Celebrating Learning Opportunities for Community Theatre Practitioners at Theatre Ontario Festival

Theatre Ontario Festival features a variety of educational events for the passionate, dedicated community theatre practitioners. Highlights included:

• Detailed adjudication of Curved, presented by Gateway Theatre Guild
• Detailed adjudication of Boeing Boeing, presented by Northumberland Players
• Detailed adjudication of 33 Variations, presented by Theatre Sarnia
• Detailed adjudication of The Drowning Girls, presented by The Curtain Club
• Comedy Scene Study workshop, with Michelle Jackett-Webster
• Playwright-in-Person with Donna-Michelle St. Bernard
• Stage Combat 101 workshop, with Joshua Bainbridge

Plus… catch-up on all of the social conversation from Theatre Ontario Festival 2016 on Storify

Highlights of the Detailed Adjudication of The Drowning Girls at Theatre Ontario Festival 2016

By Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Mimi Mekler of The Curtain Club’s production of The Drowning Girls by Beth Graham, Daniela Vlaskalic and Charlie Tomlinson (representing the Association of Community Theatres—Central Ontario—ACT-CO)

• Play requires water effects: characters in bathtubs, showers overhead—numerous issues to address (risk of mildew, electrical safety, temperature, hygiene, etc.); operation requires them to work independently of each other; explored different strategies.
• In original production, raked the stage from 15-feet at the front to 11-feet at the back to drain U.S. into a trough; too complicated to rake the state here, so created a lip.
• Varied temperature according to needs of actors, as best as possible. They always felt safe performing.
• Costumes experimented with different fabrics, eventually built the underwear and dresses out of curtain material that was sheer and dried quickly.
• Strength of production was its simplicity: specific and crystal clear
• What are the challenges and traps of the play? Director’s concept was of a purgatory. Bessie arrives first, alone until Alice arrives as playmate. Margaret is the new girl who shows up and hast to be taught the games—28 games in total.
• Props: The newspapers was created, found authentic stories to ground it in reality, and then sprayed (essentially a scotch-guard) so that they were water-safe and could be pulled out of the bathtub.
• The play has the qualities of a memory play: How do you make them active? Where do the characters make their discoveries?
• Alice and Margaret each have moments of discovery in narrative, Bessie is more challenging because she constantly forgave him, and gave him the template for his future actions—for her, it is in the gasp after the murder.
• Characters of Alice’s mother, the landlady are interesting—offered the women help but refused.
• Margaret’s realization when she is alone and has time to think that she doesn’t really know him—in spite of her background, wouldn’t she be more modest because of that discovery?
• Is there a moment of discovery that he is the same man? The clang of the prison door suggested something in common, recognized echoes and similarities. Needed clarity of that recognition.
• Blaming the victim encapsulated in that moment of “How could they be so stupid?”
• Thank goodness they were funny: the audience wouldn’t be able to take the play without the humour.  (Good example was Margaret pulling out the reading glasses, a moment we all recognized.)
• Why laughter at the end? Their journey is complete, and they are free from the purgatory. Did the audience reach that same point of sharing that joy?
• Fog and harmonium set the mood in the opening.
• Charades executed with great clarity.
• Crisp and clean calling of cues by the stage manager.
• Good costume choices: Margaret has buttons in the front because she has no one to help her.
• Lights had some difficulty balancing the level for the three tubs, in available time.
• Accent work of other characters was odd (protagonists are to be played without accents), but it grew over the course of the show.
• Good theatrical magic: props seeming to appear out of nowhere.
• The “stuttering” lighting effect of the period movie was extremely well-executed: established a convention and mood, but stopped because it would have been too much for the entire scene to be lit that way.
• The image of the dancing was another clear image: contrasts of varying heights, body types,  blonde/brunette/redhead, etc.
• Alice giving the pearls to George was a well-executed symbolic moment that clearly communicated scope of what he did.
• Bessie as the insurance salesman—good vocal work to become much more resonant to distinguish the character.  As the doctor, she took great pleasure in playing a horrible man.
• The scene with the cleaning ladies is a problematic, long scene. Good use of physical blocking around the tubs to show variety. Tried different accents for the three characters, with the tentative looks above. Would they have benefitted from being more personally affected by the events?
• Pouring water into the bathtubs—didn’t hear the sound of the water pouring, perhaps pouring from a greater height. Problem is that the water levels are not that high.
• Strong transformation into and through singing of Nearer My God to Thee.
• Hard to duplicate lighting effect in home theatre where the LEDs seemed to change the colour inside of the tubs.
• Production was expected to be a challenge for their audience, but it resonated positively with them.

As always, this is my best effort to record the conversation at the Detailed Adjudication, with a standard apology for any misrepresentations of the ideas of the adjudicator and the members of the company. Corrections and clarifications are welcome in the comments.

Highlights of the Detailed Adjudication of 33 Variations at Theatre Ontario Festival 2016

By Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Mimi Mekler of Theatre Sarnia’s production of 33 Variations by Moisés Kaufman (representing the Western Ontario Drama League—WODL)

