Celebrating Community Theatre Learning Opportunities at Theatre Ontario Festival 2018

Theatre Ontario Festival features a variety of educational events for the passionate, dedicated community theatre artists. This past year’s highlights included:

• Detailed adjudication of On a First Name Basis, presented by Elmira Theatre Company
• Detailed adjudication of Little Gem, presented by Toronto Irish Players
• Detailed adjudication of Tempting Providence, presented by Elliot Lake Amateur Theatre Ensemble
• Detailed adjudication of Dead Accounts, presented by Ottawa Little Theatre

Plus, catch-up on all of the social conversation from Theatre Ontario Festival 2018 on Twitter Moments
 
Learn more about Theatre Ontario Festival 2018

Highlights of the Detailed Adjudication of “Dead Accounts” at Theatre Ontario Festival 2018

Ottawa Little Theatre's production of Dead Accounts

by Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Maja Ardal of Ottawa Little Theatre’s production of Dead Accounts by Theresa Rebeck (representing EODL, the Eastern Ontario Drama League.)

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

• This text moves from high energized comedy to deadly serious text: that collision makes for good theatre
• Set features an intense naturalism: a rich, detailed set; impression of a convex mirror with everything stretched; actors skin colour blended with the wall colour; company acknowledged lighting needed tweaking, walls should have been brighter
• Fit precisely: stage dimensions were similar to Ottawa Little Theatre; they have a wrap-around cyc at home which they used to fully surround the set
• Music needs to have a presence: it must match both the high energy of the play and the crispness of the performances
• Because they needed blackouts, they must be earned because we are seeing nothing: How do you “reward” the audience in a blackout? Suggestion was louder music that matched the play’s energy (sound tended to be cloudy and unclear)
• Opening scene: Jack is frantic; raises the concern: is this the level we will see all show? Instead, used to establish urgency for character
• Jack demonstrated incredibly physical expression; director’s job was to edit the actor who gave more and more; this is expected: actor will work on impulse and director must edit that
• What is driving the frantic-ness: Is it a guilty conscience? The adrenaline from doing a terrible thing? Drugs?  The most interesting choice is the one driven by circumstance
• On the surface text can seem shallow, but the production found depths in it
• Lorna carries the theme of the play (e.g. planted a stick and had to wait for it… a metaphor for her relationship with Phil); also embodies the middle-class, the mid-west, tough economic times (living at home)
• Applauded the company for not getting sentimental
• Barbara represents the generation before (e.g. keeping religion central, etc.)
• The company earned the quieter scenes by playing comedy
• Finale describes “splitting the kitchen apart”; could not figure out how to drive the execution of that; chose the lighting gobo effect to suggest the trees
• What makes Jack come home?  Text is unclear (in a positive way) giving opportunity to play—he’s a casualty and a winner; some remarkable writing for this character
• Did the play need a natural set? Designer felt you needed to recognize a 1950s home and a safe place for Jack; set also gave the feel of a space for a live-studio-audience sitcom (reflecting some of the tone of the play); details that show Lorna’s influence (e.g. the Keurig machine); working appliances to help the audience experience the kitchen feel (smell the coffee, the toast, etc.)
• The sequence when the father is going to the hospital: showed passage of time through a series of blackouts and images of Jenny in the house—challenging to do
• Transitions between scenes took a long time; new stage manager for this performance and her first time calling the show
• Barbara talking over Lorna on the telephone—well-executed; most of the content itself is not critical (necessary information which was well-communicated), and Barbara dealing with various props helped us connect with what was going on
• Phil’s performance demonstrated someone trying to use all his senses to gather information
• Use of real food helped with the sensual experience (working freezer, real ice cream, etc.)
• Also very Cincinatti-specific—recognizable and authentic (cast member had Ohio in-laws that helped supply props).
• Text also has a love of the mid-west that tends to be lookerd down up on from the urban, financial world
• Jenny is a challenging character: described so terribly, how do you find the qualities that Jack could love

Learn more about Theatre Ontario Festival 2018

Highlights of the Detailed Adjudication of “Tempting Providence” at Theatre Ontario Festival 2018

ELATE's production of Tempting Providence

by Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Maja Ardal of Elliot Lake Amateur Theatre Ensemble’s production of Tempting Providence by Robert Chafe (representing QUONTA, the northeastern Ontario community theatre association.)

