citadel. Most recently he has composed themes for Radio Canada radio programs: Rose Des Vents, L’été c’est nous and L’Automne c’est nous; Composer for CBC radio orchestra’s Shostakovich project. Other credits include Composer of Going West for 2 Harps (commissioned by Jennifer Swartz and Lori Gemmell) and SJJV for string quartet; Orchestrator for Barenaked Ladies with the TSO and Boston Pops Orchestra and for Mike Evin for Routes Montreal (CBC Radio); Andiwork III (solo project) and producer for La Chambre Forte (Stéphane Morin) and I’ll Bring the Stereo (Mike Evin). His film and television credits include Royal Canadian Air Farce theme and Mantelpiece (documentary for TV Ontario). Upcoming for Andy are Orchestrations of Barenaked Ladies songs for tour with North American and European Symphony Orchestras Fall 2012; collaboration with Kitchener Waterloo Symphony for the Intersections series in 2012-13 and Andiwork IV! He is a graduate of Barenaked Ladies school of pop; McGill University composition degree (under Brian Cherney and Sean Ferguson). Member of The Brothers Creeggan (jazzy pop group, 4 albums) and instrumental solo project called Andiwork (3 albums). Andy is very honoured to be a part of this.
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bios KER WELLS
Red is Kerâ€™s first production at the Citadel. Most recently, his solo performance Swimmer (68) premiered in Toronto, June 2011. Ker is a founding member of Primus Theatre; co-founded Number Eleven Theatre; created and directed Icaria, The Prague Visitor and The Curious History of Peter Schlemihl; toured in North America and to Europe with The Confessions of Punch and Judy, original work created with Tannis Kowalchuk and director Raymond Bobgan. Living Tall, a solo show written by Mike Geither and directed by Karin Randoja, has toured widely in Canada and the U.S. In 2011 Wells began work with Kowalchuk and other collaborators on Struck, a new performance about brain function and regeneration and individual identity, which will premiere in NYC in 2013. He is a masters candidate in the inaugural York University MFA in Theatre â€“ Stage Direction in Collaboration with Canadian Stage. Wells has taught workshops in devised and physical theatre creation in every province in Canada, in the U.S., and in France, Italy, Mexico, Denmark, Serbia, and England. He is a returning guest faculty member at the National Theatre School of Canada, the Humber College School of Performing Arts, and The Contemporary Opera Lab at the University of Manitoba. Graduate of the acting program at The National Theatre School of Canada (1988).
bios DAVID BOECHLER
Set, Properties & Costume Designer David designed Courageous, Fire (co-production with Canadian Stage); Equus, The Goat, Trying, and Angels in America for Citadel Theatre. Recent theatre credits include In The Next Room and Courageous for Tarragon Theatre; La Traviata for Pacific Opera; Song of a Wayfarer for Alberta Ballet; Side By Side By Sondheim for the Grand; Guys and Dolls and Sweet Charity for Drayton Festival; Julius Caesar for Stratford Festival and Featuring Loretta for Factory Theatre. Other credits include Glorious!, Omnium Gatherum, As You Like It, Twelfth Night, Much Ado About Nothing and Outrageous for Canadian Stage; quondam for Royal Swedish Ballet; Cinderella for National Ballet of Canada/American Ballet Theatre/Boston Ballet); Cabaret, South Pacific and My One and Only for Stratford Festival; Dirty Rotten Scoundrels, Trying and Macbeth for Theatre Calgary; The Devil’s Disciple for Neptune Theatre; three seasons at ATP’s playRites! Festival and eight seasons at the Shaw Festival. Next up for David are Clybourne Park for Studio 180 and The Wizard of Oz for Ross Petty Productions. David has received two Betty Mitchell Awards, a Sterling Award and a Dora Award.