• Director’s research process began two years ago; actor handled research of ALS; learned that even research can lead astray (pronunciation correction that came up following their performance in WODL Festival); virtual tours of the places described.
• Gertie’s German accent involved Skyping with a friend in Germany.
• Conversation with actors around their goals, objectives, tactics for each character.
• Is assisted death legal in Germany? If so, why not in the hospital? Company believed character would want it at home.
• Used projections as required in script; established pre-show with the title of the play and single light on the piano.
• Opening moment: the pianist behaving as if starting a concert.
• Good choice in set design to use piano benches as furniture.
• First audience laugh in the opening scene—line helps us recognize the character and go with her
• Diabelli’s costume—Could it have told us more about his personality, beyond shabby and worn (needs money), evolves as his status grows.
• What is the status between Schindler and Diabelli; Diabelli is lower status, trying to grow his company.
• Katherine was well blocked in the negotiation scene between Diabelli and Schindler: demonstrating she is “immersed” in her work.
• Brought great clarity of choice to Katherine—there is no other possibility for her than work.
• The next Diabelli / Schindler scene had a lot of presentational blocking.
• Mike and Clara at the tech support office: Find ways to “turn up the heat” in this scene between them. Why does she kiss him? A thank-you for a break in the stress of being a caregiver. When we’re feeling stressed, the moment that makes us cry is when someone is nice to us. Explore these significant moments.
• Beethoven’s hair—he walked on stage and got a laugh, which was not the intention. Went to a place of caricature. They realized at performance that it was bigger than it had ever been before.
• Found ways to use projection scenes when not projecting by showing images of windows.
• Gertie’s initial costume made her seem dowdy, but the remainder of costumes were successful.
• Projection of the archives room was challenging: hard to convey size of the room on the smaller screens.
• One folio was small and hard to read in projection; may have benefitted from giving up realism.
• Strong balance of sound, awareness of music.
• Mike’s tie for the date was a great choice of costuming: he got dressed up, but he clearly has odd taste in clothes.
• Find ways to bring specificity and focus to the stakes in a scene: Example was the “When will it be ready?” scene between Beethoven, Diabelli, Schindler.
• Excellent projection at train station; nice intimate bench as set piece to physically force Katherine and Gertie together; great clarity between the two.
• Disco music—Did they try keeping it going? Experimented at rehearsal but decided to keep it like the other sound cues. The pounding music does reinforce Mike and  Clara’s relationship, similar to the way Beethoven’s music does.
• X-ray scene was extremely tasteful: brief flashes of light gave us impressions, sound cues were percussive, with actor’s breath over top of it; moment ends with Katherine leaning on Beethoven’s back.
• Blocking of finale of Act One: Choice made between options of realism vs stylized; carefully choreographed.
• The walker brought colour onto the stage; fortunate that it fit the colour scheme.
• Opening monologue—Mike and Clara were not frozen (which had previously been convention), drew focus.
• Well-executed comedy: humour is not in the line, but in the reaction to the line.
• Beethoven’s hair—Was it possible for the greying to layer over time? No, given backstage logistics, actor’s own hair.
• Schindler’s active listening while Katherine is discovering the lies in his biography, example of how you can own a moment without having dialogue.
• Cafeteria scene was extremely well-blocked with straight line, order of characters.
• Beethoven wandering while composing—Director wanted him to take up the full-stage; the fugue as struggle in all spaces. Did they ever try the monologue in stillness, with the full stage lx eventually reducing itself to a spotlight? Did his movement convey to us anything we didn’t already know.
• Clarity of Gertie’s accent was excellent—carried through to the final words of sentences. Emotionally she is withdrawing, theatrically she must keep going.
• The stakes of the Katherine/Gertie friendship falling apart were high and well-played.
• Wonderful directorial choice of the wheelchair dance, which was not written into the script.
• Kyrie was lovely to hear—strong vocal range by the cast.
• Great contrast of Katherine playing the opposites in the subsequent hallucination scene.
• Chose not to use the German pronunciation of Beethoven to keep it simple for the audience.
• The cuddle between Katherine and Clara in the bed was a wonderful, active choice.
• Minuet steps were historically accurate.
• Vocal warm-ups included singing Kyrie on piano; had homework and exercises to find their own.
• Props creation involved significant detail, and read well.

As always, this is my best effort to record the conversation at the Detailed Adjudication, with a standard apology for any misrepresentations of the ideas of the adjudicator and the members of the company. Corrections and clarifications are welcome in the comments.

Highlights of the Detailed Adjudication of Boeing Boeing at Theatre Ontario Festival 2016

By Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Mimi Mekler of Northumberland Players’ production of Boeing Boeing by Marc Camoletti, translated by translated by Beverly Cross and Francis Evans (representing the Eastern Ontario Drama League—EODL)