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

• Strong opening: no pre-show music, lighting at half for the play`s beginning, the nurse came in as if from abroad
• Quickly established the convention that the style will be the transformation of objects into set pieces
• Minimalism can make you creative (e.g. particularly liked two chairs with a blanket spread overtop to make the shape of a cradle)
• Actors then embody the script
• Off the top, the actors seemed unsettled and nervous—breathing exercises are encouraged to help manage that
• Costumes were neutral; inspired by images they had seen of other productions: always take the best of what we can find
• Goal of actors is to live inside the story, and bring it alive fully
• Who is the audience and why are you compelled to tell the story?
• For Myra, it was internal – that “other self” you can tell your worst things to
• For Angus, an amazing story that his pals need to hear; he clearly had the most fun, adding a twinkle his eye to demonstrate his enjoyment
• For Man and Woman, it was the gossipy community
• In a moment, actors need to see it, feel it, smell it—experience it; the performers’ nervousness meant that they were “selling it” before “experiencing it”
• For example, one quality of Newfoundland is that vigorous, robust smell
• Myra states she has no time for emotion; her journey is admitting to her emotion, so she can’t start with emotion
• Also, emotion is a by-product of your objective—be careful of trying to show the emotion or letting the emotion be the driver; if you “over deliver” the emotion, it doesn’t give the audience space to appreciate the story
• This is a community of denial, and Woman is our first example of that as someone from the community; we saw too much of her breakdown rather than the denial of her breakdown, never let go of your objective and focus on one thing at a time
• Woman as Mrs. House: She is testing Myra, putting her through an examination as well, finds out that she’s tough enough (she passes!)
• In every scene, always identify who am I here with this person in this moment
• Text is lyrical, and Myra brings the lyricism
• Angus’ delivery tended to finish a sentence and come to a stop; became a pattern of delivery that the performer needs to be aware of
• Be rigorous with your pace: first act was supposed to run 70 minutes, but it actually ran closer to 90 minutes; for example when Man as Alex comes with the news about the baby coming, Myra needs to be rushing (rather than going back to her baking); moving into a tableau could show us the rushing
• Pace DOESN’T mean rushing: keep the objective alive, breathe
• For actress playing Myra, this was her first major role; she brought presence and charisma, encouraged to keep focusing on what will bring a character alive
• Yawning is always another good warm-up technique to wake up the body
• When playing a character, voice and face are the last elements: Begin with the spine and pelvic base and think about questions of the body (How long have I worked? Where is my head? Etc)
• Actors were seniors, but young people can struggle with physicality just as much
• “Our bodies tell the truth when our language doesn’t”
• Opening of play: trying to solve challenge of how to bring on the live musician, he came onto the stage as a mummer (part of Newfoundland culture)
• Musician responded to actor’s feelings, music was gentle; other option for a live musician is to escalate the tension—music can move forward rather than reflect back
• The end of Act One was “divine” (pulling the tooth, selling the marriage proposal)
• When miming, consider doing a workshop: sometimes the objects seemed to disappear rather than always be there throughout
• Company brought desire and commitment, and will continue to develop craft over time

Learn more about Theatre Ontario Festival 2018

Highlights of the Detailed Adjudication of “Little Gem” at Theatre Ontario Festival 2018

Toronto Irish Players' production of Little Gem

by Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Maja Ardal of Toronto Irish Players’ production of Little Gem by Elaine Murphy (representing ACT-CO, the Association of Community Theatres—Central Ontario.)