Alan designed the lighting for “Art”, Hamlet (Sterling Award nomination), Measure For Measure and Humble Boy (co-production with Theatre Calgary) at the Citadel. Recent credits include Mary’s Wedding for Pacific Opera, Victoria; Vigil for Center Theater Group (Los Angeles); Ghosts for Soulpepper; The Light in the Piazza for Patrick Street Productions; The Admirable Crichton for Shaw Festival and Camelot and The Merry Wives of Windsor for Stratford Shakespeare Festival. Other credits include The Overcoat, Vigil, Little Shop of Horrors, Glorious!, Frost/Nixon, Miss Julie: Freedom Summer and 7 Stories for Canadian Stage; Emergence for National Ballet of Canada; Plot Point for Nederlands Dans Theater; A Christmas Carol for Soulpepper; Tear the Curtain for Arts Club / Electric Company and the Opening Ceremonies – 2010 Paralympic Winter Games. Upcoming for Alan are Gordon for Arts Club Theatre; Ragtime for Shaw Festival and Wanderlust for Stratford Shakespeare Festival. Alan resides in Vancouver with his wife Michele and their boxer Ellie. He is a graduate of Theatre at UBC and a member of the Associated Designers of Canada.
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bios JASON HAND
Associate Lighting Designer
Jason was assistant lighting designer on Seussical at the Citadel. Most recent credits include Ivona Princess of Burgundia for George Brown College; The Trespassers for Stratford Shakespeare Festival and Peer Gynt for The Thistle Project. Other credits include lighting designer for The Winter’s Tale for Canadian Stage; The Ugly One, A Boy Called Newfoundland and Tijuana Cure for Theatre Smash; Gorey Story for The Thistle Project; Othello and Romeo and Juliet for Classical Theatre Project; The Melville Boys for Lighthouse Theatre Festival; Sweeney Todd, 42nd Street and Wonderful Town for Clarkson Music Theatre; La Bohème for Against the Grain Theatre; Dido & Aeneas for Opera on the Avalon and Guilio Cesare for Orchestra London. Upcoming for Jason is The Man of Mode for George Brown College. A graduate of York University, Jason has assisted Canada’s top designers on over 35 large-scale operas, musicals and plays at Stratford, the Canadian Opera Company, Soulpepper, the Vancouver Playhouse, Luminato and Dancap. This past winter, he collaborated with director Joel Ivany and designer Camellia Koo to conceive a production of I Capuletti e i Montecchi that placed third in the biennial European Opera – Directing Prize.
Red is Brian’s first production at the Citadel. His most recent work Lorenzo, Isabella and the Pot of Basil has been programmed at the 2011 New Forms Festival in Vancouver, British Columbia. Brian has received numerous awards and accolades for his work as a director and as a cinematographer. He has exhibited in festivals such as the Toronto International Film Festival and the Clairmont – Ferrand International Short Film Festival. He has won two Golden Sheaf awards, a Leo and been nominated for a Gemini for his work as a cinematographer on feature films such as On the Corner and The Delicate Art of Parking. Brian has recently completed direction of a one-hour anthology on BC artists for Knowledge Network and exhibited at ContainR and the Candahar bar during the Cultural Olympiad in Vancouver 2010. Brian is in development with Telefilm Canada on a feature film about troubled youth in a Pacific Northwest coastal/industrial town. His current practice of work typically challenges the traditional parameters of filmmaking by inviting immediacy and improvisation into the cinematic experience.
bios CAMERON DAVIS
Cameron last worked on Rock ‘n’ Roll (co-production with Canadian Stage) at the Citadel. Most recent credits include: Cruel and Tender for Canadian Stage. Other credits include Another Africa, ART for Canadian Stage; projection designer for Swimmer (68) for Hopscotch Collective; Imprints for Theatre Gargantua; The Book of Esther for Blyth Festival and video designer for Dance Marathon for bluemouth inc; And Up They Flew for Theatre Columbus; The Corpse Bride and My Name is Rachel Corrie for Theatre Panik and production manager for Snow Queen for Theaturtle and AURORAS for Ego Film Arts/Luminato. Film and television credits include Adoration.
Red is Eric’s first production at the Citadel. Credits include I Send You This Cadmium Red and That Face (in co-production with Nightwood Theatre) for Canadian Stage. He was Senior Head Technician for Berkeley Street Theatre. Eric has been working in theatre in Toronto for the past nine years. He has worked tech for many shows for Canadian Stage, The Canadian Opera Company, The National Ballet of Canada, Mirvish Productions, Studio 180 Theatre, Nightwood Theatre, and Acting UpStage Theatre Company. Eric sends a special thank you to Alistair Hepburn, IATSE Local 58, and his family.