• Farce plays in a particular style
• It was the director’s first farce; as an actor he was told once to take a good laugh and break into three—the science and experimentation of it appealed to him
• They worked with their props early; set was taped out for them
• Wanted to ensure character drove the comedy; director says he loves cheap laughs but he wanted them all to be earned
• Moments were shaped by circumstances (e.g. reminding them what’s behind the door)
• The women characters can’t be played as stupid—they don’t figure out what’s going on because they’re confident in the relationship
• Design was bold, primary and secondary colours, bright and well-lit; Matisse painting placed it in France; porthole in kitchen door created an opportunity for a good pay-off
• Bright white furniture but the arrangement of it was very straight; adapted set from 32-feet to 24-feet between original production in Cobourg and EODL Festival in Peterborough; decided not to expand it back for Theatre Ontario Festival; needed functionality and so the cast had pathways; also made good use of U.S. playing area
• How accurate were the costumes?: Researched colours, etc. but needed to be functional as well (e.g. a skirt slit in the right place in order for the actress to be able to jump into a character’s arms), colours were carried into lingerie, towels, etc.
• Why did they mic? Audio concerns, especially with the accents potentially affecting comprehension
• Opened with cel-phone announcements in style of aircraft messages
• The opening dance between Gloria and Berthe; not scripted, and established immediately for the audience that we are in a comedy. Why would they dance? Berthe is reluctant, Gloria draws her in, they have a history.
• Berthe is the only working class character in the play—she transgresses her class; from the commedia dell’arte tradition of the clever servant who runs everything
• How “American” was Gloria? Actress established her as not from the city, her flight attendant training would have trained any brash accent out of her. The other two flight attendants are clearly types: Italian hothead, German romantic—American what?
• Company had started rehearsals with the 1962 script, and then received the 2008 script which changed nationalities (Bernard was French, Robert was British, Gabriella was French etc.), numerous changes to be less offensive, subtle changes in some of the lines
• Vocal work: Gloria could have relaxed more, Berthe played effectively with speed in her delivery
• Make strong exits: Exit on the period rather than the last word
• Robert brought beige palette into the costuming
• Bernard breaks the fourth wall (established convention), able to find someone in the audience easily
• Well-executed effect of the hidden shelf in the desk with the flight schedules
• Would you understand the play if you turned down the sound? Bernard’s moment with the globe was a clear communication without the words
• Berthe leaning over Robert—this is an example of the transgressive behaviour that needed reactions from the other characters
• Always support accents to the end of the dialogue; vocal warm-ups are needed
• Bernard and Robert talking about the letter: good example of comic mirroring for physical laughs
• End of Act One with the men dancing to the music (unheard to them) was another fun theatrical touch
• Robert and Berthe sitting on the suitcase: good example of using something in a way differently than intended, but again—acknowledge her transgression
• Berthe’s drink gag was a great solution to a sequence with a lot of dialogue; would have benefitted from rehearsal so she could be on top of the actions, fully confident doing it
• Gretchen’s melodramatic choices gave her range; hair and make-up (distinct brows, buns) supported character
• Lovely moment of Gretchen enjoying the pillow
• The person who loaned them the couch didn’t want it returned after seeing how lasciviously it was used
• Act Two is when Robert begins to step out of his own persona and try on different personalities
• Good use of physical comedy double-takes for reveal that both Gabriella and Gretchen are there
• Puppet show behind the sofa—visibility underneath the sofa was an opportunity discovered when they got the furniture and saw the height they had underneath
• Physical comedy needs to read as truthful: Robert grabbing Bernard’s bum in the three-way hug with Gretchen didn’t read as accidental
• Gabriella evolved into the Italian “tough guy”—found many of her hand gestures online to emphasize words and moments; some were wonderful, a few needed more precision and clarity (less rushed)
• Robert’s “everybody’s going out” breaking the fourth wall towards the end of Act Two—less effective as it read as “rushed”, unclear if it was intended to break the fourth wall
• Top of Act Three settles back into realism
• Berthe comes in while Robert and Gretchen are holding hands; even if she didn’t see them, they needed to react as if she might have
• Establish payoffs to gags early—How did Robert know that the footstool opened before he used it?
• Gloria took her time well with the underwear; both made the most of this moment of discovery
• “It’s not impossible” establishes a different flavour in Gloria and Robert’s relationship
• Script continuity issues start to appear in Act Three—a uniform is taken off in the bathroom, and put back on in a bedroom
• Full company commitment to comedy: Berthe enters with a cleaver and a rubber chicken, the props offered to find a live chicken
• Berthe’s Act Three costume with hat coat and bag created a new look, good visual variety
• Robert not recognizing the telephone rings was a running gag—so it needed a “button” on the final telephone call
• Curtain call with dancing, flight attendant gestures, etc. was a fun way to finish the production

As always, this is my best effort to record the conversation at the Detailed Adjudication, with a standard apology for any misrepresentations of the ideas of the adjudicator and the members of the company. Corrections and clarifications are welcome in the comments.

Highlights of the Detailed Adjudication of Curved at Theatre Ontario Festival 2016

By Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Mimi Mekler of Gateway Theatre Guild’s production of Curved by Kristin Shepherd (representing QUONTA.)

