Calgary Theatre Reviews Archives

Ribstone by Christopher Hunt is a heartfelt journey through memory and meaning.

Posted on January 22, 2026March 4, 2026 by James Hutchison

Christopher Hunt in RIBSTONE. Photo by Hannah Kerbes

Christopher Hunt’s Ribstone is a richly entertaining and personal reflection about family, storytelling, our connection to the land, and our changing relationship to the past. It’s packed with stories, both tragic and humourous as well as the occasional song. And while the current run at Lunchbox Theatre is sold out, I’d recommend you keep an eye out for a return engagement so you can grab those tickets and see the show – because I guarantee – you won’t be disappointed.

Hunt is our guide for the evening. And the casual, friendly feel of the show begins when he takes his place onstage and begins to quietly strum on the old banjo while the audience is still coming into the theatre.

To his right, is the crankie.

What is a crankie?

Well, it’s the IMAX of the 1800s albeit on a much smaller scale. It’s a visual storytelling device. Basically, it’s a box with a display window cut into the front. On either side of the box are cranks that you turn to move a scroll across the window. That scroll can contain drawings or titles or anything else you want to draw on it to help you tell your story.

Directly behind Hunt is a barn-like structure containing a window where you can hang a lantern and a number of hooks with some of the relics that Hunt uses during the show. The set is built entirely from weathered wooden planks. Each board bears the marks of time having been aged grey from the sun and grooved by the wind and rain. These boards not only show the mark of time passing but contain the initials and carvings of those whose stories we are about to hear. (Please note the production photos in this blog were taken before the set was finished and in place.)

So, what exactly is a Ribstone and why is that the title of the show? Well, a Ribstone is an ancient and sacred artifact to the Indigenous Nations, such as the Blackfoot, that lived on this land long before we arrived. There are about a dozen of them in existence today. The stones have grooves carved into them that represent the ribs of the buffalo as well as other markings. When Hunt’s grandfather came to Alberta the land he ranched included one of these Ribstones on the top of a hill. So, the stone is the namesake of the ranch, and it was also the namesake of the butcher shop Hunt’s family ran in Calgary for many years.

There are a dozen or so characters we hear from through the course of the play and Hunt jumps easily from one character to another as he tells us stories and reflects on his family’s history. We learn about the importance of talking to your elders, old-time music, and the story of Lee Brainard who moved his cattle herd up from Montana into Alberta during the winter of 1906/07 with the mistaken belief, that Chinook winds would regularly melt all the snow, so his cattle could feed on the prairie grass over the winter.

One of the most enjoyable things about Hunt’s performance is the unhurried but deeply engaging way he speaks to us. Whether he’s telling us a story about trying to work up the courage to ask a girl out or gaining new insights about Residential Schools from an Indigenous perspective he knows how to use a pause to convey meaning. To land a joke and give us a chance to laugh. To ponder a question about our place in the universe and give us room to explore our own thoughts.

I find so much of the media we consume today is focused on speed and pace and cutting out the pauses. How many badly edited YouTube videos have you seen where they’ve cut out the breaths in order to speed up the delivery?

Why would you do that?

The breath is one of the key things that makes speech human.

And it’s when we get to experience live theatre with a performer as gifted as Hunt that we once again get to experience the magic of words. The magic of the moment. How a hesitation between two spoken words can be filled with meaning and weight.

To help bring the story to life, Hunt has assembled a talented team of artists including director Jamie Dunsdon, whose work always reflects her ability to capture authentic human moments. Not only did Jamie direct the show, but she also did the lighting and the emotional shifts in tone and story are reflected in gentle changes to the lights. Plus, there is, later in the play, a wonderful and entrancing image achieved through a simple backlighting effect that drives home the complicated emotions and questions we’re dealing with today as we move forward with Truth and Reconciliation.

The set design is by Hanne Loosen, and like I said earlier, I found the use of the aged wood a perfect backdrop for telling these stories. It’s much more than just the side of a barn. It’s living history. And it frames the entire show by making us feel like we’re out at the ranch on a summer night listening to stories and looking up at the night sky.