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bios ANDREA SCHURMAN
Previously at the Citadel, Andrea was assistant stage manager of Intimate Apparel (coproduction with Obsidian Theatre). Most recent credits include stage manager of The Kreutzer Sonata for Soulpepper; The Hobbit for The Grand Theatre; The Big League for YPT and assistant stage manager of Pagliacci / Cavalleria Rusticana for Opera Lyra Ottawa and Beauty & the Beast for Ross Petty Productions. Andrea has worked in Toronto and around Canada with companies including Theatre Passe Muraille, Nightwood, Tarragon, Factory Theatre, project: Humanity, Alameda Theatre, Marquis Entertainment, Mirvish, Stratford Festival, Theatre Calgary, Theatre New Brunswick, BirdLand Theatre, Tapestry New Opera, Opera Ontario, ShakespeareWorks, Resurgence, Toronto Operetta Theatre, Opera in Concert, AfriCanadian Playwrights Festival, b Current, Theatre Archipelago, Dorothy Said Theatre & Victoria Playhouse. Upcoming projects for Andrea include stage managing Hair for the Grand Theatre as well as assistant stage managing Speed the Plow and The Sunshine Boys for Soulpepper.
Assistant Stage Manager
Red is A.J.’s first production at the Citadel. Recent credits include Another Africa for Canadian Stage; Cabaret and A Chorus Line for Rose Theatre Brampton; Andrea Martin’s Everything Must Go tour (Andrea Martin); Lucky Stiff for Toronto Youth Theatre; Criminals in Love, A Funny Thing Happened on the Way to the Forum and Thirteen Hands for Hart House Theatre; Pinocchio for Solar Stage Children’s Theatre; Oklahoma! The Musical for Georgetown Globe Productions; Les Miserables for Stage Door Schools; as an apprentice: Love, Loss, and What I Wore for M. Rubinoff Productions; The Africa Trilogy for Volcano Theatre and Death and the Maiden for Osculum Productions. AJ is a graduate of the Sheridan College/ UTM Theatre and Drama Studies program. She is very excited to be part of Red with such a wonderful cast and production team.
credits The following pieces appear in the video in Red: Children Reading Comics (1956); On the Balcony (1955-57); Kim Novak Wall (1959); Toy Shop (1962); Bo Diddley (1963); H.O.M.A.G.E. JJ MM RR KS (1991); Self-Portrait with Badges (1961); Girlie Door (1959), all by Peter Blake © Peter Blake / SODRAC (2011) Les Triples de Maillot (1959) by Jacques de la Villegle © Jacques de la Villegle / SODRAC (2011) Ach Alma Manetro (1949) by Jacques de la Villegle and Raymond Hains © Jacques de la Villegle and estate of Raymond Hains / SODRAC (2011) Green Suit (1959); Summer Tools (1962); Tennis Shoe (1962), all by Jim Dine © Jim Dine / SODRAC (2011) Just what is it that makes today’s homes so different, so appealing? (1956); Hommage a Chrysler Corp (1957); Towards a definitive statement on the coming trends in men’s wear: Adonis in Y fronts (1962); Glorious Techniculture (1961-64); Epiphany (1964); I’m dreaming of a White Christmas (1967); Swinging London 67 (1968-69); My Marilyn(1965), all by Richard Hamilton © Estate of Richard Hamilton / SODRAC (2011) American Gas Works (1961-62); The Metamorphosis of Norma Jean Mortenson (1967); Eat/Die (1962); Love (1966), all by Robert Indiana © Robert Indiana / SODRAC (2011) Flag above White (1955); Map (1961); Painted Bronze (Savarin Can) (1960); Gray Target (1958); Painted Bronze (Ale Cans) (1960); Good Time Charley (1961); 0 Through 9 (1961); Double Flag (1962); Target with Plaster Casts (1955), all