• This was a premiere production of a new work – what was the process like?  Company wouldn’t leave the playwright alone, concerned about characters and how to portray, needed to learn to make own decisions
• Director described it as a sometimes painful birth
• Text is open to interpretation: playing what it means, trying opposites
• First performed in the Fall; relationships have developed between characters
• One performer described process as still going: in a house of mirrors, in a maze, sometimes hitting walls
• Also found joys in doing a character for the first time; unable to research other perspectives, finding hints to interpretations
• Plays has two structural elements: characters at microphone “stand-up comedy” vs. “traditional” interior scenes
• Opening stand-up scene: Director gradually grasped answers to questions—what are we trying to do to the audience? What is the relationships among the five characters in the first scene?
• Interpreting text: Who is the audience for the stand-up comedy? Are they allies or judges? Dell is trying to claim them and to impact the others
• Bring clarity to moments: When Granny Wave was listening to Dell, the intention was unclear? Her goal was for Dell to pull up her boot-straps…what action would bring clarity to that moment, and help us understand the dynamic between their characters?
• The opening scene is exposition, and actors cannot play exposition; need to always answer the question: What do I want from my scene partners? When it involves direct address to the audience, that question includes them—what do you want from them? Wavy interrupting Dell was a great example of that clarity in relationship between characters.
• What impels the characters to break out of a scene into the stand-up comedy?—Similar to why does a character burst into song in a musical? The most successful example of that was Chloe in the final scene—the tension in it drove her out of the scene.
• How did the cast become comfortable with the “taboo” sexual language? Company never found it jarring: a circle of women—company of women, written by a woman; part of the world
• Set Design: Curvy, feminine, areas were multi-purposes; original design concept involved three levels with more distinct, literal area definitions but the Director wanted it more undefined and the set was opened up during rehearsal
• One problem was the chair: it was realistic while other pieces were much more open. Options could have been more function cube, or more overtly symbolic (e.g. use a rocking chair, a symbol of motherhood, etc.); it was a late change to the set design, the original was more antique, squarer, but practically won out
• The cloth on the bed was extremely well-lit
• Choir music was live during the November performance, recorded for QUONTA and Theatre Ontario Festivals; song was specific from the playwright
• Costumes reflected a good carry-through of the colours; outrageous turquoise for Granny, and then neutral beige for Dell
• Wavy’s first costume was confusing (especially given the nature of the casting concept of an adult playing a child): Tried party dresses but didn’t find one that worked, Choice was that she was trying to look grown-up, playing dress-up and had took something from Granny. That choice could have been better served by more theatricality: not fitting well, or from an older time period
• Lighting areas seemed just off from the performers
• With the first laugh line, Wavy won over the audience
• In the opening scene, switching between the microphones and their voices was causing difficulties. The performers vocal work was fine, so microphone level might have been too high.
• Granny’s makeup was bold; and made for an easy transition when she was sick.
• Good choral work between Wavy and Granny: the pitch allowed us to hear them as individuals while achieving the choral effect.
• Granny’s stand-up technique choice read as indistinct; Dell (the master) and Wavy (pretending to be a stand-up comedian) had clarity of choices
• Chloe’s costume choices—conveying Chloe’s offstage life, impractical but keep her stable as she doesn’t have to follow work rules anymore
• The interior/realistic scenes had a presentational style: Was that intentional (for contrast with the stand-up comedy) or practical?  Director wanted them to be seen and heard, trying to keep it simple so the audience hears the text rather than the business
• Dell’s argument with Wavy about the shoes: It read as if the character had already given into the obstacle, rather than bringing tactics to persuade her to put on the shoes. (Performer had technical issues.)
• Nurse—a tiny part with almost the same line over and over, yet brought different tactics to it each time. This character is important and was well-played: the face of the world outside the play.
• Wavy riding the tricycle was a strong visual transition into the flower shop: the set change and music were good, but the counter trapped Estelle.
• Established night scene well with flashlights, sound of insects.
• Dell adding pauses to her stand-up routines through the play: established a clear transition towards the final one when she says nothing.
• Granny had good pitch range while speaking post-stroke; helped us understand a lot.
• Conflict in this scene could have benefitted from more interruptions: Not polite actors letting each other finish, listen where you have to, but building to a climax.
• In Act Two, Dell and Chloe had twinned physicality; conflict might have benefitted from a choice to play the opposites in the physicality instead
• Estelle and Wavy brought clear tactics to the fight.  Find ways to explore how to use props emotionally in a scene—the flowers, the vases, etc.
• One of Chloe’s addresses to the audience, she seemed to have a hard time finding “someone” to speak to… is that actually necessary?
• Dell and Wavy’s joke sequence was a lovely use of one-liners as sub-text. Text plus emotion created something larger.
• A technical sequence was off. They had introduced a new sound cue, the Stage Manager had only one rehearsal with it: Stage Management needs rehearsal time too! Approximately 50 to 75 cues in the show.
• The hospital visit: Estelle, Wavy, Granny all had clear moments if decision.
• Dell’s drowned look was effective: creepy and ambiguous.
• Leaves us with an uncomfortable question: What happens to Wavy after this play is over?
• Good curtain call music to set the right tone for the end of the play.

As always, this is my best effort to record the conversation at the Detailed Adjudication, with a standard apology for any misrepresentations of the ideas of the adjudicator and the members of the company. Corrections and clarifications are welcome in the comments.

Highlights of the Festival Workshop “Stage Combat 101” with Joshua Bainbridge

Joshua Bainbridge led our second Festival workshop: Stage Combat 101.  Here are a few highlights of the workshop as recorded by Bruce Pitkin, Executive Director of Theatre Ontario (as you can imagine, it’s far more easily appreciated as a participant than a reader).

General Principles

• Need to know about your set and furniture. 
• Want to make everyone feel comfortable with stage combat. 
• Ask for everyone to be 100 per cent committed to safety. 
• All combat based on the three 'S's: safety, story, style. 
• Core basics of stage combat: a nap is the audible illusion of combat. 
• First person or Aggressor nap where the aggressor creates the sound. Demonstrates. 
• Second person or victim nap. Demonstrates. 
• Contact or shared nap. Demonstrates. 

General rule, for every second of stage combat, you need one hour of rehearsal time. You also need to practice the combat sequence in the warm-up before every show. Keep alert and safe.

Another nap that occurs with every move, the vocal or audio nap. It sells the move to the audience and it adds a visceral dynamic to the storytelling, reflecting the intentions of the characters.

Safe way to take a slap or a punch and then going to your knees. 

Demonstrates. 

Turning and going gently onto one knee, then the other. Most gentle way of going down. 

Pulls and drags

• Never put pressure on someone's joint. Safety first. 
• Victim is always the leader in leading the action.
• Eye contact is essential. 

Paw grip

• Demonstrates. The victim holds onto the hand and guides the movement. 
• The victim may release at any moment and is entirely in control of the pairs movement. 

The slap

• A person should never be actually slapped on stage. Create the illusion of the slap. 
• First slap is an open hand slap. 
• Demonstrates creating the illusion of a slap in the face, but the hand never crosses in front of the face. Start at chest level.  
• Victim presents open palm at chest level for the nap. 
• Group practises the slap with victim nap. 
• Masking the slap by following through to protect the face. This depends on the story you're telling. 

Cross punch

• Demonstrates. Standard fight stance is used since it is the best centre of gravity. 
• Used whenever you go into any fight. 
• Assume fight stance to throw a punch. Eye contact ensures visual cue for scene partners. Feet placement. Arm and hand placement. Use an aggressor nap with cupped hand contacting upper chest. Keep distance from victim. 
• Practice. 

Hinge punch

• Opening the arm up at the elbow, like a hinge. 
• Often used in comedic fight situations. 

Pushes

• Pushing is really simple. Aggressor assumes fight stance, then places palms on upper chest and shoulders. Victim pushes self off of aggressors hands. Victim controls the movement. Add the audio nap. 

Chokes

• Throat choke. Aggressor lines hands up in a 'V' shape and places this on upper chest over collar bone. Victim grabs these hands and pulls then to their chest. Victims  controls the movement and speed. Create the illusion of the chin being pulled down. 

