Canadian Theatre Festivals

2011-08-01T11:58:00.001-06:00

2011 Stratford Shakespeare Festival Season Reviews
By David Grapes

Productions are listed in order of preference.

DON’T MISS!

Jesus Christ Superstar (Avon Theatre) ****
• High energy production – Strong focused direction from Des McAnuff
• Excellent singing throughout the large cast
• Loved the rock and rock lighting and the LED scenic design
• Same cast that suffered horribly last year in a dreadful production of Evita, gave outstanding performances that were both imaginative and full of passion.
• Outstanding vocal and dance work from the large ensemble.
• Full of stunning visuals
• The sound design and mix was stunning
• If you can see just one production in the 2011 season then this is the show to see. Do not miss it!
• Rumor to be Broadway bound in 2012

The Little Years (Studio Theatre) ****
• Wonderfully acted production of a new Canadian play
• Interesting visuals that encompassed the floor as a scenic element
• Smart intelligent script
• Really enjoyed the sound/music design
• Excellent female ensemble
• Unpredictable plot with a touching ending

Twelfth Night (Festival Theatre) ***
• Solid production of a very familiar play
• I enjoyed the use of a musical score but thought the production was a bit too derivative of last year’s
As You Like It
• It felt as if director McAnuff wanted to visit the same territory again but without putting in the creative work that made As You Like It so magical
• I was confused by the costume design and did not feel that the eccentric set design added much to the production
• Production lacked humor from Malvolio and comic energy from Sir Toby (a very physically feeble and often verse challenged Brian Dennehy)
• The stage business was clever and often funnier than the character work
• Steven Ouimette’s Sir Andrew stole the evening
• An enjoyable evening of a production that held much more promise than it delivered
• It felt as if director McAnuff gave most of his energy and creative time to Superstar while Twelfth Night was left to flounder a bit.
• I thought the play was too long and needed a good trim
• The ending was too melancholy for my taste. I would have preferred something more upbeat with a more up-tempo musical number.
• I kept thinking how much more I had enjoyed As You Like It from the pervious season

Camelot (Festival Theatre) **1/2
• A visual delight.
• Full of color and style but not much heart
• Geraint Wyn Davies is right for the role of King Arthur but 10 years to old to be playing it
• The play lacked sexual energy from Guinevere as she did not seem much interested in any of the men
• Some nice vocal work from Lancelot but he lacked charisma and passion
• Some odd cuts to a show that is already too long and rambling
• The production felt a bit like it had been conceived by director Griffin for a Disney theme park.
• Lucy Peacock had several wonderful moment as Morgan Le Fay.
• An all too slick production of a musical that needs some passion and rough edges to really engage an adult audience
• Beautiful sounding orchestra
• Some strong vocal and dance work from the ensemble

WORTH A LOOK
Shakespeare’s Will (Studio Theatre)
Merry Wives of Windsor (Festival Theatre)
Titus Andronicus (Tom Patterson Theatre)

NOT WORTH YOUR TIME
Richard III (Tom Patterson Theatre)

DID NOT ATTEND
The Misanthrope
Hosanna
The Homecoming
The Grapes of Wrath

2011 Shaw Festival Season Reviews
By David Grapes

Productions are listed in order of preference.

DON’T MISS!

Cat on a Hot Tin Roof (Royal George Theatre) ****
• Strong visuals and a majestic set
• Outstanding cast lead by Jim Mezon and Moya O’Connell
• Excellent casting
• Ensemble acting work was excellent right down to the children
• Best lighting design of the season
• Excellent use of music to evoke the period and location
• Production would have benefited from some cutting to the first and second act
• A long but highly satisfying evening in the theatre
• The type of ensemble acting that shows the Shaw Festival at its very best

The President (Royal George Theatre) ****
• A remount of the brilliant production from 2008
• Lorne Kennedy in a tour de force performance
• Some recasting but the show was still firing on all of its comic cylinders
• A real crowd pleaser
• I think this production might reappear again in a few years

On The Rocks (Court House Theatre) ***
• One of Shaw’s more obscure political plays given a new life and a few interesting twists by Canadian playwright Michael Healey
• Strong cast lead by Peter Krantz
• Good pacing and energy of a play that does not have much plot to drive it forward
• Nice utilization of the intimate Court House stage
• Overall a strong cutting and a solid production of a difficult and talky play

WORTH A LOOK
Drama at Innish – A Comedy (Court House Theatre)
Heartbreak House (Festival Theatre)

NOT WORTH YOUR TIME
The Admirable Crichton (Festival Theatre)
Candida (Royal George Theatre)

DID NOT ATTEND
My Fair Lady (Festival Theatre)
Maria Severa (Court House Theatre)
When the Rain Stops Falling (Studio Theatre)
Topdog/Underdog (Studio Theatre)

Shaw/Stratford Festival Previews 2011

2011-02-28T14:14:00.007-07:00

Thoughts on the Stratford Shakespeare Festival/Shaw Festival 2011 Seasons
By David Grapes – Arts Journalist - March, 2011

Theatre patrons, who are passionate about quality theatre here in the U.S., should consider a trip North across the Canadian border into Ontario and spend some serious time exploring North America’s two largest theatre festivals – The Stratford Shakespeare Festival and The Shaw Festival. The American dollar appears to have stabilized against the Canadian dollar, so the entertainment value when compared to the costs of theatre tickets for Broadway ($135 average) or in London is high. And if you search the web, there are some excellent airfare deals for the upcoming summer into Toronto’s Lester B. Pearson airport for about $350.00 to $600.00 from most major US airports. Rental cars are readily available at the Toronto airport. (Try Hotwire.com for the best airport rental rates) Driving time from the airport to either of the two festivals is less than two hours on four lane highways. Remember – Passports are now REQUIRED for any border crossing!

The Shaw Festival
Located in historic Niagara on the Lake (30 miles North of Buffalo 120 Miles South of Toronto) along the beautiful Lake Ontario shoreline The Shaw Festival is the only theatre in the world that specializes exclusively in plays by George Bernard Shaw and his contemporaries. During the last three decades, under the artful and highly creative leadership of Christopher Newton and Jackie Maxwell, the Shaw not only earned a reputation for innovative programming, stunning visuals, but also become home to one of the finest acting ensembles in North America.

And while Stratford had its artistic and administrative struggles under the leadership transition from Richard Monet to Des McAnuff, the Shaw Festival has managed to thrive under some very difficult economic times and its own leadership transition from Christopher Newton to Jackie Maxwell. Maxwell (now in her seventh season) continues to produce excellent work as she explores the Festival’s expanded artistic mandate including newer musicals and American classics. While many in the Canadian theatrical community have criticized her for being overly fixated on female directors and playwrights, she continues to fill most of the seats and balance the books.

As the Shaw Festival celebrates its 50th season this year audiences will be in for some real treats including: a splashy production of the musical My Fair Lady (based on Shaw’s own Pygmalion), another Christopher Newton Heartbreak House this time with the Canadian national treasure Michael Ball as Captain Shotover, a contemporary adaptation of Shaw’s rarely produced On The Rocks by Michael Healey (The Drawer Boy), a Cat on a Hot Tin Roof led by Moya O’Connell and Jim Mezon and the much anticipated return of Lorne Kennedy in 2008’s smash comic hit The President.

Another exciting development over the past three years has been addition of an intimate fourth performance venue – The Studio Theatre (which will seat 176 patrons). The new facility has hosted such diverse productions as John Osborne’s The Entertainer starring Benedict Campbell, Caryl Churchill’s provocative contemporary play Serious Money and this summer’s Topdog/Underdog.

SHAW SEASON AT A GLANCE

Festival Theatre
My Fair Lady – April 13 to October 30
Heartbreak House – May 10 to October 7
The Admirable Crichton– June 22 to October 29

Royal George Theatre
Candida – April 7 to October 30
Cat on a Hot Tin Roof – May 3 to October 23
The President – June 3 to October 9 (lunchtime)

Court House Theatre
Drama at Inish – A Comedy – May 6 to October 1
On The Rocks – June 14 to October 8
Maria Severa – July 19 to September 23

Studio Theatre
Topdog/Underdog – July 19 to August 27
When the Rain Stops Falling – August 11 to September 17

David’s recommendations for the 2011 season
Michael Ball in Heartbreak House (Directed by Christopher Newton
Peter Krantz and Steven Sutcliffe in On The Rocks (Directed by Joseph Ziegler)
Moya O’Connell and Jim Mezon in A Cat on a Hot Tin Roof (Directed by Eda Holmes)
Lorne Kennedy in The President (Directed by Blair Williams)

ALSO OF INTEREST AT OR NEAR THE SHAW FESTIVAL
Contemporary Play Reading Series
Educational Seminars, Workshops and Symposiums
Summer Camps
Teacher Days
Niagara Falls
Old Fort Erie/ Old Fort Niagara
Wine country excursions
Lake activities

PLAY INFORMATION
www.shawfest.com

TICKET PRICES
Range from $24.00 can (student matinees) to $106.00 can (weekends and openings)
Rush seats are available day of show
$30 rate for patrons under 30 years of age at any theatre
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-511-7429

ACCOMODATIONS

NIAGARA-ON-THE-LAKE CHAMBER of COMMERCE RESERVATION SERVICE (CCA) 905-468-1950. In the Court House on Queen Street, Box 1043, Niagara-on-the-Lake L0S 1J0. www.niagaraonthelake.com Reservation service for 1700 plus rooms, representing every hotel and a collection of approved inns, cottages and bed-and-breakfast homes. For a quality experience, let our trained specialists help you select CCA (Chamber of Commerce Approved) accommodation. All price ranges represented.

NIAGARA-ON-THE-LAKE BED and BREAKFAST ASSOCIATION (BBA) 905-468-0123 or 1-866-855-0123. Box 1228, Niagara-on-the-Lake L0S 1J0. www.bba.notl.on.ca Members are identified by BBA in the listings. Call or visit our website for a free availability search or to book online. We maintain high standards and adhere to a code of ethics. Book with a member.

ABOUT HISTORIC BED and BREAKFASTS IN OLD TOWN CENTRE www.historicbb.com These private homes, built before 1850, are within 4 short blocks of a theatre, dining and shops. Visit our website or contact the following homes in the Bed and Breakfast section: Adam Lockhart’s Storrington House, Annette Twining House, Apple Tree Bed and Breakfast, Barrett Cottage, B&B’s “Pacific”, Blaney House, Burns House, Davy House, Regent House, The Rogers-Harrison House, Royal Manor, Saltbox 1820 Cottage, Schoolmaster’s House. Open year-round. Central air. Full breakfasts. Private parking. Smoke-free. All rooms have private ensuite bathrooms. $100-$195.

ACCOMMODATION ALTERNATIVES NIAGARA www.accommodationalternativesniagara.com A fine selection of licensed cottages, apartments and homes in Niagara, suitable to those who prefer privacy and self-catering accommodations. Nightly from $95, weekly from $650.

Check this BLOG in August for reviews of many of the 2011 Shaw Festival productions.

The Stratford Festival

Located in the bucolic hills of Southern Ontario in the working class town of Stratford, The Stratford Festival has grown from its humble beginnings in 1953 (two Shakespearean plays produced in a tent) to one of the largest and most respected theatre festivals in the world. Once in financial peril during the late 1980’s, the theatre has enjoyed a remarkable rebound both artistically and financially under the capable stewardship of Richard Monette (who past away suddenly last year just as he was starting his retirement) and Executive Director Antoni Cimolino. Now nearing the completion of a 50 million dollar capital and endowment drive, long time patrons have enjoyed improvements to all four of the Festival’s theatre venues, an upgrade in electronic services, and enhanced production quality on stage. Exciting indeed has been the addition of a fourth stage known as the Studio Theatre located above the Avon Theatre. This small flexible space, which opened three years ago, is now home to new work by Canadian playwrights, workshops, productions, and for the first time in its short history – Shakespeare. However, the Studio Theatre only seats 260 patrons so if you want to see a popular production in the Studio Theatre you need to purchase your tickets well in advance.

Variety has always been a hallmark of the Stratford Festival, where works by Shakespeare, Marlowe, Moliere and Ibsen share the stage with Broadway musicals and the comedies of Noel Coward and although Shakespeare will not dominate the large Festival Stage as he did three years ago, the Bard is still well represented and remains the artistic heart of the festival. For 2011 a large scale American musical (Camelot) will dominate the Festival Stage and another musical (Jesus Christ Superstar) takes up residence at the Avon. While there are many who would like to see musicals banned from the traditional repertoire they just pay too many bills. 2008’s banishment of a musical from the Festival Stage had a very negative impact on Stratford’s bottom line.