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

• Elaine Murphy’s script is the authentic voices of working class women, love her ear and how she powered the voices into her work
• In Ireland, monologue is an art form—in the pub, over coffee
• This production was taken from an intimate environment (the Alumnae Theatre in Toronto) to a spacious environment (the Palace Theatre in London)
• Entirely direct address, which means you need to answer the question: Who are they talking to?
• Lovely set, felt airy, includes sketches of the unseen men from the play
• Three defined areas for each women
• Pre-show music was gently playing: Irish fusion soundscape; sound designer took play’s tag line of “birth, death and salsa” and sought out Celtic salsa
• The music playing quietly invited us in: created the expectation of an experience of intimacy
• Cyc created opportunities for colour
• Actors need to not feel rushed: establish the atmosphere in the opening moments
• The play functions as 3 one-person shows: fundamentals in a one-person show are the clear journey, take time to digest… how much did they break down the text?
• Also provides opportunities to create other characters
• All three start in a place of desperation (e.g. Kay has “an itch”)
• Challenging to act someone else’s stream of consciousness, with its digressions and the dilemmas that pop up in the text
• Amber’s opening monologue is challenging: mentions 15 characters; don’t always depend on just the text to find the characters, body language can help us find them too
• Lorraine’s journey is compelling, and the more of a freaked out mess she is at the beginning, the more we will enjoy it—opportunities are to let us hear the voices of the other characters (e.g. the customer, the HR person, etc.)
• The clarity of the text helped us immerse ourselves in the Irish culture, slang, etc.
• Irish are brilliant at “trouble” and making it funny
• Difficulty in one-person play is the characters have things done to themselves, they are not affecting each other in the moment
• Physical moments like the salsa dancing helped us to see what another character was like
• Plays has been seen both with and without an intermission; text doesn’t define it either way
• How do we feel closer to this work: follow the play by seeing every detail, the brightness of the lighting presented challenges (e.g. didn’t see the pregnancy test scene on the toilet), the dramatics and the colour can create a perfect mood
• The D.S. area had blue tips side-lighting, but 50% of the dimensional lighting did not work; it was a technical problem that the designer could not overcome while trying to adapt from the original space to this theatre; the set was set back because the U.S. top lights worked successfully
• Always take the risk of stopping the play and living the moment; Murphy goes off on tangents, so always explore every full stop, every period
• The stories are also filled with subtle details (e.g. how Kay stole Gem)
• Amber’s story has so many voices, hardest to connect (she also has the fewest people in the audience her age), the writing of her character is frantic
• Who are they talking to in their direct address?  The fourth wall changes throughout the play: sometimes stream of consciousness, talking to themselves, replaying a moment in the present tense; director focus on the flow so it wouldn’t look like stand-up, with movement to keep the play flowing
• Identify if the person being address is a friend or enemy; someone intimate or someone like a social worker you are explaining things to; that person may change—even in mid-monologue
• This venue had superior cyc lighting than previous venue; gave them the opportunity to make the visuals of the dance club far more significant, and to try and coordinate with the beats in the music
• Fundamentally, we felt these three women

Learn more about Theatre Ontario Festival 2018

Highlights of the Detailed Adjudication of “On a First Name Basis” at Theatre Ontario Festival 2018

Elmira Theatre Company's production of On a First Name Basis

by Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Maja Ardal of Elmira Theatre Company’s production of On a First Name Basis by Norm Foster (representing WODL, the Western Ontario Drama League.)

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

• Norm Foster pours ideas, warmth, humour, heart onto the page; writes ordinary people in a way that is relatable
• There is so much to mine in a text like this which is literally about two people discovering each other
• Interesting décor choices to reflect his sophistication, his travel; particularly taken with the windows suggesting a world beyond this room
• Swing doors can be extremely fun on a set
• Atmosphere: Used classical pre-show music to set the mood; intention was to set the tone of David and the illusion of the world he has created for himself; classical music brings particular contexts with them—other choices could have been heavier and busier music, or evening bird song, or nothing at all
• The two actors demonstrated a familiarity with each other (as actors)
• The first act is harder than the second act: the mystery that neither character knows what is going to come from the other person—how does what they say affect me?: always break down the text beat to beat
• Lucy seemed to be the character who invited the audience in as the person through whom we access the play; this was not necessarily intentional by the director, David is egotistical and that works for him
• David is a character who speaks and then thinks about what he had said; with characters like this, find ways to push past the point of propriety: there are wounds, injuries, bruises between these characters; as well as what will hover in their relationship after the play is over
• The tone of irony that Lucy demonstrates: Is this always how she deals with him, or is it a new tactic she’s using for the first time?  If it’s not a new tactic, is David discovering (noticing) this for the first time?
• When interpreting any text, look for “the ticking clock” that keeps the audience excited, on the edge of their seats
• Alcohol, and its influence on characters, is a plot element that audiences will respond to: what does the text say about how they drink (e.g. Lucy can hold her alcohol); how do you show the journey of the alcohol’s increasing influence; what are the moments where tongues have been loosened because of the alcohol
• Examine the impact of characters on each other: How do Lucy and David change each other throughout the play?
• Physical moves—were they always moving on impulse? Sometimes the intention behind the movement didn’t always read, and how that physical space had changed because of the movement
• Some lovely moments of staging—such as Lucy ending up in David’s chair for a climactic revelation
• Production’s evolution since previous performance: a feeling that they found the truths more
• David’s dance: pure communication of character through body language; when music came on, hips started moving right away
• Actors finding the balance between “taking the moment” and feeling like they are long pauses, silences: the audience will fill those moments based on how we read what is going on between them
• Challenge of play: two people having a conversations; finding “what makes it dangerous” in the conversation will be what keep the audience hooked in
• Finding lovability in David: an unsympathetic character can be compelling; overtly lacks kindness on the surface; he is the walking wounded and has not dealt with his emotional truth
• There are explosions of anger in Act 2—these are opportunities in a text to take the characters to the brink
• When breaking down the beats: Why did you say that—think about if it’s coming from the belly? The head?