Hunt’s musical consultant for the show was celebrated blues and roots musician and Calgary musical icon Tim Williams. According to Hunt Williams showed up one day with a song he’d written for the show and told Hunt that it was his to use if he wanted. Well, of course, he wanted to include it and The Ribstone Waltz is one of the musical highlights of the show. It puts into music the feel of the entire evening. Sadly, Tim passed away last November, and so Hunt has dedicated Ribstone to the memory of Tim Williams who he notes in the program, “helped me find the heart of the piece.”

Ribstone is the perfect show to share with family and friends, because not only does it gives you something to talk about after you leave the theatre but you walk out feeling good about life. Not because every story is uplifting, although there are many uplifting stories, but because the play focuses on human connection and how exploring our history and the difficult questions of life can deepen our sense of belonging and help us to understand more about ourselves and our place in the world.

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Lunchbox Theatre and One Yellow Rabbit present Ribstone at the 40^th Annual High Performance Rodeo. Ribstone is already sold out, but if you’d like to check out the rest of the shows at this year’s High Performance Rodeo you can visit their website at www.oyr.org And be sure to check out the next Lunchbox Theatre show, Thank You For Your Order by Jessica Moss, at www.lunchboxtheatre.com.

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RIBSTONE

Elvis is Dead - Title Card with Frump and Bunson

Graphic Linking to Story - Devil of a Christmas - Not every life is so wonderful. A short story by James Hutchison about George Bailey.

The Wizard of Oz at Alberta Theatre Projects – A fun and entertaining family friendly production.

Posted on November 29, 2025February 25, 2026 by James Hutchison

Alberta Theatre Projects Production of The Wizard of Oz — Cast members in Alberta Theatre Projects production of The Wizard of Oz. Photo by Jeff Yee. Set, Lighting and Props Design by Narda McCarroll. Costume Design by Ralamy Kneeshaw.

If you’re looking for a memorable and fun family outing to celebrate the holiday season, then be sure to catch Alberta Theatre Projects inventive and highly entertaining production of The Wizard of Oz.

This is the stage musical based on the 1939 film starring Judy Garland which was based on the books by L. Frank Baum. Few films imbed themselves as deeply into the culture as The Wizard of Oz has and so many people have an affection and love for the story, the characters, and the music.

The amazing thing about this story is just how many of the characters we know and remember. Often in a movie you’ll have the lead character and maybe another character or two who really define the story and become part of the culture. But in The Wizard of Oz every character adds something powerful to the journey. The Tinman, The Cowardly Lion, The Scarecrow, The Wicked Witch of the West, Glinda the Good Witch of the North, The Wizard of Oz, and Dorthy are all vivid in our minds and our memories.

Oh, and Toto. You can’t forget Toto.

All of these characters are relatable. Why? Because they’re flawed. I mean who hasn’t felt stupid or scared. Who hasn’t wanted to run away from home when life gets hard. And then there are the songs. Fun. Joyful. Happy. Sing along songs like We’re Off to See the Wizard or Somewhere Over the Rainbow that not only entertain but speak deeply to the heart of every soul who has ever spent time with their kids or their parents or grandparents watching this magical story unfold.

And so, I’m happy to report that director Tracey Power has captured some of that magic by assembling a terrific cast that embodies the spirit of the story and has the theatrical expertise and singing skills to bring The Wizard of Oz to life.

The story for those that don’t know is about a young girl named Dorothy who along with her dog Toto runs away from home and finds herself in the magical kingdom of Oz. There she teams up with the Tinman, the Scarecrow, and the Cowardly Lion as they travel to the Emerald City to ask the Great and Powerful Wizard of OZ for help, all while being relentlessly pursued by the Wicked Witch of the West.