There are many things to be excited about for the 2011 season including the return of Brent Carver for the two musicals, Seana McKenna taking on the role of Richard III, the return of Brian Dennehy as Sir Toby Belch in Twelfth Night and Max in The Homecoming, Ben Carlson and Brian Bedford in The Misanthrope, Lucy Peacock and Geraint Wyn Davies in The Merry Wives of Windsor, Andrea Runge as Viola in Twelfth Night and Anne Page in The Merry Wives of Windsor, the return to the Festival stage of Roberta Maxwell and a production of Shakespeare’s rarely staged Titus Andronicus in the Tom Patterson Theatre.

The 2011 season has been dedicated to the memories of a number of Festival stalwarts who passed away this year. They include Michael Langham, Peter Donaldson, David William and Domini Blythe.

While the US dollar has fluctuated in recent years against the Canadian dollar, this trip remains an outstanding value. And the US dollar has shown some renewed this past year. With Broadway prices soaring to $100-$200 a ticket, it is hard to imagine that you could get more “bang for your entertainment buck” anywhere in the world than in Ontario, Canada.

STRATFORD SEASON AT A GLANCE

Festival Theatre
Camelot – April 16 to October 30
The Merry Wives of Windsor – May 10 to October 14
Twelfth Night – June 26 to October 28
The Misanthrope – July 31 to October 29

Avon Theatre
The Grapes of Wrath – April 23 to October 29
Jesus Christ Superstar – May 16 to October 29
The Homecoming– July 26 to October 30

Tom Patterson Theatre
Richard III - May 19 to September 25
Titus Andronicus – June 23 to September 24

Studio Theatre
The Little Years – June 29 to September 24
Shakespeare’s Will– June 30 to September 2
Hosanna – July 26 to September 24

David’s recommendations for the 2011 season
Jesus Christ Superstar (starring Brent Carver)
Twelfth Night (Directed by McAnuff and starring Brian Dennehy)
Richard III (Starring Seana McKenna)
The misanthrope (Starring Brian Bedford and Ben Carlson)
Hosanna (Written by Canadian playwright Michel Tremblay)

ALSO OF INTEREST AT STRATFORD
Family Series Events
Stageside Chats
Festival Tours
Celebrated Writers Series
Night Music – Special concerts each Monday evening June to August in the Festival Theatre
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.stratfordfestival.ca

TICKET PRICES
Range from $25.00 to $111.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-567-1600

ACCOMODATIONS
1-800-567-1600

I recommend the Swan Motel
519-271-6376
www.swanmotel.ca

Watch this space in August for reviews of many of the 2011 Stratford Festival productions.

David Grapes has been a theatre producer/director/playwright and freelance theatre journalist for over thirty years. He holds a BA in Theatre from Glenville State College and an MFA in Acting/Directing from the University on North Carolina at Greensboro.

2010-08-04T16:00:00.002-06:00

STRATFORD AND SHAW SEASON REVIEWS

2010 Shaw Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

Harvey (Royal George Theatre) ****
• Strong focused direction by Joseph Zeigler
• Outstanding cast lead by Mary Haney, Peter Krantz and Norman Browning
• Ensemble acting work was excellent right down to Peter Millard as the Cab Driver
• Beautiful period set that was easily transformed between Dowd’s library and Chumley’s Rest. Credit Sue LaPage with just the right mix of period correctness and whimsy.
• Another strong outing from actor turned director Joseph Ziegler. To his credit he plays it straight and never allows the production to fall into campy or become a parody of itself. Harvey is still a very very funny play and Ziegler’s take on it feels just right.
• Entire production had class and style
• SRO house that really enjoyed the whimsy and humor of the play
• I wish Zarrin Darnell-Martin as Mrytle Mae had infused her character with more comic life. Given her genetic heritage she just seemed dull and way too normal. She was the one weak link in an otherwise stellar cast.
• Harvey gave a great turn as himself
• The production was SRO when I attended and has already be extended. Don’t miss it, even if you have to scalp a ticket.

The Doctor’s Dilemma (Festival Theatre) *** 1/2
• Shaw’s rarely performed comic gem about doctors, their egos and their ethics
• Outstanding ensemble work by the male acting company. The only noticeable weakness in the production was Krista Colosimo, who was badly miscast as Jennifer Dubedat. She lacked the charisma and sexual fire that is necessary to drive the action of the play. Worst of all there was no romantic spark between her and Patrick Galligan (Dr. Colenso Ridgeon). Thus Ridgeon’s obsession with her character, which is the core of the play’s plot falls flat. Still those scenes with the doctors were magic. And how nice it was to see Michael Ball in a role that showcased his talents as one of the world's greatest Shavian actors. I mean how many butlers must he play before he gets a role that he can really sink his teeth into as an actor.
• I liked the “conceptual” set by Ken MacDonald
• While first published in 1911, this witty and insightful commentary on medical ethics and health care issues is still remarkably relevant. A thought provoking evening on the physical, psychological and monetary price that must be paid for living as well as dying
• Well staged and beautifully paced by Morris Paynch
• Not sure that I enjoyed the musical score by The Rolling Stones, however, I will admit the choices were clever and make me laugh out loud

John Bull’s Other Island (Court House Theatre) ***
• Shaw’s talky play about the “Irish question” is not easy to produce or to watch. However, in the capable hands of actors like Benedict Campbell, Graeme Somerville, Jim Mezon and Severn Thompson it is not only watchable but a very entertaining evening of theatre indeed.
• Thought-provoking lines delivered by many of Canada’s finest actors.
• Excellent supporting cast featuring Guy Bannerman, Mary Haney, Thom Marriott and Patrick McManus.
• Clever set design that worked well in the limitations of the Court House space.
• Solid and straight forward direction by Christopher Newton. His direction of Shaw just seems to get better and better. He has just the right instincts to know when to pull the in the reins or let his actors command the stage.

Half An Hour (Royal George Theatre) ***
• A wonderful little gem of a one act by J.M. Barrie
• Romantic, funny and clever all at the same time
• Effective directorial touches by Gina Wilkinson
• Imaginative use of the George stage to create the two required settings
• Lovely performance by Diana Donnelly. She is ably supported by Peter Krantz, Michael Ball, Gord Rand, Norman Browning, Peter Millard and Laurie Patton
• A romantic and sweet production that has an unexpected and powerful emotional twist at its conclusion.
• A marvelous way to spend your lunchtime.

WORTH A LOOK
An Ideal Husband (Festival Theatre)
One Touch of Venus (Royal George Theatre)

NOT WORTH YOUR TIME
The Women (Court House Theatre)

DID NOT ATTEND
The Cherry Orchard (Court House Theatre)
The Age of Arousal (Court House Theatre)
Serious Money (Studio Theatre)

2010 Stratford Shakespeare Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

As You Like It (Festival Theatre) ****
• Glorious and highly memorable production – Best production to date from Des MacAnuff
• The most inventive direction of the 2010 summer season
• Marvelous acting and singing throughout the entire large cast
• Wonderful chemistry between Rosalind and Orlando (Andrea Runge, Paul Nolan) A real star turn for Runge, who also dazzled us last year in The Importance of Being Earnest and has already been announced as Viola and Ann Page for the 2011 season
• Stunning visuals from the entire design team. The production reminded me of the best deign work of the John Hirsch years. Kudos to Debra Hanson (Scenery), Dana Osborne (Costumes) and Michael Walton (Lighting)
• Fantastic original songs and jazz score by Justin Ellington and Michael Roth
• Outstanding on stage orchestra that was augmented at times by cast members
• Nice use of an onstage piano
• The scenes in the Forest of Arden are full of energy, passion and life and seem to almost explode off the stage
• Strong ensemble work from the large and talented cast. Some wonderful moments from Brent Carver (Jaques), Ben Carlson (Touchstone) and Lucy Peacock (Audrey)
• The sound design and mix was stunning
• If you can see just one production in the 2010 season then this is the show to see. Do not miss it!

The Tempest (Festival Theatre) ***1/2
• Worth the price of admission just to hear Christopher Plummer speak Shakespeare’s amazing poetry
• Some of the visuals involving Prospero and Arial will take your breath away
• Director Des MacAnuff doesn’t quite get to the level of brilliance that he demonstrated in As You Like It, however, this is a very fine production that is well anchored by Plummer. I do wish that we had had a few less things appearing and disappearing into the floor. I found that a distraction rather than an enhancement. There is always beauty in simplicity.
• Plummer is touching and vulnerable as Prospero and gives a very nuanched performance
• There have certainly been some memorable Arials and Calibans at Stratford but the two I will remember both come from this production. Julyana Soelistyo is her own one woman Blue Man Group. From her first enterance where she drops underwater to retrieve Prospero’s book to her final good bye with her master, you can’t take your eyes off of her. Her performance blends grace, acrobatics and a child like innocence in a way that is unlike any Ariel that has come before her. Unlike Lindstrom the chemistry between her and Plummer is palpable. Much the same can be said for Dion Johnstone’s caliban. He is funny, fierce and at moments quite vulnerable. His scenes with Trinculo (Bruce Dow) and Stephano (Geraint Wyn Davies) are a delight and provide the play with some much needed comic relief after tedious scenes with the men of the court.
• The Tempest drew the largest crowd that I saw this summer in the Festival Theatre. The production that I attended was nearly sold out. The same could no be said for Kiss Me Kate.
• I felt strongly that Trish Lindstrom was too old for Miranda. She looks and acts every bit of 30+ (Shakespeare indicates that she is 15 years old when the play begins). I also thought that she had no filial chemistry with Plummer and no sexual chemistry with Gareth Potter, who played Ferdinand. Her understudy Amanda Lisman would have been a better choice.
• However, the weakest links in the cast were the men of the court. I thought that they were pedestrian to the point of being almost unnecessary to this production. The only danger that the King Alonso (Peter Hutt) faced was being bored to death by this gaggle of duds.

The Winter’s Tale (Tom Patterson Theatre) ***
• Solid production of one of the Bard’s most challenging plays
• Intelligent actor centered direction from the always resourceful Marti Maradon
• Simple yet effective scenic design concept in the Patterson. However, I felt that the costumes were uniformly ugly. In particular, the costumes in Bohemia looked as if they had been constructed for a Saturday Night Live skit. I know that designer John Pennoyer was trying to help us separate the two worlds of Siccilia and Bohemia but these garments called attention to themselves as costumes rather than looking like the clothes that might be worn by a real person from this time and place.
• An excellent racially diverse cast lead by Ben Carlson, Yanna McIntosh and Cara Ricketts
• Nicely understated performance by the ever radiant Seana McKenna as Paulina. Her “plea” monologue in the first act court room scene was remarkable.
• Fantastic first act that was full of fire and fury
• I sure wish that director Maraden had had the guts to cut twenty minutes out of the opening of Act two. While I am certain that Shakespeare’s audiences were fascinated by the antics of the sheep shearing fair and dance I was not. For my money we could have lost most of this text and simply concentrated on the love story between Florizel and Perdita and then come back to wrap up the play in Paulina’s garden.
• The text was well spoken and easily understood
• The scene in which Hermione comes back to life brought many in the audience to tears

Jacques Brel Is Alive and Well and Living in Paris (Tom Patterson Theatre) **1/2
• An interesting but wildly uneven production of this rarely produced musical revue
• The band and the two male leads make this production work. The musicians in particular are amazing. They play multiple instruments in multiple musical styles and even act as performers in some numbers. I thought that they were worth the price of admission even if a note had never been sung.
• Brent Carver and Mike Nadajewski seem to be in one production and the two women in another. And of course it’s their production that we want to see. I disliked both Jewelle Blackman and Nathalie Nadon both of whom were overwrought and under talented. How you can get on the Stratford stage with a major speech problem (intrusive s) amazes me. I just could not take either one of them seriously as a vocalist, especially when they sang ensemble numbers with the men.
• Then there was Brent Carver, who was obviously in his element. One of the world’s foremost cabaret performers, he knows how to deliver a song. His renditions of My Childhood in act one was at once provocative and haunting
• The musical staging and blocking by director Stafford Arima was repetitive and amateurish. It was obvious after the first five minutes that he was a proscenium director and had no idea how to make musical numbers work on the Patterson’s long thrust stage. Numerous visual opportunities went unexplored.
• Solid musical direction (Rick Fox) however, the inclusion or exclusion of some famous songs felt arbitrary. Too many songs sounded alike and were delivered in similar tempos.
• Precise and effective sound design and live mix work
• Worth a recommendation on the strength of Carver’s performance