Maja also remarked on the audience’s festive atmosphere in the theatre—the audience didn’t want to be anywhere else but in there.

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Ottawa Little Theatre Awarded the Elsie for Outstanding Production at Festival 2018

Ottawa Little Theatre's production of
Dead Accounts by Theresa Rebeck

Congratulations to Ottawa Little Theatre, whose production of Dead Accounts by Theresa Rebeck was awarded the Elsie as Outstanding Production at Theatre Ontario Festival 2018 in London. They represented the Eastern Ontario Drama League. This is their first Elsie Award. Altogether, the production received six awards from adjudicator Maja Ardal.

Elliot Lake Amateur Theatre Ensemble represented QUONTA (the northeastern Ontario community theatre association), presenting Tempting Providence by Robert Chafe, and received three awards. The production also received the award for Outstanding Coordinated Production, chosen by the Festival Stage Managers.

Elmira Theatre Company represented the Western Ontario Drama League, presenting On a First Name Basis by Norm Foster, and received two awards.

Toronto Irish Players represented the Association of Community Theatres—Central Ontario, presenting Little Gem by Elaine Murphy, and received two awards.

The annual Theatre Ontario Festival is a showcase of outstanding community theatre productions, a symposium 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 2018 was hosted by London Community Players, in partnership with Theatre Ontario and the Western Ontario Drama League.

Read the full list of Theatre Ontario Festival 2018 Award Winners and Nominees on the Theatre Ontario website

ONstage Tonight at Festival: Ottawa Little Theatre

Ottawa Little Theatre's production of Dead Accounts

Theatre Ontario Festival’s closing production is presented by last year’s host theatre, as Ottawa Little Theatre represent the Eastern Ontario Drama League with their production of Dead Accounts by Theresa Rebeck. This is OLT's first appearance at Theatre Ontario Festival since 2005.

Professional in style, traditional in tone, Ottawa Little Theatre (OLT) has been a vital part of Ottawa’s art community since 1913. Ottawa Little Theatre is a charitable not-for-profit, volunteer-based organization and is financially dependent upon ticket sales, donations and sponsors for its operation and maintenance. All directors, actors, artists, and technical assistants are volunteers—all work for the love of the theatre. Along with a history of the high quality of Ottawa Little Theatre’s productions, OLT is also a landmark leader in theatre education. For decades, students of theatre-craft, both young and old, have grown and thrived with the help of OLT’s affordable drama camps and workshops. With a legacy spanning over 100 years, Ottawa Little Theatre has also established itself as a vital part of the City of Ottawa’s cultural fabric. Today OLT maintains the tradition of presenting an inspiring and entertaining season of 9 live theatre productions each year.

When Jack makes a sudden return from Wall Street to his Midwest family home, his sister Lorna demands answers. Is he coming home or running away? What happened to the wife everyone hates? And where did he get all that money? This dark comedy by one of America’s leading contemporary writers (NYPD Blue, Law and Order: Criminal Intent, Smash, and Mauritius) tackles the timeless issues of corporate greed, small town values, and whether or not your family will always welcome you back…with no questions asked.

At EODL’s Full-Length Play Festival for 2018, Ottawa Little Theatre won the Leslie M. Frost Award for Best Production, Best Actress in a Major Role (Venetia Lawless as Lorna), Outstanding Ensemble, and Set Design (Tom Pidgeon), with nominations for Best Director (Geoff Gruson), Best Actor in a Major Role (Phillip Merriman), Best Actress in a Major Role (Jane Morris), Acting Excellence (Jane Morris, Josh Sparks), Best Use of Speech (Jane Morris, Josh Sparks), Best Costuming, and Adjudicator’s Awards for backstage teamwork, “festival hero” (director Geoff Gruson), “the inseparables” (Phillip Merriman and Venetia Lawless).

Learn more about Theatre Ontario Festival 2018

ONstage Tonight at Festival: Elliot Lake Amateur Theatre Ensemble

ELATE's production of Tempting Providence

The representative from QUONTA—the northeastern Ontario community theatre region—is making their Theatre Ontario Festival debut.  Elliot Lake Amateur Theatre Ensemble (ELATE) represents the province’s north with their production of Tempting Providence by Robert Chafe.