by Jasper Johns © Jasper Johns / SODRAC, Montreal / VAGA, New York (2011) Popeye (1961); Washing Machine – (1961); Blam (1962); Masterpiece (1962); Torpedo… los! (1963); I Know… Brad (1963); White Brushstroke #1 (1965); Interior with Built-in Bar (1991); The Kiss (1962); Yellow and Green Brushstrokes (1966), all by Roy Lichtenstein © Estate of Roy Lichtenstein / SODRAC (2011) You can’t beat the Real Thing (1951); Popular Mechanics (1951); Dr Pepper (1948); Meet the People (1948); Bunk! Evadne in Green Dimension (1972), all by Eduardo Paolozzi © Estate of Eduardo Paolozzi / SODRAC (2011) Liebespaar II (1965) and Bunnies (1966) by Sigmar Polke © Estate of Sigmar Polke / SODRAC (2011) Dylaby (1962); Spot (1964); Retroactive II (1964); Courtyard (Urban Bourbon Series) (1989); Bed (1955), all by Robert Rauschenberg © Dedalus Foundation / SODRAC, Montreal / VAGA, New-York (2011) Rose (1962) and Peinture a haute tension (1965) by Martial Raysse © Martial Raysse / SODRAC (2011)
RED Friendship of America and France (Kennedy and de Gaulle) (1961-62) by Larry Rivers and Jean Tinguely © Estate of Larry Rivers / SODRAC, Montreal / VAGA, New York (2011) Hey, Let’s Go for a Ride (1961); Look Alive (Blue Feet, Look Alive) (1961); I Love You with My Ford (1961); President Elect (1960-61/64), all by James Rosenquist © James Rosenquist / SODRAC, Montreal / VAGA, New York (2011) Scotch Brand (1960); Viva America (1963); Marilyn Monroe (1962), all by Mimmo Rotella © Estate of Mimmo Rotella / SODRAC (2011) Girl with a Popsicle (1964); Hot Dog 3 (14.3.65) (1965); Public Shelter 110 (1965); Cinema 14 (1965), all by Colin Self © Colin Self / SODRAC (2011) Five Hot Dogs (1961); Cake Counter (1963); Jawbreaker Machine (Bubble Gum Machine) (1963); Desserts (1961), all by Wayne Thiebaud © Wayne Thiebaud / SODRAC, Montreal / VAGA, New York (2011) A-Z Box of Friends and Family (1963) by Joe Tilson © Joe Tilson / SODRAC (2011) Coca-Cola (1961) by Wolf Vostell © Estate of Wolf Vostel / SODRAC (2011) Saturday’s Popeye (1960); Big Campbell’s Soup Can (19¢) (1962); Do It Yourself: Landscape (1962); Dollar Bills, Front and Rear (1962); Early Colored Liz (1963); Turquoise Marilyn (1964); Blue Liz as Cleopatra (1963); White Car Crash 19 time (1963); Boxes (1964); Flowers (1964); Mao (1973); Dollar Signs (1981); Raphael 1 - $6.99 (1985); Elvis I and II (1964); Four Marilyns (1962); Superman (1961); 32 Campbell’s Soup Cans (1962); Marilyn Diptych (1962); Triple Elvis (1963); Orange Car Crash (5 Deaths 11 Times in Orange) (1963); Brillo Box (3¢ off) (1963-64); Cow Wallpaper (1966), all by Andy Warhol © The Andy Warhol Foundation for the Visual Arts, inc. / SODRAC (2011) Still Life #21 (1962); Great American Nude #1 (1961); Bathtub Collage #2 (1963); Big Blonde #2 (1988); Great American Nude #27 (1962), all by Tom Wesselmann © Estate of Tom Wesselmann / SODRAC, Montréal / VAGA, New-York (2011)
The following music is played during Red: Piano Quintet ‘The Trout’ (composed 1819, published 1829) and String Quintet in C (composed 1828, published 1853) by Franz Schubert The Magic Flute (1791), String Quartet no. 19 “Dissonance” (1785), and String Quartet no. 17 “Hunt” (1784) by Wolfgang Amadeus Mozart But Not For Me (originally by Ira Gershwin, George Gershwin) (recorded 1982, released 1994) by Chet Baker
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FOOTE THEATRE SCHOOL
Do you ever watch a show and think “I want to try that”?