WORTH A LOOK
Peter Pan (Avon Theatre)
Do Not Go Gently (Studio Theatre)
Kiss Me Kate (Festival Theatre)

DON’T WASTE YOUR TIME
King of Thieves (Studio Theatre)
Evita (Avon Theatre)

DID NOT ATTEND
Dangerous Liaisons (Festival Theatre)
For The Pleasure of Seeing Her Again (Tom Patterson Theatre)
The Two Gentlemen of Verona (Studio Theatre)

2010-04-13T12:56:00.001-06:00

2010 THEATRE PREVIEW

Thoughts on the Stratford Shakespeare Festival/Shaw Festival 2010 Seasons
By David Grapes – Arts Journalist
April, 2010

Theatre patrons, who are passionate about quality theatre here in the U.S., should consider a trip North across the Canadian border into Ontario and spend some serious time exploring North America’s two largest theatre festivals – The Stratford Shakespeare Festival and The Shaw Festival. The American dollar has improved again this year against the Canadian dollar, so the entertainment value when compared to the costs of theatre tickets for Broadway ($125 average) or in London is high. And if you search the web, there are some excellent airfare deals for the upcoming summer into Toronto’s Lester B. Pearson airport for about $250.00 to $500.00 from most major US airports. Rental cars are readily available at the Toronto airport. (Try Hotwire.com for the best airport rental rates) Driving time from the airport to either of the two festivals is less than two hours on four lane highways. Remember – Passports are now REQUIRED for any border crossing!

The Shaw Festival
Located in historic Niagara on the Lake (30 miles North of Buffalo 120 Miles South of Toronto) along the beautiful Lake Ontario shoreline The Shaw Festival is the only theatre in the world that specializes exclusively in plays by George Bernard Shaw and his contemporaries. During the last two decades, under the artful and highly creative leadership of Christopher Newton and Jackie Maxwell, the Shaw not only earned a reputation for innovative programming, stunning visuals, but also become home to one of the finest acting ensembles in North America.

And while Stratford continues to have its artistic and administrative struggles under Des McAnuff, the Shaw Festival has managed to thrive under some very difficult economic times. Current Artistic Director Jackie Maxwell (now in her sixth season) continues to produce excellent work as she explores the Festival’s expanded artistic mandate including newer musicals and American classics.

While the acting ensemble remains strong for 2010, Maxwell has lost several of her best actors (Ben Carlson, peter Hutt) to Stratford last season and with McAnuff still at the helm at Stratford, I fear that this will be an ongoing issue, as he will no doubt attempt to “cherry pick” a few of Shaw’s best actors each season. The good news for 2010 is that there were no major losses to the Festival acting company.

Maxwell has proven herself to be a capable producer and savvy administrator. In 2009, her programming of the entire one-act canon (across three theatres) of Noel Coward’s Tonight at 8:30 met with strong box office but uneven critical success. Many of the plays were “star vehicles” and simply did not suit the talents of the ensemble. Some actors faired better than others. Performers like Patrick Galligan and Deborah Hay had much to do while Shaw stalwart Michael Ball was wasted in a parade of small servant roles. This years season returns to a more familiar formula which should better serve the acting ensemble.

Another exciting development has been addition of an intimate fourth performance venue – The Studio Theatre (which will seat 176 patrons). The new facility which was christened with a production of John Osborne’s The Entertainer starring Benedict Campbell will now host Caryl Churchill’s provocative contemporary play Serious Money this summer.

SHAW SEASON AT A GLANCE

Festival Theatre
An Ideal Husband – April 9 to October 31
The Women – May 12 to October 9
The Doctor’s Dilemma – June 10 to October 30

Royal George Theatre
Harvey – April 1 to October 31
One Touch of Venus – May 16 to October 10
Half an Hour – June 26 to October 9 (lunchtime)

Court House Theatre
The Cherry Orchard – April 20 to October 2
John Bull’s Other Island – June 18 to October 9
Age of Arousal – July 23 to October 10

Studio Theatre
Serious Money – July 31 to September 12

David’s recommendations for the 2010 season
Peter Krantz in Harvey (Directed by Joseph Ziegler))
The Doctor’s Dilemma (Directed by Morris Panych)
John Bull’s Other Island (Directed by Christopher Newton and starring Benedict Campbell and Jim Mezon)
An Ideal Husband (Directed by Jackie Maxwell)

ALSO OF INTEREST AT OR NEAR THE SHAW FESTIVAL
Contemporary Play Reading Series
Educational Seminars, Workshops and Symposiums
Summer Camps
Teacher Days
Niagara Falls
Old Fort Erie/ Old Fort Niagara
Wine country excursions
Lake activities

PLAY INFORMATION
www.shawfest.com

TICKET PRICES
Range from $23.00 can (student matinees) to $105.00 can (weekends and openings)
Rush seats are available day of show
$30 rate for patrons under 30 years of age at any theatre
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-511-7429

ACCOMODATIONS
NIAGARA-ON-THE-LAKE CHAMBER of COMMERCE RESERVATION SERVICE (CCA) 905-468-1950. In the Court House on Queen Street, Box 1043, Niagara-on-the-Lake L0S 1J0. www.niagaraonthelake.com Reservation service for 1700 plus rooms, representing every hotel and a collection of approved inns, cottages and bed-and-breakfast homes. For a quality experience, let our trained specialists help you select CCA (Chamber of Commerce Approved) accommodation. All price ranges represented.

NIAGARA-ON-THE-LAKE BED and BREAKFAST ASSOCIATION (BBA) 905-468-0123 or 1-866-855-0123. Box 1228, Niagara-on-the-Lake L0S 1J0. www.bba.notl.on.ca Members are identified by BBA in the listings. Call or visit our website for a free availability search or to book online. We maintain high standards and adhere to a code of ethics. Book with a member.
ABOUT HISTORIC BED and BREAKFASTS IN OLD TOWN CENTRE www.historicbb.com These private homes, built before 1850, are within 4 short blocks of a theatre, dining and shops. Visit our website or contact the following homes in the Bed and Breakfast section: Adam Lockhart’s Storrington House, Annette Twining House, Apple Tree Bed and Breakfast, Barrett Cottage, B&B’s “Pacific”, Blaney House, Burns House, Davy House, Regent House, The Rogers-Harrison House, Royal Manor, Saltbox 1820 Cottage, Schoolmaster’s House. Open year-round. Central air. Full breakfasts. Private parking. Smoke-free. All rooms have private ensuite bathrooms. $100-$195.

ACCOMMODATION ALTERNATIVES NIAGARA www.accommodationalternativesniagara.com A fine selection of licensed cottages, apartments and homes in Niagara, suitable to those who prefer privacy and self-catering accommodations. Nightly from $95, weekly from $650.

Watch this space in August for reviews of many of the 2010 Shaw Festival productions.
The Stratford Festival

Located in the bucolic hills of Southern Ontario in the working class town of Stratford, The Stratford Festival has grown from its humble beginnings in 1953 (two Shakespearean plays produced in a tent) to one of the largest and most respected theatre festivals in the world. Once in financial peril during the late 1980’s, the theatre has enjoyed a remarkable rebound both artistically and financially under the capable stewardship of Richard Monette (who past away suddenly last year just as he was starting his retirement) and Executive Director Antoni Cimolino. Now nearing the completion of a 50 million dollar capital and endowment drive, long time patrons have enjoyed improvements to all four of the Festival’s theatre venues, an upgrade in electronic services, and enhanced production quality on stage. Exciting indeed has been the addition of a fourth stage known as the Studio Theatre located above the Avon Theatre. This small flexible space, which opened three years ago, is now home to new work by Canadian playwrights, workshops, productions, and for the first time in its short history – Shakespeare. However, the Studio Theatre only seats 260 patrons so if you want to see a popular production in the Studio Theatre you need to purchase your tickets well in advance.

Variety has always been a hallmark of the Stratford Festival, where works by Shakespeare, Marlowe, Moliere and Ibsen share the stage with Broadway musicals and the comedies of Noel Coward and although Shakespeare will not dominate the large Festival Stage as he did last year. The Bard is still well represented and remains the artistic heart of the festival. For 2010 a large scale American musical (Kiss Me Kate) will dominate the Festival Stage and another musical (Evita) takes up residence at the Avon. While there are many who would like to see musicals banned from the traditional repertoire they just too many bills. And last 2008’s banishment of a musical from the Festival Stage had a very negative impact on Stratford’s bottom line. Last year, a glorious production of West Side Story on the Festival Stage nearly carried the rest of the festival on its back attracting huge crowds.

Marti Maraden (a fine director and a member of 2008’s ill fated artistic triumvirate) who upstaged McAnuff for the majority of the 2009 with her critically acclaimed and powerful stagings of All’s Well That Ends Well and The Trojan Women will return to direct The Winter’s Tale. McAnuff, who has been traversing the world staging permutations of the hit Broadway musical Jersey Boys not to mention a short lived Broadway revival of Guys and Dolls had a much better summer last year. While his productions of Shakespeare has yet to catch fire he has delivered the goods with the musical A Funny Thing Happened on the Way to the Forum and Shaw’s Caesar and Cleopatra .He is certainly capable of providing strong artistic leadership, if he chooses to concentrate his energies in Stratford rather than in New York or London. The large ensemble continues to yearn for a “leader in residence.” It is now up to McAnuff to build on last year’s successes and continue to move the company forward. The challenge is to remain true to the company’s history while instituting bold new initiatives to grow the audience and donor base.

While the US dollar has fluctuated in recent years against the Canadian dollar, this trip remains an outstanding value. And the US dollar has shown some renewed this past year. With Broadway prices soaring to $100-$200 a ticket, it is hard to imagine that you could get more “bang for your entertainment buck” anywhere in the world than in Ontario, Canada.

STRATFORD SEASON AT A GLANCE

Festival Theatre
As You Like It – May 22 to October 31
Kiss Me Kate – April 11 to October 31
Dangerous Liaisons - May 29 to November 1
The Tempest – August 7 to October 30

Avon Theatre
Peter Pan – May 9 to October 30
Evita– May 23 to October 31

Tom Patterson Theatre
The Winter’s Tale May 9 to October 3
Jacques Brel is Alive and Well and Living in Paris – May 27 to October 2
For the Pleasure of Seeing Her Again – August 6 to October 3

Studio Theatre
King of Thieves – July 26 to October 4
The Two Gentlemen of Verona – August 11 to October 3
Do Not Go Gentle– August 12 to October 3

David’s recommendations for the 2009 season
As You Like It (starring Brent Carver)
The Tempest (Directed by McAnuff and starring Christopher Plummer)
The Winter’s Tale (Directed by Marti Maraden and starring Ben Carlson)
Kiss Me Kate (Directed by John Doyle)
For the Pleasure of Seeing Her Again (Written by Canadian playwright Michel Tremblay)

ALSO OF INTEREST AT STRATFORD
Family Series Events
Stageside Chats
Festival Tours
Celebrated Writers Series
Night Music – Special concerts each Monday evening June to August in the Festival Theatre
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.stratfordfestival.ca

TICKET PRICES
Range from $25.00 to $111.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-567-1600

ACCOMODATIONS
1-800-567-1600

I recommend the Swan Motel
1-519-271-6376
www.swanmotel.ca

Watch this space in August for reviews of many of the 2010 Stratford Festival productions.
David Grapes has been a theatre producer/director/playwright and freelance theatre journalist for over thirty years. He holds a BA in Theatre from Glenville State College and an MFA in Acting/Directing from the University on North Carolina at Greensboro.