Elliot Lake Amateur Theatre Ensemble (ELATE) was formed in the late 1990s. The uranium mines in Elliot Lake were closing and to survive, the community was re-purposing itself as a retirement community. A group of young retirees brought new energy to the community; a group of seasoned locals were just waiting. Since then, ELATE has become a group of dedicated to presenting live theatre as a form of recreation and entertainment for the community. Participation in QUONTA has spurred the company to achieve even greater goals. ELATE operates in the Lester B. Pearson Civic Centre which is maintained by the City of Elliot Lake as a cultural centre. We share a storage/rehearsal space with another group that presents lip-sync presentations and a group of printmakers. The centre has a comfortable 300-seat theatre having a 40-foot  stage. It regularly hosts travelling professional musicians and performers, and 2018 was the fourth time it has hosted the QUONTA Festival.

Tempting Providence tells the story of Nurse Myra Bennett. Myra came in the early 1920s to serve as district nurse for out port communities along the west coast of Newfoundland. She was hired for two years. When that was done, she married and stayed. For the next 40 years, she for the most part did the job for free. The community of Daniel’s Harbour holds Myra in high esteem. The Nurse Myra Bennett Foundation maintains her home as a museum. They continue to raise funds to support young people entering the medical profession and they commissioned this play, written by Robert Chafe. The play has toured Newfoundland and across Canada. It is performed regularly in nearby Cow’s Head as a tourist attraction. ELATE is proud to honour Myra and nurses like her who contribute so much to our communities.

At QUONTA Festival 2018 in Elliot Lake, ELATE won Outstanding Production, Outstanding Director (Murray Finn), Outstanding Actress in a Leading Role (Kim Arnold as Myra), Outstanding Technical Achievement (Doug Robinson for Lighting Design), and an Adjudicator’s Award for Outstanding Original Composition (Ponto Paparo), with nominations for Outstanding Actor in a Leading Role (Jim Graham as Angus), Outstanding Supporting Actress (Fran Perkins as Woman), Outstanding Supporting Actor (David Black as Man), and Outstanding Visual Presentation (Murray Finn for innovative staging).

Learn more about Theatre Ontario Festival 2018

ONstage Tonight at Festival: Toronto Irish Players

Toronto Irish Players' production of Little Gem

For the fourth consecutive year, last year’s Festival Elsie Award winner for Outstanding Production returns as their region's representative. The Toronto Irish Players—who won last year’s Festival with their performance of Outside Mullingar—represents the Association of Community Theatres—Central Ontario (ACT-CO) with their production of Elaine Murphy’s Little Gem.

In 1975 a group or recent Irish immigrants presented a production of William Butler Yeats’ one-act Kathleen ni Houlihan at the Shannon Pavilion at Toronto International Caravan, with its talkative patrons and their hyperactive kids. The Toronto Irish Players was born. Lacking in polish but full of energy and love of Irish theatre, the early TIPsters presented classics by writers such as Sean O’Casey and John Millington Synge on a poorly-equipped high school stage. The repertoire quickly expanded. Theatre festivals like ACT-CO were discovered and enthusiastically supported. No more bare stage, the Alumnae Theatre has now been the TIP home for almost 20 years. And somewhere along the way, the polish emerged. TIP is a small group and still has its core group of Irish immigrants who are now surrounded by multi-generational Irish. Passports are not required and the original enthusiasm and love for the theatrical aspect of Irish culture has been embraced by both non-Irish actors and audience alike.

Toronto Irish Players are proud to bring Little Gem, the debut script from Dublin’s Elaine Murphy, to the 2018 Theatre Ontario Festival. Little Gem debuted at the 2008 Dublin Fringe Festival before winning “Best in Edinburgh” at the Edinburg Fringe in 2009. Loosely based on stories gleaned from the playwright’s time working at a women’s health organization, Little Gem tells the story of a year in the lives of three women of three generations in the same family. At times hilarious and at times poignant, Amber, Lorraine and Kay speak in a series of interwoven monologues revealing their lively north Dublin personalities and the cycle of challenges that they face. Like any other nineteen-year-old, the sassy, impetuous Amber loves to party but is not so big on communication, especially with Mum. Lorraine worries about her daughter’s silence, has changed the locks on the doors, and is anxious, very anxious. Salsa lessons seem to help. Grandmother Kay, “on the wrong side of sixty, not dead”, is concerned about her family and misses the intimacies which she can no longer share with her stroke-stricken husband. Amber, Lorraine and Kay meet their age appropriate situations with courage, humour, growing family strength and salty language.

At ACT-CO Festival 2017-2018, Toronto Irish Players won Best Presentation of a Comedy, Best Direction (Cliona Kenny), and Best Performance by a Female in a Leading Role (Billy Jean Shannon as Amber), with nominations for Best Stage Management (Kristin Chan), Best Performance by a Female in a Leading Role (both Rebecca De La Cour as Lorraine and Barbara Taylor as Kay), Best Lighting Design (Mary Jane Boon), Best Costume Design (Bernadette Hunt), and Best Sound Design (Dan Schaumann).