Or does your child like to “perform” for friends and relatives? Why not take a class at the Foote Theatre School? The Foote Theatre School is Edmonton’s oldest and largest theatre school, and provides classes for children (as young as three), teens and adults! We offer year-round classes in acting, musical theatre, improvisation, auditioning, film acting, public speaking and many other special topics. Our students range from children looking for something fun to do on a Saturday to adults looking to try out something that they’ve always been interested in. Children’s classes take place on Saturdays or after school weekdays and run throughout the school year. We also offer Spring Break and Summer Day Camps that meet for a full week (Monday-Friday, 9 am to 4 pm), and culminate with a performance on one of the Citadel’s stages. These classes are all on sale now. Adult classes meet weeknights (beginning at 6:30 to take advantage of less expensive downtown parking) for one week or several. We offer a variety of classes for actors and non-actors alike, scheduled to fit into your busy lifestyle. This spring, why not take a six-week course in Public Speaking or Clowning or Classical Monologues? The talented individuals who teach these classes are working professionals – performers and educators – people who know their stuff. People who appear on area stages (including the Citadel) or in local classrooms. People who care about arts education. While only a small percentage of our students pursue a career in theatre, they all leave here with life skills that will enrich their lives no matter what their chosen profession. It has
Photo by Jody-lee Parasiers
HANNAH WHITTAKER – has worked at the Citadel for 3 years. DOUG MERTZ – has worked at the Citadel for 2 years. DIANA STEVENSON – has worked at the Citadel for 11 years. 58 RED
& YOUNG COMPANIES been proven that theatre training helps to instill self-confidence and a sense of creativity, heightens communication and cooperation, and contributes to numerous other life skills that will help a person no matter where their lives may take them – adults as well as children! But if you are (or know someone who is) more serious about pursuing a career in theatre, we have a program for you as well, the Citadel Young Companies – an advanced training and mentorship program for aspiring artists between the ages of 16-21 in the areas of Acting, Musical Theatre, Playwriting and Theatre Production. Students meet twice a week throughout the year for regular study with our professional faculty. They also have the opportunity to participate in specialized workshops with a variety of leading theatre professionals. The training culminates in performances for the Acting and Musical Companies (this year’s shows are Cloud Nine and Spring Awakening) and staged readings for the Young Playwriting Company. The Theatre Production Company students contribute to these events behind the scenes. Admission to the Citadel Young Companies is by audition or application only. Please watch our website for details. The Foote Theatre School and Citadel Young Companies have something for everyone – young or old, actor or non-actor, serious or looking for fun. Visit citadeltheatre.com for more information. And enjoy the show. Next time it might be you up there!
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Manager, Foote Theatre School
Young Company Instructors Bob Baker Shannon Boyle Robert Clinton Chris Craddock Stephen Delano Don Horsburgh Heather Inglis James MacDonald Doug Mertz Phil Nero Mieko Ouchi Jackie Pooke Linda Rubin Kate Ryan Dawn Sadoway FTS Instructors Christine Bandelow April Banigan Shannon Boyle Tara Brodin Ashley Butler Jessica Carmichael Ellen Chorley Julie Golosky Crystal Hanson Melissa Havin Brad Heintzman Sally Hunt Binaifer Kapadia
Amy Kucharuk Annette Loiselle Barbara Mah Daniela Masellis Josh Mellott Doug Mertz Anna Paquin Roman Pfob Kate Ryan Matt Schuurman Liana Shannon Amy Shostak Linette Smith Jennifer Spencer Eileen Sproule FTS Teaching Assistants Rebecca Bissonnette Nicola Elbro Sophie Gareau-Brennan Cynthia Hicks Paula Humby Spenser Payne Megz Prus Michelle Tymchuk Jo Wetmore