2009 Shaw Festival Reviews

2009-08-12T15:12:00.000-06:00

2009 Shaw Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

Devil’s Disciple (Festival)
• Straightforward and uncomplicated direction by my least favorite Shaw director Tadeusz Bradecki
• Strong cast lead by Evan Buliung, Peter Krantz and Fiona Byrne carried this uneven production
• Ensemble acting work was weak among the soldiers
• The set - when open to the gallows worked very well but I found the look of it really ugly and flat when the interior scene drops were placed in front of it
• Needed more cast members to populate the world of the play
• Shaw’s wit at its sharpest. The play raises lots of fascinating questions
• I thought the breaking of the fourth wall for direct address monologues was intrusive and that the additional references to Niagara on the Lake added nothing to our enjoyment of this great play
• Jim Mezon came in as Gentleman Johnny near the end of the play and stole every moment that he was on stage with his impeccable comic timing and wry smile. Shaw gives him many of the funniest lines in the play and Mezon lades every joke without ever breaking a sweat.

Star Chamber (Royal George)
• Coward’s rarely performed comic gem about actors and their egos
• Eccentric characters played to the comic hilt
• Great physical business
• Wonderful comic spark and energy from everyone in the cast
• Simple but effective set with costumes that exploded with character and style
• Funny and very accessible

Brief Encounters (Festival)
• Three Noel Coward one acts (Still Life, We were Dancing, Hands Across the Sea)
• Still Life – well acted, nice control of time, wonderful atmospheric setting, nice sound and lighting design, excellent performance by Deborah Hay, solid direction, stunning train image at the end of the piece
• We Were Dancing – lots of humor, nice supporting performances by Thom Marriott and Goldie Semple, exquisite costumes, captured Coward’s style, energy and wit
• Hand Across the Sea – Some wonderful physical farce, nicely paced, big characters who were well acted and remained truthful, a fun way to end the evening

A Moon for the Misbegotten (Court House)
• A tour de force acting vehicle for Shaw veteran Jim Mezon, who plays Phil Hogan. His scenes are worth the price of admission. Every young aspiring actor should be made to watch his drunk scene. He brings power, humor and pathos to every scene.
• The set and lights really established the harsh environment of the world in which the characters live and suffer
• Jenny Young makes a valiant effort to capture the soul of Josie Hogan but she is just too frail and too attractive to be a “cow of a woman” that O’Neil intends. The role belongs in the hands of Kelli Fox or Cherry Jones, who are both more physically suited to the demands placed on the character by the playwright.
• David Jensen is also miscast as James. He is too soft and does not have enough rough edges or masculine charm to make this role his own.
• Still, despite the odd casting I enjoyed seeing this piece performed at Shaw. It was a good production of a great play

Born Yesterday (Festival)
• A strong production of a seldom produced American classic
• Nice original music score that added to the spirit and style of the production
• Good use of comic business
• Play was well anchored by Thom Marriott and Deborah Hay who share a nice chemistry on stage
• Strong acting work from the ensemble cast
• I thought the costumes were ugly and unflattering and the scenery too mundane
• Pace was slow in a number of places (ie the gin game)
• Patrick Galligan was effective as the play’s troubled lawyer
• Interesting choice of play in light of the past decades political scandals

WORTH A LOOK
In Good King Charles’s Golden Days (Royal George)
Sunday in the Park With George (Royal George)

NOT WORTH YOUR TIME
Ways of the Heart (Court House)
Play Orchestra Play (Royal George)

DID NOT ATTEND
Albertine in Five Times (Court House)
The Entertainer (Studio)

2009 Stratford Festival Reviews

2009-08-12T15:09:00.000-06:00

2009 Stratford Shakespeare Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

West Side Story (Festival)
• Exceptional Production – Perhaps the best musical in Stratford’s history
• The best direction of the 2009 summer season from Gary Griffin
• Marvelous acting and singing
• Brilliant dancing – masculine and athletic
• Steamy chemistry between Maria and Tony (Chilina Kennedy, Paul Nolan)
• In fact, Kennedy gives the best performance of the summer as Maria and if I were Des McAnuff, I would be searching to find her another star vehicle for next summer. Having observed her work at the Shaw Festival, I can tell you that she can do much more than just musicals.
• Marvelous use of the Festival Stage
• Outstanding orchestra
• Full of energy, passion and life
• Strong ensemble work from the large and talented cast
• Set was functional and provided a nice “period” feel
• The sound design and mix was stunning
• Reminded me of that fantastic Romeo & Juliet with that featured two young and hungry actors by the name of Colm Feore and Seana McKenna

The Importance of Being Earnest (Avon)
• The best Earnest that I have seen at Stratford
• Desmond Healey’s set and costume designs will take your breath away
• Director Brian Bedford dusts off this witty old chestnut and gives it new life
• Bedford is hilarious as Lady Bracknell and gives a very human and at times touching performance
• The Avon was packed the performance I attended and the audiences loved the production
• Nice use of an offstage piano
• Creative use of stage business
• Cast has a great comic energy and handled Wilde’s language with aplomb
• The players were well acted
• The only weak links in the cast were Sarah Dodd and Stephen Ouimette (Prism and Chasuble) who were neither funny nor interesting. They made no comic contribution to an otherwise delightful production.

The Trespassers (Studio)
• New Canadian play by Morris
• An interesting mix of mystery, drama and dark comedy
• Simple yet effective design concept
• Joe Ziegler was excellent as the grandfather whose story lies at the core of the play
• Wonderful ensemble cast that featured Noah Reid Kelli Fox, Lucy Peacock and Robert King
• Nice directorial work and use of the Studio stage by director allowed the acting to shine
• This was a beautiful and sensitive piece of work that is certain to have a life at regional theatres in Canada
• The play raises some interesting questions related to what makes a life worth living
• I left the theatre and could not get the play out of my mind.
• An unusual ending that raises more questions than it answers
• A bit long in stretches. Some cuts could be made for future productions.

A Funny Thing Happened on the Way to the Forum (Avon)
• A visual and aural feast
• Strong direction from McAnuff who really seems in his element with proscenium musicals
• Simple set with lots of surprises built in
• Marvelous cast led by the always-delightful Bruce Dow (Mr. Dow suffered an injury in July and was out of the production for a number of performances) While the production and the comic chemistry suffers in his absence, the show is still a fun evening out.
• Fast paced and amusing opening sequence
• Great work by Dan Chameroy as Miles Gloriosus
• Strong work from the female dancers
• Precise and effective sound design and live mix work, which supported a cast who could really sing and an orchestra who could really play
• The production had a real Broadway quality feel to it

Julius Caesar (Avon)
• Highly conceptual production set in a modern world
• A masculine production full of testosterone
• Solid performances by Ben Carlson as Brutus and Geraint Wyn Davies as Caesar
• A number of very effective visual images involving blood
• Excellent casting and strong ensemble work from the senators
• Well staged and some wonderful crowd/mob scenes staged all over the theatre
• Battle scenes in the second half were quite well done
• A very emotional sound design/score
• Effective design work that created a basic unit set with many different looks
• The only weak link in the production was Jonathon Goad’s Anthony who seemed too modern and too low energy for the role. His burial speech lacked fire, truth or passion and was upstaged by the very energetic crowd

WORTH A LOOK
Macbeth (Festival)
The Three Sisters (Patterson)
Ever Yours, Oscar (Patterson)

DON’T WASTE YOUR TIME
Cyrano de Bergerac (Festival)
Bartholomew Faire (Patterson)

DID NOT ATTEND
A Midsummer Night’s Dream (Festival)
Phedre (Patterson)
Rice Boy (Studio)
Zastrozzi (Studio)

2009-04-06T13:48:00.006-06:00

THEATRE PREVIEW

Thoughts on the Stratford Shakespeare Festival/Shaw Festival 2009 Seasons
By David Grapes – Arts Journalist
April, 2009

Those of you who are passionate about quality theatre here in the U.S. should consider a trip North across the Canadian border into Ontario and spend some serious time exploring North America’s two largest theatre festivals – The Stratford Shakespeare Festival and The Shaw Festival. The American dollar has improved this year against the Canadian dollar so the entertainment value when compared to the costs of theatre tickets for Broadway or in London is high. And if you search the web, there are some excellent airfare deals for the upcoming summer into Toronto’s Lester B. Pearson airport for about $250.00 to $500.00 from most major US airports. Rental cars are readily available at the Toronto airport. (Try Hotwire.com for the best airport rental rates) Driving time from the airport to either of the two festivals is less than two hours on four lane highways.

The Shaw Festival
Located in historic Niagara on the Lake (30 miles North of Buffalo 120 Miles South of Toronto) along the beautiful Lake Ontario shoreline The Shaw Festival is the only theatre in the world that specializes exclusively in plays by George Bernard Shaw and his contemporaries. During the last two decades, under the artful and highly creative leadership of director/actor Christopher Newton, the Shaw not only earned a reputation for innovative programming, stunning visuals, but also witnessed Newton assemble one of the finest acting ensembles on the planet.

And while Stratford continues to have its artistic and administrative struggles, the Shaw Festival managed to thrive last summer under some very difficult economic times. Artistic Director Jackie Maxwell (now in her fifth season as Artistic Director) continues to produce excellent work as she explores the Festival’s expanded artistic mandate including newer musicals and American classics.

While the acting ensemble remains strong for 2009, Maxwell did lose several of her best actors (Ben Carlson, Kelli Fox) to Stratford last season and with McAnuff still at the helm at Stratford, I fear that this will be an ongoing issue, as he will no doubt attempt to “cherry pick” a few of Shaw’s best actors. The good news for 2009 is that Jim Mezon is set to return to the Festival acting company appearing in Moon for the Misbegotten with the talented Joseph Ziegler directing) and The Devil’s Disciple.

Maxwell has proven herself to be a capable producer and savvy administrator. Her programming of the entire one-act canon (across three theatres) of Noel Coward’s Tonight at 8:30 could prove to be a true stroke of genius - a marvelous blend of artistic opportunity and marketing potential. The Shaw audiences should eat this up. It promises to be a “once in a lifetime event” - DO NOT MISS IT!

Another exciting development is the addition of an intimate fourth performance venue – The Studio Theatre (which will seat 176 patrons). The new facility will be christened with a production of John Osborne’s The Entertainer starring Benedict Campbell, who as many of you remember delivered a stunning performance in last summer’s An Inspector Calls.

SHAW SEASON AT A GLANCE

Festival Theatre
Tonight at 8:30:
Brief Encounters – April 11 to October 24
Still Life, We Were Dancing, Hands Across the Sea
Born Yesterday – May 5 to November 1
The Devil’s Disciple – June 14 to October 11

Royal George Theatre
Tonight at 8:30:
Play, Orchestra, Play – June 9 to October 31
Red Peppers, Fumed Oak, Shadow play
Sunday in the Park With George – April 1 to November 1
In Good King Charles’s Golden Days – April 17 to Oct 9
Tonight at 8:30: Star Chamber – June 25 to October 11 (lunchtime)

Court House Theatre
Tonight at 8:30:
Ways of the Heart – July 21 to October 11
The Astonished Heart, Family Album, Ways and Means
A Moon for the Misbegotten – April 28 to October 9
Albertine in Five Times – June 24 to October 10

Studio Theatre
The Entertainer – July 31 to September 20

David’s recommendations for the 2009 season
Noel Coward’s Tonight at 8:30 series (DON’T MISS)
Born Yesterday (starring Deborah Hay)
A Moon for the Misbegotten (Directed by Joseph Zeigler and starring Jim Mezon)
Sunday in the Park With George
In Good King Charles’s Golden Days (Shaw’s seldom seen Restoration comedy)
The Entertainer Directed by Jackie Maxwell and starring Benedict Campbell)

ALSO OF INTEREST AT OR NEAR THE SHAW FESTIVAL
Contemporary Play Reading Series
Educational Seminars, Workshops and Symposiums
Summer Camps
Teacher Days
Niagara Falls
Old Fort Erie/ Old Fort Niagara
Wine country excursions
Lake activities

PLAY INFORMATION
www.shawfest.com

TICKET PRICES
Range from $30.00 to $110.00 (Canadian $)
Rush seats are available day of show
$30 rate for patrons under 30 years of age at any theatre
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-511-7429

ACCOMODATIONS
NIAGARA-ON-THE-LAKE CHAMBER of COMMERCE RESERVATION SERVICE (CCA) 905-468-1950. In the Court House on Queen Street, Box 1043, Niagara-on-the-Lake L0S 1J0. www.niagaraonthelake.com Reservation service for 1700 plus rooms, representing every hotel and a collection of approved inns, cottages and bed-and-breakfast homes. For a quality experience, let our trained specialists help you select CCA (Chamber of Commerce Approved) accommodation. All price ranges represented.