Learn more about Theatre Ontario Festival 2018

ONstage Tonight at Festival: Elmira Theatre Company

Elmira Theatre Company's production of On a First Name Basis

Elmira Theatre Company returns to Theatre Ontario Festival for the first time in 25 years—and bringing a play written by the same playwright as their last appearance at Theatre Ontario Festival.  This year they will be presenting On a First Name Basis by Norm Foster, representing the Western Ontario Drama League.

Elmira and Woolwich Theatre Company was founded in 1981 by a small group of local community members eager to bring the theatre experience to their town. In 2002, they changed their name to Elmira Theatre Company and have become well known in local theatre circles for their quality productions, especially comedies. In the earlier years, the company performed at local community halls until enough funds were raised to build their own theatre space in 2006. Today 109 members help to stage three performances annually, with a unique dinner theatre experience offered in the fall. Elmira is located in southwestern Ontario and members come from all over Waterloo Region, the County of Wellington and nearby towns and cities. The theatre is located at 76 Howard Avenue and has a seating capacity of 126. ETC has been an active member of Western Ontario Drama League since 1984. Over the years they have won numerous awards and have been nominated for many more at WODL Festivals. Their production of Norm Foster’s Opening Night was the winner of the Outstanding Festival Production award back in 1993.

In On a First Name Basis, David—a successful and wealthy spy novelist with writer’s block—has received some devastating news. Lucy, his dedicated housekeeper of twenty-eight years, has her own secret that she’s afraid to admit. As Lucy is getting ready to end her shift, David invites her to stay and have a drink. He realizes he knows nothing about his maid of twenty-eight years. She, on the other hand, knows absolutely everything about him. He is curious about the woman who’s been tending to his house all these years. But as the night sets in and the drinks start to flow, the revelations that reveal themselves are surprising, funny and extremely moving. Their journey is full of laughter and surprises. This is a love story and a social commentary wrapped up in witty dialogue and vivid imagery.

At WODL Festival 2018 in Sarnia, Elmira Theatre Company won the D. Park Jamieson Memorial Award for Best Production in Festival, and awards for Outstanding Direction (Rita Huschka), Outstanding Performance by an Actress in a Major Role (Deb Deckert as Lucy Hopperstaad), and a Special Adjudicator’s Award of Merit to the set design, construction, painting and dressing team for “the creation of a space that provide the warmth and security necessary for two people to become friends for an evening”, with nominations for Outstanding Performance by an Actor in a Major Role (Gord Cameron as David Kilbride) and Outstanding Visual Production.  In the WODL In and Out of Festival Awards, they won Best Production of a Canadian Play.

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Welcome to Lisa Codrington as Theatre Ontario Festival 2018 Playwright-in-Person

Theatre Ontario Festival 2018 is excited to welcome Lisa Codrington as “Playwright-in-Person” at this year’s Festival. Lisa will be reading from her work on Friday, May 18 at 1:30pm at the Four Points by Sheraton Hotel & Suites in London.

Lisa Codrington is a Toronto-based actor and writer. Her writing has been produced in Toronto, Niagara-on-the-Lake, Winnipeg and Barbados, and has been published by Playwrights Canada Press, McGraw-Hill Ryerson and in Canadian Theatre Review. Select writing credits include Up the Garden Path, The Adventures of the Black Girl in Her Search for God?, The Aftermath, The Colony and Cast Iron, which was shortlisted for the Governor General’s Literary Award for Drama. Lisa is a recipient of the Carol Bolt Award for Playwrights and the K.M. Hunter Theatre Award. She has been playwright-in-residence at a number of theatres, including Canadian Stage, Nightwood Theatre, the Blyth Festival and the Shaw Festival.

Playwright-in-Person has been part of Theatre Ontario Festival since 1999. The program brings professional playwrights 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’s “Play Connect” program, funded by the Canada Council.

We are also excited to welcome Playwrights Canada Press who will be bringing plays for sale on Friday and Saturday of Festival, with their usual Festival discount—30% off one or two books, 50% off for three or more.

Theatre Ontario Festival is our annual celebration of community theatre in the province. It’s a showcase of outstanding community theatre productions, a symposium for passionate and dedicated community theatre artists, a celebration of excellence in community theatre, and a destination bringing together theatre lovers from across the province. Festival 2018 is hosted by London Community Players, in partnership with Theatre Ontario and the Western Ontario Drama League.