I would suggest that more than the books the iconic performances of the actors in the original film define what we expect when we see a stage production of the show. The trick for any actor is to honour the original performance while bringing something fresh and exciting to the role and the entire cast does exactly this. They feel familiar yet original. And by doing so we see a show we love but with a new energy and a different dimension because every actor brings to every character they play a bit of their own soul and emotional understanding of the world.

Hannah Adamson takes on the role of Dorothy Gale and does an admirable job bringing a youthful enthusiasm and resilient determined spirit to the role. Joining Dorothy on her journey is the kind-hearted and caring Scarecrow played with a childish innocence and an astonishingly high degree of physical flexibility by Ryan Maschke. Jason Lemmon plays the prone to tears tin man as compassionate and brave, despite his fears and insecurities.

Returning to the stage to reprise his role as the Cowardly Lion having previously played the part at ATP is Kevin Corey easily one of the best physical comedians working on the Calgary Stage. Corey’s portrayal has the right balance of comic exaggeration and genuine emotion which makes his Cowardly Lion both funny and endearing.

Cast members in Alberta Theatre Projects production of The Wizard of Oz. Photo by Jeff Yee. Set, Lighting and Props Design by Narda McCarroll. Costume Design by Ralamy Kneeshaw.

Playing the Wicked Witch of the West Daniela Vlaskalic brings a cackling and menacing presence to the role and does a great job playing the villain of the story. Jessica Jones as Glinda the Good Witch of the North is the perfect counterbalance to Vlaskalic’s Wicked Witch of the West. Jones radiates goodness and has a carefree nature about her that fits perfectly as she guides Dorthy on her journey and steps in at key moments.

Brent Gill who plays the Emerald City Guard (who in the movie has always reminded me of a deranged Gene Shalit) brings a fun mix of bureaucratic bluster and comedic self importance to his role. And last but not least Christopher Hunt does a wonderful job of playing the Wizard of Oz as both the loveable conman with a heart of gold he is while pretending to be the Great and Powerful Wizard who strikes fear in all those who dare seek him out.

Not only has director Tracey Powers done an excellent job of casting and directing the show but she’s assembled a strong design team including set, lighting, and props designer Narda McCarroll, costume designer Ralamy Kneeshaw, sound designer and keyboard #2 Van Wilmott, and Musical Director and Keyboard #1 Joe Slabe.

The production features live music which always enhances the production and adds an element of live performance that brings a vibrant feel to any musical. The sets are all made of things like umbrellas and plates and bottles and bicycle wheels and old jeans and tin cans that have been transformed into trees and forests and hills that anchor the play in the plains of Kansas and the magical land of Oz. Which leans into the theatricality of the show and the magic of theatre all of which make the production a visual treat and something more than simply replicating the movie.

Bottom line this is a fine production. It’s entertaining and inventive. The Wizard of Oz at Alberta Theatre Projects is a magical and family-friendly holiday production that brings this much-loved story and characters to life on stage. Tracey Powers has brought together a talented cast and show with design elements crafted from recycled materials, while featuring live musical elements that manages to capture the spirit of the original movie while creating a fresh theatrical experience for everyone to enjoy.

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The Wizard of Oz runs until January 4th at Alberta Theatre Projects. Please note evening performances from Tuesday to Saturday have family friendly start times of either 7:00 pm or 7:30 pm depending on the date of the performance. Saturday and Sunday matinees start at 2:00 pm. Tickets are available at albertatheatreprojects.com or by calling the box office at 403-294-7402

Peril in the Alps at Vertigo Theatre – Interview with Director Clare Preuss

Posted on November 12, 2025February 25, 2026 by James Hutchison

Production Still Peril in the Alps at Vertigo Theatre — Austin Halarewich, Graham Percy, Photo by Fifth Wall Media

Kidnapping, blackmail, and murder are all being served up in the Vertigo Theatre production of Peril in the Alps by Steven Dietz.