NIAGARA-ON-THE-LAKE BED and BREAKFAST ASSOCIATION (BBA) 905-468-0123 or 1-866-855-0123. Box 1228, Niagara-on-the-Lake L0S 1J0. www.bba.notl.on.ca Members are identified by BBA in the listings. Call or visit our website for a free availability search or to book online. We maintain high standards and adhere to a code of ethics. Book with a member.
ABOUT HISTORIC BED and BREAKFASTS IN OLD TOWN CENTRE www.historicbb.com These private homes, built before 1850, are within 4 short blocks of a theatre, dining and shops. Visit our website or contact the following homes in the Bed and Breakfast section: Adam Lockhart’s Storrington House, Annette Twining House, Apple Tree Bed and Breakfast, Barrett Cottage, B&B’s “Pacific”, Blaney House, Burns House, Davy House, Regent House, The Rogers-Harrison House, Royal Manor, Saltbox 1820 Cottage, Schoolmaster’s House. Open year-round. Central air. Full breakfasts. Private parking. Smoke-free. All rooms have private ensuite bathrooms. $100-$195.

ACCOMMODATION ALTERNATIVES NIAGARA www.accommodationalternativesniagara.com A fine selection of licensed cottages, apartments and homes in Niagara, suitable to those who prefer privacy and self-catering accommodations. Nightly from $95, weekly from $650.

Watch this space in August for reviews of many of the 2009 Shaw Festival productions.

The Stratford Festival
Located in the bucolic hills of Southern Ontario in the working class town of Stratford, The Stratford Festival has grown from its humble beginnings in 1953 (two Shakespearean plays produced in a tent) to one of the largest and most respected theatre festivals in the world. Once in financial peril during the late 1980’s, the theatre has enjoyed a remarkable rebound both artistically and financially under the capable stewardship of Richard Monette (who passed away suddenly last year just as he was starting his retirement) and Executive Director Antoni Cimolino. Now nearing the completion of a 50 million dollar capital and endowment drive, long time patrons have enjoyed improvements to all four of the Festival’s theatre venues, an upgrade in electronic services, and enhanced production quality on stage. Exciting indeed was the addition of a fourth stage known as the Studio Theatre located above the Avon Theatre. This small flexible space, which opened three years ago, is now home to new work by Canadian playwrights, workshops, and other more experimental productions. However, the Studio Theatre only seats 260 patrons which meant that many theatre goers were shut out of tickets for Brian Dennehy’s two one act plays last summer. The lesson here is that if you want to see a popular production in the Studio Theatre you need to purchase your tickets well in advance

While the spring of 2008 got off to an inauspicious start with the resignations of two out of the three artistic triumvirate Don Shipley and Marti Maraden, the lone artistic survivor Des McAnuff managed to survive his first season. To be sure, there were problems with the quality and often the quantity of productions (Romeo and Juliet) but there were some successes (Hamlet) as well. And while I did not see it, the critical and audience response to Shaw’s Caesar and Cleopatra with Christopher Plummer was quite positive.

Variety has always been a hallmark of the Stratford Festival, where works by Shakespeare, Marlowe, Moliere and Ibsen share the stage with Broadway musicals and the comedies of Noel Coward and although Shakespeare will not dominate the large Festival Stage as he did last year. The Bard is still well represented and remains the artistic heart of the festival. For 2009 a large scale American musical (West Side Story) will return to the Festival Stage and another musical (A Funny Thing Happened on the Way to the Forum ) takes up residence at the Avon. While there are many who would like to see musicals banned from the traditional repertoire they just pay too many bills. And last year’s banishment of a musical from the Festival Stage had a very negative impact on Stratford’s bottom line.

Maraden (a fine director) who upstaged McAnuff for the majority of the 2009 with her critically acclaimed and powerful stagings of All’s Well That Ends Well and The Trojan Women will not return. Instead the directorial duties will fall to McAnuff, Martha Henry, American Cary Perloff and Brian Bedford among others. McAnuff, who has been traversing the world staging permutations of the hit Broadway musical Jersey Boys not to mention a Broadway revival of Guys and Dolls must somehow cement his artistic footprints at Stratford this summer or I fear for the long term stability of the company. He is certainly capable if he chooses to concentrate his energies in Stratford rather than in New York or London. The large ensemble needs a “leader in residence,” and it is time for McAnuff to demonstrate that he truly believes in the importance of a true acting ensemble and not just star power. Whatever happens this season is sure to set the tone for many years to come.

While the US dollar has suffered the past three years against the Canadian dollar, this trip remains an outstanding value. And the US dollar has shown some renewed strength in recent months. With Broadway prices soaring to $100-$200 a ticket, it is hard to imagine that you could get more “bang for your entertainment buck” anywhere in the world than in Ontario, Canada.

STRATFORD SEASON AT A GLANCE

Festival Theatre
Macbeth – May 22 to October 31
West Side Story – April 11 to October 31
Cyrano de Bergerac - May 29 to November 1
A Midsummer Night’s Dream – August 7 to October 30

Avon Theatre
The Importance of Being Earnest – May 9 to October 30
Julius Caesar– May 23 to October 31
A Funny Thing Happened on the Way to the Forum – June 11 to November 1

Tom Patterson Theatre
Three Sisters May 9 to October 3
Bartholomew Fair – May 27 to October 2
Phèdre – August 6 to October 3

Studio Theatre
The Trespassers – July 26 to October 4
Rice Boy – August 11 to October 3
Zastrozzi – August 12 to October 3

David’s recommendations for the 2009 season
Julius Caesar (starring long time Shaw Festival company member Ben Carlson)
Cyrano de Bergerac (starring Colm Feore)
Phèdre (starring Seana McKenna and Roberta Maxwell)
The Importance of Being Earnest (starring Brian Bedford)
Bartholomew Fair (directed by Antoni Cimolino)

ALSO OF INTEREST AT STRATFORD
Family Series Events
Stageside Chats
Festival Tours
Celebrated Writers Series
Night Music – Special concerts each Monday evening June to August in the Festival Theatre
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.stratfordfestival.ca

TICKET PRICES
Range from $25.00 to $111.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-567-1600

ACCOMODATIONS
1-800-567-1600

I recommend the Swan Motel
1-519-271-6376
www.swanmotel.ca

Watch this space in August for reviews of many of the 2009 Stratford Festival productions.

David Grapes has been a theatre producer/director/playwright and freelance theatre journalist for over thirty years. He holds a BA in Theatre from Glenville State College and an MFA in Acting/Directing from the University on North Carolina at Greensboro.

2008-08-15T14:30:00.004-06:00

2008 Shaw Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

After The Dance (Royal George)
• Wonderful undiscovered play by Terence Rattigan
• Taut and insightful direction by Christopher Newton
• Strong cast lead by Patrick Galligan and Deborah Hay
• Nice supporting performance by Neil Barclay. While known primarily as a comedian Barclay’s last scene was quite simple and very poignant. He showed a dramatic range that unfortunately we do not get to see from Mr. Barclay very often
• Nice comic turn by the venerable Jennifer Phipps as a dotty maid and later an over zealous secretary
• The night we were in attendance Claire Jullien was on for Lisa Horner as Julia Brown and gave a big brassy performance. While she ahs done some strong work the past few years at the Stratford Festival the artistic leadership always struggled to find the proper roles for her talent. It was nice to see her in two plays here at Shaw that really suited her talent.
• Excellent pace and attention to period detail
• The set by William Schmuck was breathtaking and his costumes exquisite
• Nice ensemble work from the acting company (Jay Turvey, Ken James Stewart, Marla Mclean
• Actors and the audience were emotionally and intellectually engaged in a thought provoking play

The President (Royal George)
• The best performance of the season by Lorne Kennedy who not only gave us all a lesson in both fast- talking and side-splitting comedy. His vocal and physical work in this production were nothing short of amazing.
• I can’t remember laughing so hard since the late Heath Lamberts lit up the Shaw stage in the 1980’s
• It is hard to know how much of this marvelous mayhem was created by Kennedy or director Blair Williams. It looked like it was Kennedy at the helm but I am going to give Williams credit for keeping it all under control and in focus.
• An amazing set design by the gifted Cameron Porteous. Not only was it beautifully executed but it was funny. And it gave the ever-inventive Kennedy lots of opportunity to create silly stage business.
• The pace was full on in your face farce. You took your breaths between laughs so most of the time we were all gasping for air
• Funny funny character work from Jeff Meadows, Nicole Correia-Damude, William Vickers, Guy Bannerman and Thom Marriott (who conjured up memories for me of his brilliant Bottom in the “Cirque Midsummer” a few years back at Stratford)
• Performed as a lunchtime production with a running time of 50 minutes this show had more entertainment value than any show I saw at Shaw or Stratfor this season
• It is time to give Mr. Kennedy a crack at those silly English farces like One for the Pot

An Inspector Calls (Festival)
• Interesting visual design by Peter Hartwell. It was certainly had a “film noir” influence and featured a large warehouse looking structure in front of a platform which moved like the pendulum of a clock. While the design nearly occupied every square foot of the Festival Theatre stage it still had a claustrophobic feel that served the tension created in the plot
• Nice atmospheric lighting by Kevin Lamontte which was also supported by an evocative soundscape created by Paul Sportelli.
• Sharp focused direction by Jim Mezon. Well staged with inventive business. Nice transitional moments with the inspector before and between scenes. Coached some excellent performances from the acting ensemble.
• Benedict Campbell was a stand out as the Inspector. He was part film noir and part Brechtian
• I always felt that the actors were listening to each other and “in the moment”
• Well cast with uniformly strong performances across the veteran cast
• Good vocal and dialect work
• Watching the acting area move was an interesting visual for the audience
• A very classy and well produced production. A delightful and modern twist on an old chestnut of a script.
• Obviously it is time to give director Mezon some of the larger Shavian productions to mount on the large stage

Wonderful Town (Festival)
• A strong production of a seldom produced American classic
• Not the best Bernstein score but a Bernstein score none the less. Some witty lyrics by the late great songwriting team of Comden and Green
• Interesting unit set design by William Schmuck that was always transforming into a new location with drops and revolves. Schmuck received able support from Costume designer Judith Bowden
• Large cast with excellent singing chops
• Dancing was inconsistent and the choreography (Jane Johanson) did not always have an organic feel to it and was repetitious
• Nicely staged by Roger Hodgman
• Both female leads (Eileen – Chilinda & Kennedy Ruth –Lisa Horner) were triple threats. Horner in particular reminded me of a young Nancy Walker, Imogene Coco or Ruth Buzzi. Horner was funny, self deprecating and charming and almost single handedly held the flimsy plot line together. She and Kennedy had wonderful chemistry together and lit up the stage each time they appeared.
• Good supporting work by Thom Marriott and Lorne Kennedy (both of whom were so excellent in The President)
• A talented orchestra - well supported by sound designer John Lott

WORTH A LOOK
A Little Night Music (Court House)
Mrs. Warren’s Profession (Festival)
Belle Moral (Court House)
The Little Foxes (Royal George)

DON’T WASTE YOUR TIME
The Stepmother (Court House)
Getting Married (Royal George)

DID NOT ATTEND
Follies in Concert

2008-08-15T11:42:00.002-06:00

2008 Stratford Shakespeare Festival Season Reviews
By David Grapes

Productions are listed in order of preference

DON’T MISS!