Rear choke

• Depends on the height difference between the actors.
• Aggressor comes from behind, assuming a strong fight stance. Wrap arm around the victims upper chest. Victim grabs arm, places chin in elbow nook and controls the movement, as the choke action goes slowly down to the floor. Add audio nap. Be especially careful not let the choke ride unto the forearm. 

Highlights of the Festival Workshop on Comedy Scene Study, with Michelle Jackett-Webster

Michelle Jackett-Webster led our first Festival workshop: Comedy Scene Study.  Here are a few of the highlights of the workshop.

• What makes us laugh? Unexpected/surprise, incongruity, physical humour, set-up situation, word play, reversals, expressions, pain, anticipation, timing/pacing, repetition, truth/relatability
• Comic timing—the intentional rhythm and tempo that the actor manipulates in order to emphasize comedy. Is it instinctive or can it be learned?
• Contrasts—extremely and use of opposites creates potential for comedy: identifying the contrasts finds the opportunity.
• Physical/visual comedy—manipulating the body for humorous effects.
• Comedy is found in truth. Create characters with real motives and struggles; sad truths can be expressed through comedy. Quoting Michael Shurtleff, “In comedy, the needs in the relationship must be even greater than they are in drama, the competition is keener and more immediate, the game playing is for life and death stakes in every move of the way, and one-upmanship is a primary goal of every character.”
• Always trust the playwright: the clues are there in the text where the playwright has created the comedy.
• Trying to be funny isn’t funny. Playing the audience isn’t funny (they will feel underestimated.) Shtick and mugging has its place and can be effective, but needs to be appropriate. Funny is subjective. 
• Comedy is fearlessness, risk-taking, and keen observation skills.

The participants used two Neil Simon scripts (Plaza Suite and The Odd Couple, Female Version) to practice some of the concepts discussed in the workshop.

Northumberland Players Awarded the Elsie for Outstanding Production at Festival

The company of Boeing Boeing
presented by Northumberland Players

Congratulations to Northumberland Players of Cobourg, whose production of Boeing Boeing by Marc Camoletti (translated by Beverly Cross and Francis Evans), was awarded the Elsie as Outstanding Production at Theatre Ontario Festival 2016 in North Bay.

The production received six awards and one honourable mention from adjudicator Mimi Mekler. The production also received the award for Outstanding Coordinated Production.

This is the first time that Northumberland Players has won the Elsie, and only their second time participating at Theatre Ontario Festival, representing the Eastern Ontario Drama League.

Theatre Sarnia represented the Western Ontario Drama League at Festival, presenting 33 Variations by Moisés Kaufman, and received three awards and three honourable mentions.

The Curtain Club, from Richmond Hill, represented the Association of Community Theatres--Central Ontario, presenting The Drowning Girls by Beth Graham, Daniela Vlaskalic and Charlie Tomlinson, and received three awards and two honourable mentions.

Gateway Theatre Guild, from North Bay, represented QUONTA (the northeastern Ontario community theatre association), presenting Curved by Kristin Shepherd. They received one award and four honourable mentions.

The annual Theatre Ontario Festival is a showcase of outstanding community theatre productions, a classroom for passionate, dedicated community theatre artists, a celebration of excellence in community theatre, and a destination bringing together theatre lovers from across the province.

Read the full list of Theatre Ontario Festival 2016 Award Winners and Nominees on the Theatre Ontario website

ONstage Tonight at Festival: The Curtain Club

The Curtain Club's production of The Drowning Girls

Our Festival closes with the second Canadian production of the week as The Curtain Club from Richmond Hill represents the Association of Community Theatres—Central Ontario (ACT-CO) and presents The Drowning Girls by Beth Graham, Charlie Tomlinson & Daniela Vlaskalic.

The Curtain Club was founded in Richmond Hill in 1954; Cicely Thomson, one of the theatre’s co-founders was also a founding member of Theatre Ontario. Hosts of Theatre Ontario Festival 2011, The Curtain Club last represented ACT-CO at our 2014 Festival in Sarnia, presenting Lenin’s Embalmers by Vern Thiessen. The Curtain Club has twice won the Elsie Award for Outstanding Festival Production, first in 2004 for their production of Staff Room (written and directed by Joan Burrows, who is the director of The Drowning Girls) and again in 2005 for their production of Marvin’s Room.

Rub-a-dub-dub, three brides in tubs. Found drowned. These women gather evidence against their womanizing, murderous husband by reliving the shocking events leading up to their deaths. This play reflects on the misconceptions of love, married life, and the not-so-happily ever after.

At ACT-CO Festival 2015-2016, The Curtain Club won Best Presentation of a Drama, Best Direction (Joan Burrows), and Adjudicator’s Awards for Outstanding Acting Ensemble and Production Design, with nominations for Best Lighting Design (Mark Hayward), Best Costume Design (Amanda Eason & Alice Torrance), and Cohesive and Comprehensive Realization of the Director’s Vision (the company).

Read more about Theatre Ontario Festival 2016

ONstage Tonight at Festival: Theatre Sarnia

Theatre Sarnia's production of 33 Variations

Last year’s recipients of Outstanding Festival Production return to Theatre Ontario Festival, as Theatre Sarnia represents the Western Ontario Drama League (WODL) with a production of Moisés Kaufman’s 33 Variations.

Theatre Sarnia is one of the oldest, continuously operating community theatres in Canada.  The Drama Club of Sarnia was created in 1927, and among its founders was WODL founder D. Park Jamieson.  Later known for many years as Sarnia Little Theatre, Theatre Sarnia performs out of the Imperial Theatre which opened December 31, 1996. Theatre Sarnia has hosted our Festival three times—in 2002, 2006, and most recently in 2014.  Six times they have represented WODL, most recently last year in Oshawa last year when they presented The Clean House by Sarah Ruhl. At Theatre Ontario Festival 1995 in North York, Sarnia’s production of The Melville Boys by Norm Foster won their first Elsie for Outstanding Production.