Learn more about Theatre Ontario Festival 2018

Welcome Toronto Irish Players and Ottawa Little Theatre to Theatre Ontario Festival 2018

Toronto Irish Players' production of Little Gem

Theatre Ontario is thrilled to welcome the final two productions that will perform at Theatre Ontario Festival 2018 in London. These productions are chosen from Ontario’s regional community theatre festivals, and are a showcase of outstanding community theatre from across the province.

On Thursday, May 17, the Toronto Irish Players return to Festival with their production of Little Gem by Elaine Murphy. Representing the Association of Community Theatres—Central Ontario (ACT-CO), and chosen as Best Production in the Comedy category at the ACT-CO Festival by adjudicator Heather Dick, Toronto Irish Players were the recipients of last year’s Elsie Award for Outstanding Festival Production.

On Saturday, May 19, Ottawa Little Theatre will present Dead Accounts by Theresa Rebeck, representing the Eastern Ontario Drama League. This show was chosen as Best Production in the EODL Full-Length Festival by adjudicator Bea Quarrie. Ottawa Little Theatre hosted last year’s Theatre Ontario Festival, and last represented EODL at Festival in 2005.

As previously announced, Theatre Ontario Festival 2018 will feature detailed adjudications with Maja Ardal, a Voice and Movement workshop led by Dan Ebbs, a Playwright-in-Person reading, and awards and parties celebrating community theatre in Ontario.

Ottawa Little Theatre's production of Dead Accounts

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 2018 runs May 16 to 20, and is hosted by London Community Players, in partnership with Theatre Ontario and the Western Ontario Drama League.

Join us at Theatre Ontario Festival 2018

Join Us at Our "Movement and Voice" Workshop at Theatre Ontario Festival 2018 in London

Dan Ebbs

Theatre Ontario will be hosting a free “Movement and Voice” workshop with Dan Ebbs as part of Theatre Ontario Festival 2018 for participants eager to enhance their skills.

Dan’s workshop will focus on body dynamic, finding characters instinctively, personalized warm-ups, mime, natural body resonance, and enunciation.

Theatre Ontario Festival is a showcase of outstanding community theatre productions, a symposium 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 2018 runs May 16 to 20 in London.

Learn more about our Theatre Ontario Festival 2018 Movement and Voice Workshop

Welcome Elmira Theatre Company and ELATE to Theatre Ontario Festival 2018

On a First Name Basis presented by Elmira Theatre Company

Theatre Ontario is thrilled to welcome the first two productions that will perform at Theatre Ontario Festival 2018 in London. 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 16, Elmira Theatre Company will present On a First Name Basis by Norm Foster, representing the Western Ontario Drama League. Elmira returns to Theatre Ontario Festival after 25 years, and were chosen as Best Production in Festival at WODL Festival in Sarnia by adjudicator Carey Nicholson.

On Friday, May 18, ELATE from Elliot Lake will present Tempting Providence by Robert Chafe, representing QUONTA (the northeastern Ontario community theatre association.) This will be their first appearance ever at Theatre Ontario Festival. ELATE was awarded Outstanding Production by adjudicator Laurel Smith at QUONTA Festival in Elliot Lake.

As previously announced, Theatre Ontario Festival 2018 will feature detailed adjudications with Maja Ardal, workshops, playwright readings, awards and parties celebrating community theatre in Ontario.

Tempting Providence presented by ELATE

The annual Theatre Ontario Festival is a showcase of outstanding community theatre productions; a symposium 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 2018 runs May 16 to 20, and is hosted by London Community Players in partnership with Theatre Ontario and the Western Ontario Drama League.

Join us at Theatre Ontario Festival 2018

Congratulations to Susan M. Perkins, Recipient of the 2018 Michael Spence Award

Susan M. Perkins

Theatre Ontario is thrilled to announce that the 2018 Michael Spence Award for Contribution to Community Theatre will be presented to Susan M. Perkins of London. This award is presented by Theatre Ontario from the nomination by London Community Players, and on the recommendation of WODL, the Western Ontario Drama League.

The award honours individuals for sustained contribution to community theatre, generosity of spirit, involvement, and commitment to community theatre that is legendary within their region, helping community theatre flourish. Sue will receive her award on May 20 at the Theatre Ontario Festival Awards Brunch in London.

Learn more about Sue Perkins on the Theatre Ontario website

Join Us at our "Introduction to Adjudication" Course in London

Our Introduction to Adjudication course returns to London in 2018. This course is an opportunity for individuals interested in learning adjudication skills in an intensive festival setting.