Bella Duveen has vanished, and Arthur Hastings can think of no one better to find his sister-in-law than his good friend Hercule Poirot – a master sleuth who has saved Bella once before. Coincidentally, Poirot has just taken on a missing persons case that seems eerily similar – are they connected? And how are these disappearances intertwined with past mysteries that have already been solved? With the suspicion of a greater scheme at play, Poirot must travel to the snow-capped Alps, where the famed Belgian detective may finally meet his match. Six actors bring to life dozens of eccentric characters and clever suspects in this diabolically funny mystery romp.

The only question is – are you able to match wits with our famous Belgium detective and solve the mystery before he does? To find out catch Peril in the Alps from November 15^th to December 14^th and get your tickets from the Vertigo Theatre Box Office by phone at 403.221.3708 or online at vertigotheatre.com.

I contacted the director of the play Clare Preuss, who was in the middle of rehearsals, in order to talk with her about the enduring appeal of Poirot and the magic of theatre.

Clare Preuss Director of the Vertigo Theatre production of Peril in Paris

JAMES HUTCHISON

So, lets talk a little bit about the cast. You’ve got Graham Percy playing Hercule Poirot and Austin Halarewich playing Hastings. Rounding out the cast you’ve got Tyrell Crews, Linda Kee, Heidi Damayo and Aiden Laudersmith all of who are playing multiple roles in the production. So, tell me about the cast you’ve assembled for this production and what sort of an ensemble you’ve put together.

CLARE PREUSS

They’re just fantastic. And to fully manifest a show like this the actors have to be virtuosic. There’s a level of skill that is needed. The ability to drop into characters really quickly and the ability to play a character with authentic intentions and with authentic tactics and then to also play something that’s arched because there’s an arched element to the show. So, I think being able to find folks who have that dexterity is really incredible.

And then for me I always want to hire people and work with people that are generous. That are willing to take risks. And all of them are. And they’re all so funny. I mean there are so many moments that they’ve come up with in the room where they just play off each other and they’re willing to be vulnerable. And that’s really important. They’re an incredible cast and every single one of them has shining moments in this story.

And then Austin and Graham really have to carry the show, and they have to play friends that have known each other for many years and it’s incredible what they’ve come up with.

And if anyone knows Graham Percy’s vast experience in the community and the roles, he’s played watching his Poirot is something stunning. He’s got this balance. You just believe he’s that smart. That he puts together the clues the way Poirot does. And then you also feel this heart.

I said to him the other day in rehearsal, “Your Poirot is so smart and also has a heart the size of a mountain.” And I think that’s really beautiful because Poirot is in service to people. But he’s also conceited as hell. He knows he’s smart. And so, I think having that edge – someone who’s very sure of themselves and also someone who can be very generous and care is again really special.

And Austin is fresh out of the gate. I mean he’s such a youngster but wow stunning. A stunning, nuanced, generous, present performance. I think he’s got a huge career ahead of him.

JAMES

Some of the best comedies in the world center around murder and mayhem such as Arsenic and Old Lace or Dr. Strangelove. What is it about these high stakes stories where death looms that makes them such an ideal vehicle for laughter and farce.

CLARE

The one thing we know when we come onto planet earth is that we’re going to die. And it’s something that we don’t talk about that often, so these stories take that taboo and make fun of it. And even though we can be killed so easily – as a society most of us agree we’re not going to kill each other. So, I think there’s something fun in bringing up a completely immoral, illegal, taboo act and laughing at it. And to think about it in a playful way because we know we’re not allowed to do it. But there’s something tantalizing about the forbidden fruit idea of it. And I love laughing at things that are deeply serious. It’s naughty and cathartic and I think people like being naughty.

JAMES

You know I saw Liars at a Funeral which you directed at ATP last year and it was a very funny show but one of the parallels between that play and this play and a lot of plays these days is they might have one or two people who play a single character and then they’ve got a cast that are playing multiple characters and that seems to be very common now and I’m wondering what sort of elements to a production does that type of casting and that type of story telling create?

CLARE

That’s part of the fun, right. Watching people transform. And this particular show is written for the TikTok generation. I say that because the scenes are short. There’s lots of stuff to look at all the time. And that’s the play written and then we’ve leaned into that with the production where there’s so much happening on stage all the time. In a good way. And it’s still focused.