Theatre Sarnia’s Theatre Ontario Festival entry is 33 Variations. This is a play inspired by Ludwig van Beethoven’s work. In parallel tales of obsession, a musicologist attempts to uncover the motivation behind Beethoven’s Diabelli Variations, a series of 33 variations on an ordinary waltz by a composer he felt was beneath him. 33 Variations debuted on Broadway in 2009, starring Jane Fonda.

At WODL Festival 2016, Theatre Sarnia won the D. Park Jamieson Memorial Award for Best Production in Festival, Outstanding Direction (Henri Canino), Outstanding Performance by an Actress in a Major Role (Audrey Hummelen as Dr. Katherine Brandt), Outstanding Performance by an Actor in a Supporting Role (Shane Davis as Anton Schindler), Outstanding Technical Achievement (Set Design by Jen Paquette and Projections by Ian Alexander & Alexandra Westelaken), Best Coordinated Production, and two Special Adjudicator’s Awards (for Cy Giacomin as the Pianist, and for Jackie Burns’ period Choreography), with nominations for Outstanding Performance by an Actor in a Supporting Role (Darryl Heater as Mike Clark) and Outstanding Performance by an Actress in a Supporting Role (Andrea Hughes Coleman as Dr. Gertie Ladenburger.)

Read more about Theatre Ontario Festival 2016

ONstage Tonight at Festival: Northumberland Players

Northumberland Players' production
of Boeing Boeing

It’s been fourteen years since Northumberland Players represented the Eastern Ontario Drama League (EODL) at Theatre Ontario Festival—but the Cobourg community theatre turns this year, and they’re bringing this week’s comedy with Marc Camoletti’s Boeing Boeing, translated by Beverly Cross and Francis Evans in the new 2008 version that was performed on Broadway.

The “youngest” of the four theatre companies performing this week, the history of Northumberland Players begins with an initial meeting at an old farmhouse in late summer of 1976. Several fledgling and veteran actors, directors, and producers were primarily interested in providing as many opportunities as possible for the community at large to enjoy theatre. Numerous gatherings followed at various homes in the surrounding area to plant the seeds for the subsequent birth of the Northumberland Players.  This is only their second time at Theatre Ontario Festival; their first was in 2002 in Sarnia when they presented Jesus Chris Superstar, music by Andrew Lloyd Webber and lyrics by Tim Rice.

In this delightful farce, bachelor, bon-vivant and man-about town Bernard lives a perfect life in swinging 1960’s Paris, juggling three gorgeous fiancées, all of whom are international flight attendants working different schedules. Throw in old friend Robert and a new and speedier Boeing jet into the mix and soon lies, excuses and convolutions are flying around faster than the jets. Catastrophe looms large … oh, and did we mention the maid?

At EODL Festival 2016, Northumberland Players won the Leslie M. Frost Award for Best Production, Best Director (James Finan), Best Actor in a Major Role (Jamie Hunt as Robert), Best Visual Presentation, and Best Costuming (Jamie Finan), with nominations for Best Actress in a Major Role (Helen Matthew as Berthe), Acting Excellence (David Hoare as Bernard), Acting Excellence (Jody Ledgerwood as Gabriella and Anne-Marie Bouthillette as Gretchen), Set Design (James Finan).

Read more about Theatre Ontario Festival 2016

ONstage Tonight at Festival: Gateway Theatre Guild

Hosting Festival seems to be good fortune—for the second year in a row, Theatre Ontario Festival opens with a presentation by our Festival hosts. Gateway Theatre Guild of North Bay will represents QUONTA  (the northeastern Ontario community theatre region) as they present Curved by Kristin Shepherd.

Gateway Theatre Guild's production of Curved

Gateway Theatre Guild has been producing theatre in North Bay since 1948. They most recently represented QUONTA at Festival in 2014 in Sarnia, with their production of David Mamet’s Glengarry Glen Ross. Twice they have won Outstanding Festival Production—in 2010 for their production of Samuel Beckett’s Waiting For Godot and in 1974 for their production of David French’s Leaving Home.

Curved is a play about an eleven year old girl growing up in an extended family of strong and broken women, all of whom struggle with freedom, love, sexuality, and dying. The play is darkly comic, intelligent, and challenging. Kristin Shepherd hopes that it adds to the conversation on stage about what it is to live a curved nature.

Of note—this marks the latest performance of this world premiere production.  Past world premieres that were presented at Festival include Staff Room by Joan Burrows (Festival 2004 in Sault Ste. Marie) and The Mouse House by Robert Ainsworth (Festival 2012, also in Sault Ste. Marie.) Kristin’s first play $38,000 for a Friendly Face was published by Playwrights Canada Press in Grassroots: Original Plays from Ontario Community Theatres, edited by Theatre Ontario.

At QUONTA Festival 2016, Gateway Theatre Guild won Outstanding Production, Outstanding Actress in a Leading Role (Tanya Webb as Del), Outstanding Technical Achievement (Brian Nettlefold, Sound Designer & Dillip Patel, Lighting Designer), and an Adjudicator’s “Sing to Me Award” for Heather Gardner & Choir, with nominations for Outstanding Director (Maureen Cassidy), Outstanding Actress in a Leading Role (Patsy McVicars as Wavy), Outstanding Actress in a Supporting Role (June Keevil as Granny Wave), and Outstanding Visual Presentation.

Read more about Theatre Ontario Festival 2016

Thank You to Our Festival Supporters

Theatre Ontario Festival depends on the support of individuals, theatre organizations, and businesses that join us in our celebration of community theatre in Ontario.

Thank you to all of our Festival 2016 sponsors. While all of our Festival awards are now sponsored, opportunities are still available to sponsor performances, workshops, and after-parties.