The Trojan Women (Tom Patterson)
• Wonderful new script translation from Nicholas Rudall (a taut 1 hour and 40 minutes)
• Iconic and memorable performance by Martha Henry as Hecuba
• Strong supporting cast featured Seanna McKenna (Andromache) and Kelli Fox (Cassandra)
• Brilliant design concept from Stratford veteran John Pennoyer
• Marvelous use of the difficult Patterson stage and complex chorus work from director Marti Maraden
• Contained powerful visual images that were supported by solid vocal and character work
• Excellent pace and effective emotional variety
• Evocative sound design and original score by Marc Desormeaux (burning of Troy, percussion, choral singing)
• Nice ensemble work from the acting company (especially the chorus led by Severn Thompson)
• Actors and the audience were emotionally and intellectually engaged

Hamlet (Festival)
• Intelligent, quirky, funny, acerbic and idiosyncratic performance by Ben Carlson in title role
• Carlson handled the famous soliloquies well
• Stunning visuals (costumes, scenery) which created a more modern Danish court (Santo Loquasto)
• Interesting locations (pool room, piano salon, train station)
• Enjoyed the use of on stage piano music except for the one very “new age” song that Ophelia sang to an electronic synthesizer in act two
• Nice use of lantern effects
• Creative use of stage business
• Solid direction/concept and consistent interpretation from Adrian Noble
• The players were well acted
• Scott Wentworth seemed emotionally unengaged and spent a lot of the play stumbling and mumbling. He needed the ambition, ego and sexual appetite that he later demonstrated in Fuente Ovejune
• Maria Ricossa’s Gertrude was weak and unmemorable. She had very little command of the verse, projected a quality that was cold and asexual and lacked physical and vocal energy
• There was no sexual Chemistry what so ever between Claudio and Gertrude. I felt like they actually did not like each other very much.
• Ophelia seemed physically and emotionally awkward undefined in the first half of the play but her performance improved once she went mad
• Mature articulate performance by Geraint Wyn Davies as Polonius
• Combat from fight director John Stead at the end of the play was not well staged or executed and felt dangerous (in the wrong way) to the audience

The Music Man (Avon)
• Stunning “American Gothic” set design featuring a miniature main street by Patrick Clark
• Beautiful period costumes that really flowed well during the dance numbers
• Jonathon Goad made an excellent Harold Hill. He acted it well and held his own during the musical numbers. A smooth charismatic performance with just the right amount of testosterone. His Harold Hill had just a dash of Petruchio and Benedict which helped ground the performance
• Leah Oster as Marion sang well and was lovely to look at. Her transition from act one skeptic/loner to act two romantic cheerleader was one of the best I’ve ever seen. It enabled us to believe in Harold’s own transformation and decision to remain in River City at the end of the musical.
• Both of the children (Christopher Van Hagen and Aveleigh Keller) were excellent singers and adorable actors
• Wonderful quartet featuring the ever debonair Laird Williamson
• Nice directorial work and use of the Avon stage by American Susan H. Schulman
• Fiona Reid’s Mrs. Shinn was weak and lost most of the characters comic opportunities. Ms. Reid a capable actor seemed out of her element in the musical numbers and in River City in general
• Lee MacDougall’s Mayor Shinn was serviceable, however, I would have liked to have seen him played as a more formidable adversary for Harold which would have raised the stakes and created more dramatic tension (something this musical could use more of)
• Fantastic orchestra support under the capable baton of Berthold Carriere
• Nice ensemble work led by Sara Topham as Edith Toffelmier and Eric S. Robertson as Tommy Djilas
• A real audience favorite and a wonderful opportunity to bring children with you to the theatre

All’s Well That Ends Well (Festival)
• More excellent directorial work by Marti Maraden
• Play had a Chekovian feel to it
• Simple yet elegant set that allowed the play to flow and breathe
• Beautiful stage pictures on designer Christina Poddubiuk’s elegant setting
• Strong ensemble performances by Martha Henry, Jeff Lillico, Daniela Vlaskalic Brian Dennehy, Ben Carlson, Juan Chioran and Stephen Ouimette
• The strongest text work of the 2008 season
• Well cast right down to the smallest roles
• A simple well-spoken production. Full of beautiful language and characters that we could all care about
• A text book demonstration of how to effectively use the large festival stage to serve the actors and the work

There Reigns Love (Patterson)
• Warm charming performance of the sonnets by film and stage actor/authors Simon Callow who obviously has a deep love for the words and language of Shakespeare
• Interesting mix of poetry and theatre
• Well produced
• Nice pace and variety in Callow’s performance. The performance never became an academic lecture
• A rare opportunity to hear 80+ sonnets performed out load by a consummate actor with a mellifluous speaking voice

WORTH A LOOK
Cabaret (Avon)
Fuente Ovejuna (Patterson)
The Taming of the Shrew
Shakespeare’s Universe (Pavillion)

DON’T WASTE YOUR TIME
Love’s Labour’s Lost
Romeo and Juliet

DID NOT ATTEND
Caesar and Cleopatra (featuring Christopher Plummer opens August 17th)
Emilia Galotti (previews begin November 5)
Krapp’s Last Tape/Hughie (Starring Brian Dennehy – This production was SRO)
Palmer Park
Moby Dick

2008-06-13T17:11:00.001-06:00

THURSDAY, JUNE 5, 2008
Stratford Looks Better Than Shaw
From Richard Ouzounian at the Toronto Star:

"Each of our two major theatre festivals – Stratford and Shaw – has by now launched 50 per cent of their seasonal programming, making it a good time to take stock of things.

"The bottom line? This year, Stratford is offering its most exciting season in recent history, while over at Niagara-on-the-Lake it's just more of the same old – maybe even a little more so than usual.

"The simple fact is that, in this era of high fuel prices, lengthy border crossings and shrinking vacation budgets, you've got to do something spectacular to draw tourists to these theatrical destinations.

"Stratford seems to have found the right stuff to do it, but things in Niagara are looking increasingly problematic.

"Last season was Jackie Maxwell's fifth at the Shaw, replacing Christopher Newton after the latter had provided 23 years of prosperity and quality programming.

"Maxwell immediately ran into trouble. Although she could try to point to the SARS crisis as the major reason for declining audiences, that's not enough to explain the multi-million-dollar deficits she incurred in her first two seasons.

"No, the trouble was – and still is – her programming of the flagship Festival Theatre, which is the money engine driving the company.

"It doesn't matter that shows on the smaller stages like Rutherford and Son and Floyd Collins were huge critical hits.

"What's more to the point is that audiences stayed away in droves from Canadian plays like The Coronation Voyage and Nothing Sacred.

"In fact, the sole year in the past five during which Maxwell achieved a modest five-figure surplus from audience attendance (rather than fundraising) was when she introduced a mainstage musical in 2005 with Gypsy.

"But the following season, even though High Society was a huge audience favourite (despite universally appalling notices) the major reason for the festival's only near-million-dollar surplus in Maxwell's tenure was a 15 per cent increase in fundraising activity.

"Last year, the musical was Mack and Mabel, which failed to draw a crowd, and the deficit was close to $1 million again.

"This year? Maxwell opened with a drably cast, poorly staged, strangely directed version of An Inspector Calls that is not going to generate any excitement at the box office.

"The musical Wonderful Town got amiable reviews from most critics, but it, too, won't light any revenue fires. And the final show of the mainstage trifecta won't bow until July 18 when Maxwell's production of Mrs. Warren's Profession has its debut.

"It could be brilliant, but without any box office stars in the cast, I'm willing to predict it will face an uphill audience climb as well.

"Any trace of real invention seems to have vanished from the current programming. Remember those years when Shaw provided us with must-see shows like Cavalcade, Cyrano de Bergerac or The Women?

"Also, some of Maxwell's best actors (Ben Carlson, Evan Buliung, Trish Lindstrom, Mike Shara, Nicole Underhay) have defected to Stratford, television or other theatres.

"Well, as the beleaguered parson shouts out to the heavens in John Ford's Drums Along the Mohawk, 'Ammunition's getting mighty low, Lord!'

"Up in Perth County, there is considerably more buzz going on. Despite the nightmare events of mid-March when two-thirds of the Stratford Shakespeare Festival's artistic directorate resigned, things have been chugging along nicely.

"Even when the shows haven't completely succeeded (like Romeo and Juliet or Cabaret), the productions have displayed the kind of enthusiasm and new ideas that are the lifeblood of theatre. And any week that can boast three triumphs like Hamlet, The Music Man and The Trojan Women has certainly earned my admiration.

"Even though Michael Langham's Love's Labour's Lost was a boringly mistaken proof that what might have worked in 1961 was not so hot in 2008 and Peter Hinton's The Taming of the Shrew looked more like a graduate student's thesis than an actual production, the overall feeling was still high.

"So far this season, Stratford has contented itself with showcasing Canadian stars and I doubt anyone, anywhere, will get better reviews this summer than Ben Carlson, Jonathan Goad and Seana McKenna have earned so far in Hamlet, The Music Man and The Trojan Women.

"To stir up audience interest further, Brian Dennehy opens three shows in late June, while August brings Christopher Plummer back to home ice. There's also an exciting work by Lope de Vega, two new Canadian plays and Simon Callow in his one-man show about Shakespeare's sonnets.

"Think star power like that doesn't matter? The owner of one of Stratford's most prestigious restaurants told me that from the first preview of Plummer's Caesar and Cleopatra to the end of the season, he's almost fully booked.

"Let's make it clear. I'm not saying that every show being done at Shaw is bad and every one being staged at Stratford is good.

"But the new regime of Antoni Cimolino and Des McAnuff at Stratford is already looking like the start of a very promising theatre company.

"While over at Maxwell's House, the only thing stronger than the scent emanating from Niagara-on-the-Lake's fudge shoppes is the Eau de Masterpiece Theatre floating off its stages.

2008-05-21T13:54:00.002-06:00

FRIDAY, APRIL 25, 2008
Permanent Changes to Festival Theatre?
Production designs revealed in webcasts involve immense alterations to the Festival Theatre stage and sets that are too big to store in the building. But could there be permanent changes on the horizon for the landmark stage?

"Current festival management, which is contemplating these changes, denies that the original stage design is headed for the scrap heap. Rather, it simply suggests that the 1,800-seat Festival Theatre must become more adaptable to the wishes of the artists working there.

"'I love the original Moiseiwitsch design [pictured below] and we will always return to that whenever it is appropriate,' says Des McAnuff, the festival's new artistic director. 'But I'm interested in creating freedom for artists . . . The thing that's important to me is to create as much flexibility for directors and designers as possible.'

"Among Stratford purists, any radical overhaul of the Festival Theatre stage will be seen as a betrayal of the organization's founding principles.

"Guthrie and Moiseiwitsch wanted to bring the original sensibility of Shakespearean performance to Southern Ontario. Their starting point was an Elizabethan platform stage reaching out into the auditorium and surrounded on three sides by spectators. That was the concept dating back to the festival's earliest days in an outdoor tent.

"But that apparently is no longer enough. Stratford officials are cautious in discussing the future of the Festival Theatre - particularly with controversy continuing over the recent resignations of the organization's other two artistic directors, Marti Maraden and Don Shipley. But general director Antoni Cimolino admits that changes are in the air.

"'We are looking at all sorts of possibilities for the Festival Theatre,' Cimolino says. He emphasizes that 'we'll always have the Tanya Moiseiwitsch design available. What we want is to be able to provide flexibility for the directors and designers that are there. But absolutely, we will always have the Tanya stage.'

"But how frequently will the 'Tanya stage' be used under this new order?

"Sources close to Stratford say the Festival Theatre's future had become an issue of ongoing concern to Maraden and Shipley, although it was not the factor triggering their decision to resign their posts.

"Cimolino argues that periodic modifications have been made to the stage from the beginning and implies that the Moiseiwitsch design will remain - at least in storage.

"'The one thing that's decided is that any change that would be made would of course have to keep Tanya's stage there and available for any team that wants to use it. That's critically important.'

"This view may not pacify the school of thought that believes that the Moiseiwitsch stage is the heart and soul of Stratford.

"Under the regime of Robin Phillips, who served as artistic director from 1975 to 1980, the stage's centre balcony became movable, but Phillips was careful to preserve what he termed the stage's architectural philosophy.

"Phillips believed firmly that the glory of the Moiseiwitsch stage was that it challenged directors to rethink what they were doing, not to try and re- adapt its purpose to suit their particular needs.

"Cimolino, however, argues that the festival is acting responsibly. 'Those are things we have to do . . . part of creating exciting and dynamic theatre.'"

Article written by Jamie Portman for CanWest News Service.