Obviously, budgets have influenced the desire for actors to take on multiple characters. But I also think in a world where we can see so much on TV and on our phones at the drop of a hat where we see big casts and people playing specific characters all the way through – that there’s something fun about the poetic nature of theatre that really lends itself to people taking on different roles. And that’s certainly true with this show with the number of costumes and quick changes happening. It’s like watching a high wire act, right. There’s a joy in watching that kind of stuff.

JAMES

So, Peril in the Alps by Stephen Dietz is a sequel to last year’s Murder on the Links and both plays focus on Hercule Poirot. And even though the plays have a lot of laughs they maintain the core characteristics of Poirot, and I wonder what are those qualities of Poirot in the plays that make him such an enduring and loved character in the world.

CLARE

Well, I think it’s his psyche. His ability to be present. To not just be witnessing something but to be really aware of it. Aware of the minutiae in a moment in a case. To follow the evidence and not his emotions. To remain somewhat detached and to be able to piece together very simple clues that other people skip over because they’re not actually paying attention. They’re just watching. So, his ability to be so fast and put things together so quickly is lovely. And his desire to serve people is I think something that’s endearing.

And then I think we love a character that’s a bit conceited. We love a character that is sure of himself. We love a character like that because we are taught that you shouldn’t do that in the world. We should be modest and not toot our own horn. So, I think a part of what we enjoy about Poirot is that he has the courage to sit in pleasure. This brings me pleasure and I’m doing it. So, he does that very clearly. And then to know that you’re good and to know and be clear about knowing that you’re brilliant. And he knows he’s the best.

He’s also very solitary. Never been married. He’s kind of a mystery at home. There’s something about that containment that’s magic. Mystery is magic. So, his life is magic and there’s something I think about the lone wolf part of him that I find very attractive too. Like this interesting guy who is able to go into other worlds, but his world is actually quite private. So, there’s something cool about that.

JAMES

For audiences coming to see Peril in the Alps which blends suspense and comedy and includes a cast playing multiple characters what kind of an evening can they expect as they take their seats, and the curtain rises, and the story unfolds.

CLARE

It’s amazing. I mean Naomi is right over here and we just had a run through. She’s the stage manager. She’s brilliant. We just had a run through earlier today and we both looked at each other after the run through and we’re like it goes so fast and it’s really like a roller coaster ride. You get on at the beginning of Act I and it just comes to life so quickly and with so much detail and the precision of it is so entertaining.

So, it’s fast paced and I say it’s great for all generations. There are some people who are going to know Poirot and are going to know his cases in depth. But you can bring your kids, and they’ll be like – “Oh, my God. That’s amazing! Oh, lights. Flashing. Sound. Oh, I learned something. Oh, there’s a bit of a mystery here I can follow. Oh, it’s funny.” Like it’s very poppy in that way.

And it’s a totally solvable mystery and people like to peace together clues. And it’s just so fast paced and funny and the characters are so charming. The set design is gorgeous. And the lighting is by Anton deGroot who is amazing. And we have Peter Moller one of our iconic sound designers in town creating the sound. And then watching people get in and out of all these costumes is fun. So, it’s like getting on a roller coaster and watching a high wire act where you throw in a solvable mystery and laugh your butt off and there’s a night at the theatre I’d pay for.

JAMES

Hey – before I let you go – you know these days we have things called social media.

CLARE

Oh yeah.

JAMES

And I follow you on Instagram.

CLARE

Oh, you do. I should follow you back. Do I follow you back?

JAMES

You do actually. But I’ve got to tell you, I like looking at your Instagram feed because it shows all the amazing people you work with and all the amazing work you’re doing, and I was wondering if you can help me with one thing. On your Instagram account you describe yourself as an Artistic Director / Director / Actor / Creator / Meditator / and an Eternal Optimist.

CLARE

Yes.