ADMINISTRATION Marianne Bouthillier Associate Executive Director
Asst. to the Artistic Director/ Company Manager
Business & Legal Affairs
FACILITY Louis Barron Director
Maintenance Doug de Vries Manager
Andrew Bialobzyski Assistant Manager
Bee Clean Services Security Alberta Crowd Management Building Porters Richard Bukowski Tara Gale
FINANCE Keith Strong, CA Director
Accounts Payable/ Receivable
GUEST SERVICES Jenna Pryor
Venue Rentals Manager
Kimberlee Stadelmann Box Office Manager
Neil Le Grandeur
House Manager/ Volunteer Coordinator
Assistant Box Office Manager
Assistant Box Office Manager
School Booking Coordinator
Jacob Liska Abbie Murison Carly Neis Jane Nychiro Natasha Prasad Joyanne Rudiak Valerie Smart Debbie Theuss Shirley Tran Al Webb
Owen Hutchinson Head of Audio
Assistant Head of Audio
Perry Harris Audio
Head of Scenic Carpentry
MARKETING, SALES & FUND DEVELOPMENT
Scott George Lafluer
Assistant Head of Carpentry Head of Electrics
Assistant Head of Electrics Electrics
Manager, Media Relations Head of Scenic Paint Associate, Robbins Academy Marketing
Assistant Head of Scenic Paint
Marketing Coordinator Manager, Corporate Relations
Manager, Assistant Rentals Manager Fund Development
Guest Services Supervisors Michelle Bonot Crystal Casanova Kayla Fuller Amanda Gregoire Caitlin Jackson Tara-Lee LaRose Jennifer Liu Alyssa McGowan Terry Schmolcke Mark Stubbings Derek Warwick Guest Services Representatives Mike Anhorn Carol Dreger Jessica Glover Marg Gronnestad Christina Harbak Mark Harding Theresa Hovdestad
Manager, Ticket Sales
Sales Gynger Callahan Supervisor
Breanne Brown Nathan Coppens Bevin Dooley Sylvia Douglas
PRODUCTION Cheryl L. Hoover Director
Head of Props Assistant Head of Props
Head Stage Carpenter
Assistant Head Stage Carpenter
Richard Stevens Stage Carpenter
Head of Wardrobe
Assistant Head of Wardrobe
Head of Wardrobe Running
Samantha Rumball Head of Wigs
Resident Stage Manager
Assistant Technical Director
Assistant Technical Director
The Citadel is grateful for the kind generosity of its volunteers listed below. If you want to volunteer with the Citadel, please call Neil Le Grandeur at 780-428-2137 or e-mail firstname.lastname@example.org. Johanna Andreoff, Tracy Arnell, Nelda Arnst, Judith Babcock, Trinity Barrow, Donna Bell, Shelley Benson, Erika Beyer, Ursula Blumentrath, Jeanine Bonot, Florence Borch, Ken Borch, Shirley Boven, Loveth Bradley, Jon Brenda, Shirl Brown, Eileen Budlong, Nancy Byway, Collin Campbell, Dee Cartledge, Jessica Chai, Jenny Chai, Joyce Dahl, Carol Dreger, Shirley Dunn, Trina Elash, Trevor Elliot, Janet Fayjean, Linda Ferro, Lil Filewych, Brett Flesher, Jeanette Flesher, Brenda Fraser, Wendy Fraser, Gilberte Gagne, Irene Gagne, Doreen Gagnon, Jeanne Garland, Jackie Genest, Glenda Goodwin, Gerry Gordon, Mervan Gorrie, Myrna Gosnell, Christine Hall, Tomoko Hayashi, Lucie Heins, Tim Heins, Bradley Heller, Marilyn Hemsing, Linelle Henderson, Daniel High, Amelia Hihn, Maria Hollinshead, Ron Homenchuk, Laura Hughes, Judy Hume, Regan Kosior, Darlene Kowalchuk, Kim Lang, Clemence Lavoie, Nicole LeBlanc-Lamarre, Lowella Lee, Louise Leibel, Maureen Letchford, Coral Levang, Ron Levang, Fran Linklater, Jennifer Liu, Mike Liu, Kyle Lobb, Katrina Lucyk, Marlene Lukevich, Tabatha Lyon, Bozena Macek, Dawn Madill, Danielle Maraj, Nicholas Mather, Thomas McLean, Karen Miller, Monica Molina-Ayala, Donna Molloy, Joan Murchie, Sulochana Muthia, Florence Nieberding, Dennis Nolan, Gina Nolet, Wendy Poirier, Joan Poletz, Anna Popowich, Gail Poston, Natasha Prasad, Petra Prendergast, Kevin Przyswitt, Renee Przyswitt, Doreen Pysar, Thor Quaranta, Tracy Renz Augustin, Audrey Ross, Ian Ross, Helen Rusich, Angela Seery, Phyllis Solsberg, Evelyn Stark, Antonia Stiuca, Cheryl Sulatycky, Anna Tandingan, Shahna Tariq, Liz Tweddle, Rose Unguran, Mona Vandersluys, Lynne Vickers, Jane Voloboeva, Maureen Wagner, Allan Webb, Kay Willekes, Denise Woollard, Paul Yates, Lil Yewchuk RED 61
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