Official Statement by Marti Maraden

2008-04-16T09:32:00.000-06:00

TUESDAY, MARCH 25, 2008
Maraden's Statement

At the end of last week, former Artistic Director Marti Maraden issued a statement to the Globe and Mail, which we received in pieces. Here is the original text, edited by the newspaper:  "I have loved the Stratford Festival since I first set foot on its stages in 1974. As both actor and director I have received from it gifts beyond measure. When I was asked to become one of three new artistic directors in a shared leadership of the Festival I was utterly thrilled. This was not only an opportunity for me to give back to a theatre which had given so much to me, but a chance to be part of a great adventure. Though an earlier attempt at a shared leadership had foundered, having never been given a chance to prove itself, I have always believed this model of governance could work very well, and, despite recent events, I still do.  "I wish the Stratford Shakespeare Festival all success and I wish it no harm, and precisely because of this my actions and decisions of the past few months have been consistently tempered by my concerns for its well-being. However, comments in the press on March 15, 16, and as recently as [March 22] by Antoni Cimolino and Des McAnuff have left me compelled to refute misleading statements.  "Impressions have been created that Don Shipley and I resigned in a sudden and impulsive manner.  "This is the history of my resignation.  "On December 3, 2007, I told Antoni Cimolino that I had great difficulty continuing as part of the Festival's leadership because of the lack of protocol for decision-making, and because of what was becoming his own ever-increasing involvement in artistic decision-making, including the virtually unilateral imposition of his agenda. Over the past months I have made it clear that I did not wish to harm the Festival, that I was determined to act with as much integrity as possible and that I would leave my position in a manner that would cause the festival as little disruption as possible. I repeatedly suggested that we delay the announcement of my departure until late summer and that I finish my year out as Artistic Director. Amicable discussions were held as recently as March 3 with the three Artistic Directors and Antoni confirming everyone's wish for a graceful transition.  "Don Shipley, who had been troubled for many months but who clearly had more optimism than I that the partnership might succeed, found it necessary to resign. I will not presume to speak for him but I will say that I understand and sympathize with his motives. At this juncture, still hoping that the announcement of our departures could be delayed for the Company's sake, I volunteered that as both of us were going to resign, it might be better for all concerned to make one announcement rather than staggered ones. I certainly wasn't expecting or wishing for an abrupt or immediate announcement. In discussions with Antoni no precise timing had been discussed and I continued to hope for as long a delay as possible.  "It would appear from statements in the press that Antoni was the only one to make a last ditch effort to salvage the partnership. In fact Don Shipley, desperate to find a resolution, created talking points to urge a solution. He persuaded me to agree that if certain fundamental conditions could be agreed upon that I might reconsider my decision to leave. I will confess that I wasn't optimistic, but agreed it was worth a sincere effort.  "On Wednesday, March 12, Antoni visited me briefly during a break from my rehearsal and asked me to speak to him that evening after I had finished work as no resolution had been achieved. After my rehearsal ended I went to his office. Antoni told me that Don's and my resignation would be announced the next day, and that settlement papers had already been drawn up. I was very surprised.  "Don Shipley and I never marched into Antoni's office offering our resignations abruptly and in tandem, though that is the impression created in the press I have previously quoted. The reason I haven't spoken before is that the settlement agreement given to me (which I have declined to sign) contains a clause limiting what can be said by either me or the Company to anyone, to the media, or to members or former members of the Board. I was prepared to sign the settlement for the sake of the Festival, its staff and its artists and in the hope and expectation that any statement made on behalf of the Festival re our departure would be fair to all parties. However, as Antoni Cimolino and Des McAnuff have spoken forth beyond these strictures and have left the public with a very misleading impression of the manner of my departure, I feel I must speak. An attempt was made to persuade me to issue a joint statement with the Festival. I declined. I need my own voice. To date, so far as I know, only Antoni, Des and the Board Chair, Richard Rooney, have had been heard.  "My original Stratford contract states that 'Maraden will report to the General Director of the Stratford Festival, along with her partners, and will have the creative responsibilities and authority of an artistic director of a not-for-profit theatre.' Though Antoni clearly held ultimate authority, he repeatedly told us that we three Artistic Directors were to make decisions regarding programming and hiring of artists and that he was there to let us focus on artistic matters while he looked after the Festival as a whole and sought the means to make our dreams and vision a reality. I would never have agreed to become part of this leadership if this had not been the understanding. However, the General Director's increasing involvement in artistic decision-making on large and small matters, especially as the 2009 programming began, and as I indicated earlier, a virtual unilateral imposition of the General Director's agenda made it impossible for me to continue. I felt more and more like an artistic associate.  "I cannot be an Artistic Director in name only. That would betray the Stratford Company's, the Board's and our constituents' belief and conception of the way in which its artistic leadership is functioning. Either a leadership is shared or it isn't.  "I don't think it can be disputed that I have l have lived up to the 'responsibilities that my contract imposes' with integrity. In my designate year I worked for ten months instead of the six months for which I was contracted. Though compensation for the additional time was modest, I didn't care. I loved the theatre and I wanted it to thrive.  "I have done my best to express my fundamental reasons for resigning and the timing and manner of doing so and hope this puts the matter to rest.  "The focus now rightly belongs to the actors, directors, designers, artisans, crews and staff of a great theatre in the midst of creating a new season. My focus belongs in the rehearsal hall and on the stages with them

2008-04-10T13:12:00.001-06:00

2008 THEATRE PREVIEW

Thoughts on the Stratford Shakespeare Festival/Shaw Festival 2008
By David Grapes – Arts Journalist
April, 2008

Those of you who are passionate about quality theatre here in the U.S. should consider a trip North across the Canadian border into Ontario and spend some serious time exploring North America’s two largest theatre festivals – The Stratford Shakespeare Festival and The Shaw Festival. While the American dollar is near an all time low, the entertainment value when compared to Broadway or London is high. And if you search the web, there are still some excellent airfare deals into Toronto’s Lester B. Pearson airport for about $450.00 to $600.00 from most major US airports. Rental cars are readily available at the Toronto airport. (Try Hotwire.com for the best airport rental rates) Driving time from the airport to either of the two festivals is less than two hours on four lane highways.

The Stratford Festival
Located in the bucolic hills of Southern Ontario in the working class town of Stratford, The Stratford Festival has grown from its humble beginnings in 1953 (two Shakespearean plays produced in a tent) to one of the largest and most respected theatre festivals in the world. Once in financial peril during the late 1980’s, the theatre has enjoyed a remarkable rebound both artistically and financially under the capable stewardship of Richard Monette (who officially retired last year) and Executive Director Antoni Cimolino. Now nearing the completion of a 50 million dollar capital and endowment drive, long time patrons have enjoyed improvements to all four of the Festival’s theatre venues, an upgrade in electronic services, and enhanced production quality on stage. Exciting indeed was the addition of a fourth stage known as the Studio Theatre located above the Avon Theatre. This small flexible space, which opened three years ago, is now home to new work by Canadian playwrights, workshops, and other more experimental productions. However, the Studio Theatre only seats 260 patrons which means that many many theatre goers will be shut out of tickets for Brian Dennehy’s two one act plays unless they purchase their tickets months in advance.

While the spring of 2008 got off to inauspicious start with the resignations of two out of the three artistic triumvirate Don Shipley and Marti Maraden, the lone artistic survivor Des McAnuff seems to be taking the bull by the horns and forging ahead despite all of the negative press.

Variety has always been a hallmark of the Stratford Festival, where works by Shakespeare, Marlowe, Moliere and Ibsen share the stage with Broadway musicals and the comedies of Noel Coward and although Shakespeare will dominate the large Festival Stage and American musicals the Avon stage the 2008 season remains eclectic and engaging. Before their departure Maraden, Shipley along with McAnuff programmed a stunning and visionary season for 2008. We have more Shakespeare than we have seen in years complimented by Shaw, Lope de Vega, Euripides, Beckett, and O’Neil. And while Shipley (who was to direct Dennehy in Krapp’s Last Tape and Hughie) has jumped ship, Maraden (a fine director) remains long enough to stage All’s Well That Ends Well and The Trojan Women. McAnuff, who has been traversing the world staging permutations of the hit Broadway musical Jersey Boys, will somehow find time to not only pick up the artistic pieces but also stage Romeo and Juliet and Caesar and Cleopatra (with Christopher Plummer as perhaps the oldest Caesar on record). Having seen a number of McAnuff’s directorial work at LaJolla and on Broadway, there is no question that he can have flashes of brilliance. However, he was never known in California as a believer in the importance of a true acting ensemble and his hiring of Americans to play pivotal roles like Juliet has already rankled many of the old guard in the acting company. It will be interesting to see if he pursues this course for 2009, or returns to a more tradition approach to hiring the company. Whatever happens, I certainly wish him well. Stratford needs a strong focused artistic leader and the world needs a theatre like Stratford. You can’t run the largest theatre festival in the world from a cell phone or a seat on an airplane.

While the US dollar has suffered this year against the Canadian dollar, this trip remains an outstanding value. With Broadway prices soaring to $100-$200 a ticket, it is hard to imagine that you could get more “bang for your entertainment buck” anywhere in the world than in Ontario, Canada.

SEASON AT A GLANCE

Festival Theatre
Romeo and Juliet – May 26 to November 8
Hamlet – May 27 to October 26
The Taming of the Shrew - May 31 to October 25
All’s Well That Ends Well – June 27 to August 23
Caesar and Cleopatra – August 17 to November 9

Avon Theatre
The Music Man – May 28 to November 1
Cabaret – May 29 to October 25
Emilia Galotti – November 6 to November 9

Tom Patterson Theatre
The Trojan Women – May 30 to October 5
Love’s Labour’s Lost – May 31 to October 4
Fuente Ovejuna – June 27 to October 4
There Reigns Love – July 13 to August 3

Studio Theatre
Krapp’s Last Tape and Hughie – June 28 to August 31
Palmer Park – August 16 to September 21
Moby Dick – August 17 to October 18

Festival Pavilion
Shakespeare’s Universe – July 25 to September 28

David’s recommendations for the 2008 season
Hamlet (starring long time Shaw Festival company member Ben Carlson)
All’s Well That Ends Well (directed by Maraden and starring American theatre icon Brian Dennehy)
The Trojan Woman (starring Martha Henry))
Love’s Labour’s Lost (directed by Richard Monette subbing for the ailing Michael Langham)
Fuente Overjuna (starring Jonathon Goad, Severn Thompson and Scott Wentworth)

ALSO OF INTEREST AT STRATFORD
Family Series Events
Stageside Chats
Festival Tours
Celebrated Writers Series
Night Music – Special concerts each Monday evening June to August in the Festival Theatre
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.stratfordfestival.ca

TICKET PRICES
Range from $22.00 to $109.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-567-1600

ACCOMODATIONS
1-800-567-1600

I recommend the Swan Motel
519-271-6376
www.swanmotel.ca

The Shaw Festival
Located in historic Niagara on the Lake (30 miles North of Buffalo 120 Miles South of Toronto) along the beautiful Lake Ontario shoreline The Shaw Festival is the only theatre in the world that specializes exclusively in plays by George Bernard Shaw and his contemporaries. During the last two decades, under the artful and highly creative leadership of director/actor Christopher Newton, the Shaw not only earned a reputation for innovative programming, stunning visuals, but also witnessed Newton assemble one of the finest acting ensembles on the planet.

And while Stratford struggles to find who has a hold of the wheel of the artistic ship at Shaw, Artistic Director Jackie Maxwell (now in her fourth season as Artistic Director) continues to produce excellent work as she explore the Festival’s expanded artistic mandate including newer musicals and American classics.

While the acting ensemble remains strong, Maxwell did lose several of her best actors to Stratford this season. Certainly as issue that will need to be addressed, if she wishes to maintain the festival’s reputation for true ensemble performances. You can’t afford to lose actors like Jim Mezon, Ben Carlson, Nora McLellan and Kelli Fox. Fortunately, at least Mezon is set return to direct An Inspector Calls now that Neil Munro has been taken ill.

Maxwell, who was only partially successful with her staging of Shaw’s Saint Joan last year will tackle Shaw’s more accessible social commentary Mrs. Warren’s Profession and the first Canadian production of Githa (Rutherford and Son) Sowery’s play The Stepmother.