JAMES

That’s what I need help with. I tend to see the dark side of things. So, how do you become an eternal optimist? Is it your nature? Is it something you foster? Is it an attitude?

CLARE

I’ve always had a very buoyant personality, but I’ve also had some really really tough stuff that came my way at a very young age. And it’s interesting because when I started theatre school my classmates were like, “Ah she’s the youngest in the class. She’s so irritating. She’s always so happy.” And I was like – well I can tell you my life story – this is earned happiness. And I won’t go into it now, but life has thrown me many curveballs, and I think the only way to get through it with a sense of joy is to believe – not just believe at this point – but to know that everything is always going to work out. And don’t take things too seriously. What’s the worst thing that’s going to happen? You’re going to die. And we’re all going to die anyway. So maybe it’s just my dark side that makes it deeply macabre and funny. (Laughs) I don’t know.

JAMES

Well then how do you think theatre help us find joy and optimism.

CLARE

I love everyone that creates theatre. The people who actually put their bodies on that stage – like the actors who get up there every night – they are front line workers. Because what we’re doing in theatre I think is showing people that you can have the courage to live beyond the mundane. And for me that is just huge because I think rather than compare yourself with everybody on social media and to constantly be putting yourself in boxes you should free yourself and imagine something beyond the mundane.

And I think there’s something beautiful about the liveness of theatre that you can be present with other people in this dark space. It’s magical. It can change the way you think about the world. It can change the way you feel about yourself. It can help you process really hard things. It can also help you laugh at life and escape some of the drama that feels so serious around us. So, I think theatre offers a lot of different things and I think this particular show stokes the whimsey in us. It stokes the child like nature in us. It stokes our sense of imagination and possibility. And there’s a lot of daring in the show and so, I think it makes us a bit more daring.

***

Vertigo Theatre Presents Peril in the Alps by Stephen Dietz based in part on Agatha Christie’s Poirot Investigates from November 15^th to December 14^th. Tickets are available from the Vertigo Theatre Box Office by phone at 403.221.3708 or online at vertigotheatre.com.

The Legend of Sleepy Hollow at Alberta Theatre Projects – Interview with Director Craig Hall

Posted on October 21, 2025February 25, 2026 by James Hutchison

This October The Legend of Sleepy Hollow comes alive on the Alberta Theatre Projects stage featuring all your favourite characters including Ichabod Crane, Katrina Van Tassel, Brom Bones and of course the Headless Horseman. The story has been expanded to dive deeper into the murky waters of post-Revolutionary America and the politics and superstitions of the time. The play is being penned by Anna Cummer and Judd Palmer and features Matthew Mooney as Ichabod, Emily Howard as Katrina, and Devon Brayne as Brom. Rounding out the cast is Christopher Clare, Jamie Konchak, Doug McKeag, and Alice Wordsworth.

The play is being produced in association with the Banff Centre for Arts and Creativity and is being brought to life by the twisted genius of The Old Trout Puppet Workshop which includes Judd Palmer, Pete Balkwill, and Pityu Kenderes along with the rest of the design team including lighting designer Sonoyo Nishikawa and sound designer Andrew Blizzard.

The play runs from October 22nd to November 9th at the Martha Cohen Theatre in the Werklund Centre which was formally known as Arts Commons. Tickets are available at albertatheatreprojects.com or by calling 403-294-7402

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I contacted the director of the play Craig Hall, who was out in Banff along with the entire creative team making final preparations for the play’s premiere, in order to ask him about this particular adaptation and how it evolved.

JAMES HUTCHISON

So, stories like Dr. Jekyll and Mr. Hyde, Dracula, and The Legend of Sleepy Hollow continue to be retold and reimagined even centuries after they were first shared with people. What is it about these myths, ghost stories, and tales of the supernatural that allows them to transcend their original time and place and still resonate with a modern audience?

CRAIG HALL

I think it’s good storytelling. You know with all the right tension and with all the right sort of secrets and mystery. And audiences love being scared. And I don’t just mean theatre audiences. Look at the horror genre. It’s massive. And so these stories are classics because it’s great storytelling and because audiences love to be scared.