Learn more about our Theatre Ontario Festival supporters

Welcome to our Productions at Theatre Ontario Festival 2016

Theatre Ontario is thrilled to welcome the four productions that will perform at Theatre Ontario Festival 2016 in North Bay. These productions are chosen from Ontario’s regional community theatre festivals, and are a showcase of outstanding community theatre from across the province.

On Wednesday, May 18, Festival opens with Gateway Theatre Guild’s world premiere production of Kristin Shepherd’s Curved, representing QUONTA (the northeastern Ontario community theatre association.) This is the second year in a row that the Festival host has been chosen to represent their region. Curved was the winning production at QUONTA Festival in Sudbury, as chosen by adjudicator Rita Huschka.

On Thursday, May 19, Northumberland Players returns to Festival for the first time in over a decade, as they present Boeing Boeing by Marc Camoletti, and translated by Beverly Cross and Francis Evans. From Cobourg, and representing the Eastern Ontario Drama League (EODL), this was the winning production at EODL Festival in Peterborough, chosen by adjudicator Annette Procunier.

On Friday, May 20, last year’s Elsie Award recipients for Outstanding Festival Production return to Festival, as Theatre Sarnia will again represent the Western Ontario Drama League (WODL) as they present 33 Variations by Moises Kaufman. This show was chosen by adjudicator Ron Cameron-Lewis as the winning production at WODL Festival in Woodstock.

On Saturday, May 21, Festival’s performances wrap-up with The Curtain Club’s production of The Drowning Girls by Beth Graham, Daniela Vlaskalic, and Charlie Tomlinson. The Richmond Hill community theatre will represent the Association of Community Theatres—Central Ontario (ACT-CO), and were chosen by adjudicator Thom Currie as the winning production in the Drama category from the ACT-CO Festival.

As previously announced, Theatre Ontario Festival 2016 will feature detailed adjudications with Mimi Mekler, Playwright-in-Person readings with Donna-Michelle St. Bernard, workshops on “Comedy Scene Study” with Michelle Jackett-Webster and “Stage Combat 101” with Joshua Bainbridge, and awards and parties celebrating community theatre in Ontario.

The annual Theatre Ontario Festival is a showcase of outstanding community theatre productions; a classroom for passionate, dedicated community theatre artists; a celebration of excellence in community theatre; and a destination bringing together theatre lovers from across the province. Theatre Ontario Festival 2016 runs May 18 to 22, and is co-hosted with Gateway Theatre Guild and QUONTA.

Join us at Theatre Ontario Festival 2016

Congratulations to Murray Finn, Recipient of the 2016 Michael Spence Award

Theatre Ontario is thrilled to announce that the 2016 Michael Spence Award for Contribution to Community Theatre will be presented to Murray Finn of Elliot Lake. This award is presented by Theatre Ontario from the nomination by Elliot Lake Amateur Theatre Ensemble (ELATE), and on the recommendation of QUONTA, the northeastern Ontario community theatre association.

The award honours individuals for sustained contribution to community theatre, generosity of spirit, involvement, and commitment to community theatre that is legendary within his/her region, helping community theatre flourish. Murray will receive his award on May 22 at the Theatre Ontario Festival Awards Brunch in North Bay.

Murray Finn has been “Mr. Theatre” in Elliot Lake for over three decades. Beginning with acting in the very first show ever produced by Ptarmigan Players in 1980, Murray has gone on to act, direct, stage manage, produce, design and build sets and props, and much more for over 30 productions. Always the first to volunteer, the first to arrive, and the last to go home (or so it seems), Murray has worked tirelessly to do whatever needs to be done in presenting shows. He’s famous as the go-to guy who willingly pitches in to plug any gaps.

Murray served on the executives of both Ptarmigan Players and ELATE, including terms as presidents of both organizations. He also served for a number of years on the executive of QUONTA.

“I am very flattered to receive this prestigious award and be in the company of so many people I admire,” said Murray. “Community Theatre has always just been a place for me to learn and have fun and I continue to have fun.”

The Michael Spence Award honours legendary contributions to community theatre in Ontario, and is named after Michael Spence, the founding President of Theatre Ontario.  Michael was active in community theatre at Hart House Theatre, London Little Theatre, and the University Alumnae Dramatic Club (now known as Alumnae Theatre.) He was a member of the Board of Governors of the Dominion Drama Festival, a past President of Arts Etobicoke, and he continues to be an enthusiastic supporter of Theatre Ontario.

Past recipients of the Michael Spence Award in the QUONTA region are Sharon Sproule, Harry Houston, Ken Stephen, and Walter Maskel.

Related Reading

• Find out more about Theatre Ontario’s Michael Spence Award for Contribution to Community Theatre
• Join us at the award presentation at Theatre Ontario Festival 2016

Join Us at Our Theatre Ontario Festival Workshops

Michelle Jackett-Webster

We’re excited to announce our Theatre Ontario Festival workshops in North Bay for Festival attendees eager to enhance their skills.

On Thursday May 19, we have “Comedy Scene Study” with Michelle Jackett-Webster. Participants will learn the elements of comedy needed when scenes in a play. We will discuss pacing, comic timing, physical comedy, patterns of three, writer’s intent and the use of contrast within comedic works. Scene partners will work on a short scene to implement these concepts. We will be approaching the work from a "Cold Reading" point of view to simulate the audition and call back settings in a community theatre environment.

On Saturday May 21, we have “Stage Combat 101” with Joshua Bainbridge. This hands-on workshop will focus on unarmed physical theater. Participants will learn stage combat essentials, including falls, slaps, punches, kicks and chokes. Safety skills are given top priority during this workshop.