SEASON AT A GLANCE

Festival Theatre
An Inspector Calls – April 17 to November
Wonderful Town – April 1to October 5
Mrs. Warren’s Profession – July 6 to November 1
Follies: The Concert – August 29, September 12 and27, October 4

Royal George Theatre
Getting Married – April 11 to November 1
The Little Foxes – May 3 to November 1
After the Dance – June 25 to October 5
The President – June 7 to October 4 (lunchtime)

Court House Theatre
The Stepmother ¬– April 29 to October 4
A Little Night Music – June 1 to October 4
Belle Moral – July 12 to October 5

David’s recommendations for the 2007 season
An Inspector Calls (Directed by Jim Mezon and starring Benedict Campbell)
Mrs. Warren’s Profession and The Stepmother (Directed by Jackie Maxwell)
Getting Married (Directed by Joseph Ziegler and starring Peter Krantz)
The Little Foxes (Featuring a great ensemble cast)

ALSO OF INTEREST AT OR NEAR THE SHAW FESTIVAL
Bell Canadian Reader’s Series
Niagara Falls
Old Fort Erie/ Old Fort Niagara
Wine country excursions
Lake activities
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.shawfest.com

TICKET PRICES
Range from $25.00 to $105.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-511-7429

ACCOMODATIONS
NIAGARA-ON-THE-LAKE CHAMBER of COMMERCE RESERVATION SERVICE (CCA) 905-468-1950. In the Court House on Queen Street, Box 1043, Niagara-on-the-Lake L0S 1J0. www.niagaraonthelake.com Reservation service for 1700 plus rooms, representing every hotel and a collection of approved inns, cottages and bed-and-breakfast homes. For a quality experience, let our trained specialists help you select CCA (Chamber of Commerce Approved) accommodation. All price ranges represented.

NIAGARA-ON-THE-LAKE BED and BREAKFAST ASSOCIATION (BBA) 905-468-0123 or 1-866-855-0123. Box 1228, Niagara-on-the-Lake L0S 1J0. www.bba.notl.on.ca Members are identified by BBA in the listings. Call or visit our website for a free availability search or to book online. We maintain high standards and adhere to a code of ethics. Book with a member.

ABOUT HISTORIC BED and BREAKFASTS IN OLD TOWN CENTRE www.historicbb.com These private homes, built before 1850, are within 4 short blocks of a theatre, dining and shops. Visit our website or contact the following homes in the Bed and Breakfast section: Adam Lockhart’s Storrington House, Annette Twining House, Apple Tree Bed and Breakfast, Barrett Cottage, B&B’s “Pacific”, Blaney House, Burns House, Davy House, Regent House, The Rogers-Harrison House, Royal Manor, Saltbox 1820 Cottage, Schoolmaster’s House. Open year-round. Central air. Full breakfasts. Private parking. Smoke-free. All rooms have private ensuite bathrooms. $100-$195.

ACCOMMODATION ALTERNATIVES NIAGARA www.accommodationalternativesniagara.com A fine selection of licensed cottages, apartments and homes in Niagara, suitable to those who prefer privacy and self-catering accommodations. Nightly from $85, weekly from $550.

Watch this space in August for reviews of many of the 2008 productions.
David Grapes has been a theatre producer/director/playwright and freelance theatre journalist for over thirty years. He holds a BA in Theatre from Glenville State College and an MFA in Acting/Directing from the University on North Carolina at Greensboro.

2007 Stratford/Shaw Festival Preview

2007-06-29T10:36:00.001-06:00

THEATRE PREVIEW

Thoughts on the Stratford Festival/Shaw Festival 2007
By David Grapes – Arts Journalist
June, 2007

Those of you who are passionate about quality theatre here in the U.S. should consider a trip North across the Canadian border into Ontario and spend some serious time exploring North America’s two largest theatre festivals – The Stratford Festival and The Shaw Festival. You can find some excellent airfare deals into Toronto’s Lester B. Pearson airport for about $350.00 to $500.00 from most major US airports. Rental cars are readily available at the Toronto airport. (Try Hotwire.com for the best airport rental rates) Driving time from the airport to either of the two festivals is less than two hours on four lane highways.

The Stratford Festival
Located in the bucolic hills of Southern Ontario in the working class town of Stratford, The Stratford Festival has grown from its humble beginnings in 1953 (two Shakespearean plays produced in a tent) to one of the largest and most respected theatre festivals in the world. Now, celebrating its 55th season, actor turned director Richard Monette leads the festival for one last year before his announced retirement (after 14 remarkable years) at the end of the 2007 season. Once in financial peril during the late 1980’s, the theatre has enjoyed a remarkable rebound both artistically and financially under the capable stewardship of Monette and Executive Director Antoni Cimolino. Now nearing the completion of a 50 million dollar capital and endowment drive, long time patrons have enjoyed improvements to all three of the Festival’s theatre venues, an upgrade in electronic services, and enhanced production quality on stage. Exciting indeed was the addition of a fourth stage known as the Studio Theatre located above the Avon Theatre. This small flexible space, which opened three years ago, is now home to new work by Canadian playwrights, workshops, and other more experimental productions.

Variety has always been a hallmark of the Stratford Festival, where works by Shakespeare, Marlowe, Moliere and Ibsen share the stage with Broadway musicals and the comedies of Noel Coward and the 2007 season is no exception. Outgoing Artistic Director Richard Monette has once again programmed a stunning and visionary season for 2007. Having already completed the Herculean task of producing the entire Shakespearian cannon at Stratford while artistic director (the only AD at Stratford to ever complete that task), Mr. Monette has once again challenged his audiences by programming a very diverse and eclectic 2007 season that will include: Brian Bedford as Lear, a production of the often controversial Merchant of Venice featuring film star Graham Greene as Shylock, a staging of Harper Lee’s quintessential American tale To Kill a Mockingbird with Peter Donaldson, the return of Stratford’s favorite songbird Cynthia Dale in the Gershwin musical revue My One and Only, and Albee’s A Delicate Balance, which was to have starred the recently deceased great Canadian theatre icon William Hutt. So, as Mr. Monette prepares to lay down the artistic reins of North America’s largest theatre festival, he has also thrown down the artistic gauntlet to his trio of successors.

While the US dollar has suffered this year against the Canadian dollar, this trip remains an outstanding value. With Broadway prices soaring to $100-$200 a ticket, it is hard to imagine that you could get more “bang for your entertainment buck” anywhere in the world than in Ontario, Canada.

SEASON AT A GLANCE

Festival Theatre
King Lear – May 1 to October 28
Oklahoma – April 10 to November 4
The Merchant of Venice - May 5 to October 27
An Ideal Husband – July 31 to October 27

Avon Theatre
To Kill a Mockingbird – April 30 to October 27
My One and Only – May 12 to October 26
The Comedy of Errors – May 17 to October 21

Tom Patterson Theatre
Othello – May 21 to September 22
Of Mice and Men – June 5 to September 22
A Delicate Balance – July 29 to September 23

Studio Theatre
The Blonde, the Brunette and the Vengeful Redhead – May 17 to September 2
Shakespeare’s Will – June 23 to September 20
The Odyssey – July 27 to September 28
Pentecost – August 3 to September 21

David’s recommendations for the 2007 season
King Lear (starring Brian Bedford)
An Ideal Husband (directed by Monette and starring Tom McCamus)
The Blonde, the Brunette and the Vengeful Redhead (starring Lucy Peacock)
Of Mice and Men (directed by Martha Henry)
My One and Only (starring Cynthia Dale)

ALSO OF INTEREST AT STRATFORD
A Salute to Richard Monette – September 17
Family Series Events
Celebrated Writers Series
Night Music – Special concerts each Monday evening June to August in the Festival Theatre
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.stratfordfestival.ca

TICKET PRICES
Range from $20.00 to $120.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-567-1600

ACCOMODATIONS
1-800-567-1600

I recommend the Swan Motel
519-271-6376
www.swanmotel.ca

The Shaw Festival
Located in historic Niagara on the Lake (30 miles North of Buffalo 120 Miles South of Toronto) along the beautiful Lake Ontario shoreline The Shaw Festival is the only theatre in the world that specializes exclusively in plays by George Bernard Shaw and his contemporaries. During the last two decades, under the artful and highly creative leadership of director/actor Christopher Newton, the Shaw not only earned a reputation for innovative programming, stunning visuals, but also witnessed Newton assemble one of the finest acting ensembles on the planet.

Now after firmly establishing her artistic credentials, Artistic Director Jackie Maxwell (now in her third season as Artistic Director) continues to explore the Festival’s expanded artistic mandate. For example under Newton’s more strict mandate the 2004 season production of the musical Floyd Collins, the 2005 productions of Gypsy and Belle Morale and the 2006 productions of The Magic Fire and The Invisible Man would have never been presented, even though they were all ideal pieces for the Shaw’s great acting ensemble. Last season’s continuation of the policy to produce a large American Musical on the Shaw mainstage (High Society) has paid off in spades – both artistically and financially. For 2007 Ms. Maxwell will attempt to build on that momentum when she again programs the rollicking albeit obscure Jerry Herman musical Mack and Mabel on the Festival Theatre stage. This season the Shaw Festival continues its tradition of producing 10 shows in their three unique venues.

Adding to the wealth of talent she inherited from Newton, Maxwell and her team have continued to deliver the artistic goods. This season she continues to expand the stylistic offers at the Royal George Theatre producing Somerset Maugham’s rarely produced mini-masterpiece The Circle, Shaw’s brilliant comedy The Philanderer and Tennessee Williams’s Summer and Smoke. Other highlights of the 2007 season include the return of Christopher Newton to direct The Cassilis Engagement – A Mothers Comedy by St John Hankin, Shaw’s brilliant comedy The Philanderer and Tennessee Williams’s Summer and Smoke.

Maxwell, who has already proved her metal with an outstanding productions of Picnic, Bus Stop and Gypsy, will take a whack at Shaw’s most demanding drama Saint Joan.

SEASON AT A GLANCE

Festival Theatre
Saint Joan – April 21 to October 27
Mack and Mabel – April 3 to October 28
Hotel Peccadillo – May 31 to October 27

Royal George Theatre
The Circle – April 10 to October 28
The Philanderer – May 1 to October 7
Summer and Smoke – June 2 to September 24

Court House Theatre
A Month in the Country ¬– April 29 to October 6
The Cassilis Engagement – May 29 to October 5
Tristan – July 12 to October 6
The Kiltartan Comedies – June 20 – October 6 (lunchtime)

David’s recommendations for the 2007 season
Saint Joan
Hotel Peccadillo
The Circle
The Cassilis Engagement
Tristan

ALSO OF INTEREST AT OR NEAR THE SHAW FESTIVAL
Bell Canadian Reader’s Series
Niagara Falls
Old Fort Erie/ Old Fort Niagara
Wine country excursions
Lake activities
A wide assortment of classes, workshops, special events.

PLAY INFORMATION
www.shawfest.com

TICKET PRICES
Range from $22.00 to $95.00 (Canadian $)
Rush seats are available day of show
There are also excellent student discounts and group rates available

BOX OFFICE
1-800-511-7429

ACCOMODATIONS
NIAGARA-ON-THE-LAKE CHAMBER of COMMERCE RESERVATION SERVICE (CCA) 905-468-1950. In the Court House on Queen Street, Box 1043, Niagara-on-the-Lake L0S 1J0. www.niagaraonthelake.com Reservation service for 1700 plus rooms, representing every hotel and a collection of approved inns, cottages and bed-and-breakfast homes. For a quality experience, let our trained specialists help you select CCA (Chamber of Commerce Approved) accommodation. All price ranges represented.

NIAGARA-ON-THE-LAKE BED and BREAKFAST ASSOCIATION (BBA) 905-468-0123 or 1-866-855-0123. Box 1228, Niagara-on-the-Lake L0S 1J0. www.bba.notl.on.ca Members are identified by BBA in the listings. Call or visit our website for a free availability search or to book online. We maintain high standards and adhere to a code of ethics. Book with a member.

ABOUT HISTORIC BED and BREAKFASTS IN OLD TOWN CENTRE www.historicbb.com These private homes, built before 1850, are within 4 short blocks of a theatre, dining and shops. Visit our website or contact the following homes in the Bed and Breakfast section: Adam Lockhart’s Storrington House, Annette Twining House, Apple Tree Bed and Breakfast, Barrett Cottage, B&B’s “Pacific”, Blaney House, Burns House, Davy House, Regent House, The Rogers-Harrison House, Royal Manor, Saltbox 1820 Cottage, Schoolmaster’s House. Open year-round. Central air. Full breakfasts. Private parking. Smoke-free. All rooms have private ensuite bathrooms. $100-$195.

ACCOMMODATION ALTERNATIVES NIAGARA www.accommodationalternativesniagara.com A fine selection of licensed cottages, apartments and homes in Niagara, suitable to those who prefer privacy and self-catering accommodations. Nightly from $85, weekly from $550.

Watch this space in August for reviews of many of the 2007 productions.

David Grapes has been a theatre producer/director/playwright and freelance theatre journalist for over thirty years. He holds a BA in Theatre from Glenville State College and an MFA in Acting/Directing from the University on North Carolina at Greensboro.