"Introduction to Adjudication" is for emerging and potential adjudicators. Participants will receive training in the principles of adjudication, attend community theatre performances at Theatre Ontario Festival 2018, and practice adjudicating presentation skills in a private setting. After the course, participants have the opportunity, at their discretion, to perform a practice adjudication at an Ontario community theatre.

The course is taught by Ron Cameron-Lewis who has adjudicated well over 2,000 productions throughout Ontario and internationally, and taught adjudication at Festivals in Ontario and the U.S.

This course will run May 16 to 20, 2018 in London as part of Theatre Ontario Festival 2018.

Learn more about Theatre Ontario’s Introduction to Adjudication Course

Join Us at Theatre Ontario Festival 2018

Tickets and accommodations for Theatre Ontario Festival 2018 in London will be going on sale on December 15th.

Opening May 16, and running until May 20, our annual Festival is a celebration of community theatre—featuring performances, adjudications, and workshops—bringing together theatre lovers from across the province. Early-bird 4-show packages at a discounted rate of $88 are available until February 1. After that, packages will cost $96. Single tickets are $27 each and Awards Brunch tickets are $35.

Tickets will be available online at www.theatreontariofestival.ca (additional charge for online sales) or you can call the London Community Players Box Office at 519.432.1029 (box office hours are Tuesday to Friday from 11am to 7pm.)  The link will also have information about the Festival schedule and hotel information after December 15th.

Theatre Ontario Festival 2018 is hosted by London Community Players in partnership with Theatre Ontario and the Western Ontario Drama League.

Related reading

• Learn more about Theatre Ontario Festival
• Meet Maja Ardal, our Festival Adjudicator
• New to Festival? Catch-up on stories from Theatre Ontario Festival 2017

Honouring Legendary Contribution to Community Theatre in Western Ontario

Do you know someone whose sustained contribution, generosity of spirit, involvement, and commitment has helped community theatre flourish?

Theatre Ontario is now inviting nominations for the 2018 Michael Spence Award for Contribution to Community Theatre. The award is presented annually to someone from the region that is hosting the Theatre Ontario Festival—which in 2018 is Western Ontario—and will be presented at the Awards Brunch.

2017 Michael Spence
Award recipient David Parry

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, Bev Dietrich, John Storey, and Murray Finn. The 2017 award was presented to David Parry of Perth.

The 2018 award will be presented to an individual from the Western Ontario community theatre region, which includes Bruce County, Grey County, Wellington County, Waterloo Region, the City of Burlington, the City of Hamilton, Niagara Region, and all other municipalities southward and westward to the U.S. border.

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 31, 2018.

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

Welcome Maja Ardal as Festival 2018 Adjudicator

Theatre Ontario welcomes Maja Ardal as adjudicator for Theatre Ontario Festival 2018 in London. Maja most recently adjudicated the QUONTA Festival (northeastern Ontario) in 2015 in Sault Ste. Marie, and the London One-Act Play Festival in 2016. This will be her first time adjudicating Theatre Ontario Festival.

Maja has been working in theatre for forty-seven years. She is a director, playwright, actor, and theatre trainer. Her musical play, The Hero of Hunter Street, was produced by 4th Line Theatre in 2016. She researched and created One Thing Leads to Another, Theatre for Babies, produced by Young People’s Theatre, receiving two Dora Awards in 2015. It will tour Ontario in 2018, and she is developing the sequel, You and I.

“I am honoured to be invited to this festival,” said Maja. “My role as adjudicator is both challenging and delightful, and ultimately involves the moral responsibility of sharing my views in a way that enriches the communities' craft and passion for playmaking.”

Learn more about Maja Ardal

Theatre Ontario Festival 2018 will be held in London from May 16 to 20, 2018 and is co-hosted by Theatre Ontario, London Community Players, and the Western Ontario Drama League.

Read more about Theatre Ontario Festival

Save the Date for Theatre Ontario Festival 2018 in London

Theatre Ontario Festival is a destination for theatre-lovers from across the province.  Mark your calendar now to join us on May 16 to 20, 2018 as we travel to London for Theatre Ontario Festival 2018.

Co-hosted by Theatre Ontario, London Community Players, and the Western Ontario Drama League, the Festival will be a return to the community that last hosted our Festival in 2010.

Theatre Ontario Festival showcases outstanding community theatre productions from across the province, and celebrates outstanding achievements in community theatre with artistic awards, and the Michael Spence Award for Outstanding Contribution to Community Theatre.

With thought-provoking detailed adjudications open to all attendees, workshops, and play readings bringing together Canadian playwrights and communities, Festival is also a symposium for passionate and dedicated community theatre artists.

Find out more about the Theatre Ontario Festival experience by reading about Festival 2017