Joshua Bainbridge

All Theatre Ontario Festival workshops are free on a first-come, first-served basis. Theatre Ontario Festival Theatre Ontario Festival is a showcase of outstanding community theatre productions, a classroom for passionate, dedicated community theatre artists, a celebration of excellence in community theatre, and a destination bringing together theatre lovers from across the province. Festival 2016 runs May 18 to 22 in North Bay.

Join us at Theatre Ontario Festival 2016

Welcome to Festival Playwright-in-Person Donna-Michelle St. Bernard

Theatre Ontario Festival 2016 is excited to welcome Donna-Michelle St. Bernard as Playwright-in-Person at this year’s Festival in North Bay.  Donna-Michelle will be reading from her work on Friday, May 20 at 1:30pm.

Playwright-in-Person brings a professional playwright to Festival communities for script readings, Q&A, and more.  Playwright-in-Person is made possible by a grant from the Playwrights Guild of Canada, funded by the Canada Council. 

Donna-Michelle St. Bernard is an emcee, playwright, and arts administrator. Notable works for the stage include They Say He Fell, A Man A Fish, Cake, The House You Build, Salome’s Clothes, and Gas Girls. DM’s work has been recognized with a SATA nomination, the Herman Voaden Playwriting Award, the Enbridge PlayRites Award, a Dora Mavor Moore Award for Outstanding New Play, and a nomination for the Governor General’s Literary Award.

Join us at Theatre Ontario Festival 2016 in North Bay

Join Us at Theatre Ontario Festival 2016

Tickets are now on sale for Theatre Ontario Festival 2016 in North Bay. Opening May 18, and running until May 22, our annual Festival is a celebration of community theatre featuring performances and workshops, bringing together theatre lovers from across the province. Early-bird passes at a discounted rate are available until January 31.

Festival accommodations can be booked at the Festival Hotel: the Holiday Inn Express. Accommodations are available at a special Festival rate, and includes a hot buffet breakfast.

Related reading

• Learn more about Theatre Ontario Festival
• New to Festival? Catch-up on stories from Theatre Ontario Festival 2015

Welcome Mimi Mekler as Festival 2016 Adjudicator

Theatre Ontario is thrilled to welcome Mimi Mekler as adjudicator for the 2016 Theatre Ontario Festival in North Bay.  Mimi most recently adjudicated the Western Ontario Drama League Festival in 2014, and last adjudicated for Theatre Ontario’s Festival in 1999 in Newmarket.

"The hard work, discoveries, accolades and camaraderie that are the backbone of the Theatre Ontario Festival make it a special event," said Mimi.  "I’m looking forward to being part of the process that goes into creating the most vibrant community theatre possible."

Mimi Mekler’s work as director, actor, dramaturge, writer and adjudicator has taken her from California to Czechoslovakia and Italy to Israel. She is a professor in the Acting Discipline at Sheridan College’s Music Theatre Department. She also teaches for the joint Theatre and Drama Studies programme at Sheridan and University of Toronto at Mississauga, and for the Digital Character programme for Sheridan’s acclaimed Computer Animation.  Her theatre experience is broad and varied. She is probably best known as Maggie in the long-running children’s TV series Crazy Quilt. Other acting highlights include playing a crazed nun in Bella Donna, portraying both Portia and Calpurnia in Julius Caesar, touring children’s shows and interactive plays, dubbing films in Prague, creating segments of R. Murray Schafer’s opera-in-the wilderness And Wolf Shall Inherit the Moon, and co-creating a clown-dance piece.  She is a member of Theatre Ontario's Talent Bank of theatre instructors.

Theatre Ontario Festival 2016 will be held in North Bay from May 18 to 22, 2016 and is co-hosted by Theatre Ontario, Gateway Theatre Guild, and QUONTA (the northeastern Ontario community theatre association.)

Related Reading

• Learn more about Theatre Ontario Festival 2016
• New to Festival? Catch-up on stories from Theatre Ontario Festival 2015 in Oshawa

Honouring Contribution to Community Theatre in Northeastern Ontario

Do you know someone whose sustained contribution, generosity of spirit, involvement, and commitment within his/her region has helped community theatre flourish? Theatre Ontario is now inviting nominations for the 2016 Michael Spence Award for Contribution to Community Theatre. The award is presented annually to an individual from the region that is hosting the Theatre Ontario Festival—which in 2016 is Northeastern Ontario.

John Storey, the 2015 recipient of
Theatre Ontario's Michael Spence Award

Past recipients of the award are Joan McRae, Anne Wilson, Lillian Sievanen, Sharon Sproule, Betty Coates, Arlene Watson, Vince Mathewson, David Glover, Harry Houston, Hans Warmenhoven, Beth McMaster, Val Hadley, Maureen Lukie, Ken Stephen, Gabe Ferrazzo, Margaret Shearman, Lawrie Bonanno, Jo-anne Spitzer, Walter Maskel, Joe O’Brien, and Bev Dietrich. The 2015 award was presented to John Storey of Markham.

The 2016 award will be presented to an individual from the northeastern Ontario community theatre region, which includes the Districts of Parry Sound, Nipissing, Manitoulin, Sudbury (and the City of Greater Sudbury), Algoma, Timiskaming, and Cochrane.

The award was established in 1997 by Theatre Ontario on the occasion of Theatre Ontario's 25th Anniversary. Multiple awards were presented on the quinquennial anniversaries of Theatre Ontario until 2012, when it became an annual award. The award is named in honour of Michael Spence, the founding President of Theatre Ontario.  Michael was active in community theatre at Hart House Theatre, London Little Theatre, and the University Alumnae Dramatic Club (now known as Alumnae Theatre.)  He was a member of the Board of Governors of the Dominion Drama Festival, a past President of Arts Etobicoke, and continues to be an enthusiastic supporter of Theatre Ontario.

The nomination deadline is January 29, 2016.

Learn more about Theatre Ontario’s Michael Spence Award for Community Theatre and download award guidelines and nomination form