JAMES

Who hasn’t hidden around the corner and gone boo at one of their unsuspecting family members.

CRAIG

Exactly. It’s in us. That love of being surprised and the adrenaline rush that is caused by something being unknown or unexplainable. And the mystery genre in fiction is one of the biggest genres in the world and has been for a long time. Even if it’s a straight-ahead drama or comedy, there’s always an element of mystery in everything that I’m drawn to because it’s more than just an intellectual experience, it’s a physical experience as well. And it makes us active. We’re an active participant in the story. And I would suggest that every ghost story is a mystery although not every mystery is a ghost story.

JAMES

This is a new play and it’s an adaptation of an existing story so as the director I’m wondering how you see your role first in working on the script and the story with the playwrights Anna Cummer and Judd Palmer. How did that process work.

CRAIG

It’s been a long process. Anna and Judd have been working on this since Covid. They were looking for something to tackle and they went with The Legend of Sleepy Hollow because it had the intrigue that they were looking for. It had the potential for the style that they were looking for. And it’s a story that’s in the public domain so they could do what they wanted with it.

I’ve been in and out of the process as a bit of a dramaturge with a directorial eye. And I’ve been involved in the workshops as we’ve gone along and that role kind of transforms from dramaturge to director through the course of the process. So, it’s been a real luxury to be involved with it from its inception.

Anna Cummer and Judd Palmer Playwrights The Legend of Sleepy Hollow by Washington Irving

Often as a director you’re coming into it just as somethings heading into production. But to be involved since the inception and to be able to nudge and contribute has been great. Anna and Judd are certainly the leads, but we’ve all had a little bit of input here and there and it’s been great working with the Old Trout Puppet Workshop and with Anna who is my partner of course.

And because the Trouts are so heavily involved the design almost develops alongside the play. Your usual process is the designers come in as you’re heading into production, but this play has had a design dramaturgy kind of lens, so the design evolved very organically. So, we’ve been able to create the play with the design in mind.

JAMES

As you mentioned a core component of this adaptation of Sleepy Hollow is the The Old Trout Puppet Workshop who are bringing their puppetry and storytelling talents to the adaptation. In what ways does having puppetry expand the storytelling possibilities?

CRAIG

It’s interesting, I mean, because it’s the Trouts everybody assumes that it’s puppet-forward but in this case it’s more about the esthetic of the whole show. The Trouts are doing the costumes. They’re doing the props. They did the set. There’s some puppetry in the piece and everyone knows that the Headless Horseman is going to make an appearance at some point, but it’s less a puppet show than it is a Trout-driven esthetic. It’s almost like the humans are the puppets in a way. They act as narrators. They act as characters. And everything from their costumes to how they move through this world is a very Trout-driven esthetic.

JAMES

So, as part of the process of bringing The Legend of Sleepy Hollow to the stage ATP teamed up with The Old Trout Puppet Workshop along with the Banff Centre for Arts and Creativity. In fact, as we’re doing this interview, you’re currently in Banff in rehearsals getting the play ready for its premiere. How did the opportunity to bring the play to the Banff Centre contribute to the development of the play both artistically and from a practical perspective.

CRAIG

I shouldn’t speak out of turn here, but the Banff Centre made this possible. Without the Banff Centre I’m not sure that ATP could have taken this project on. It was when the Banff Centre came on board that everything lurched forward and got under way. And last night Doug McKeag took us all out on a night time walk through the forest that he’d planned and the group recreated one of the ritual scenes that’s in the show and they came out of the forest with lanterns and you don’t get that kind of bonding beyond the rehearsal hall when everybody is living in their home and going home directly after work. So, it’s been such a privilege to be out here in such an extraordinary facility as an ensemble and to concentrate on the work.

JAMES

I read the original story The Legend of Sleepy Hollow by Washington Irving and one of the things that really stood out to me was just how clear and vivid the characters are in the story. Tell me about how these characters have been lifted from the page and put on stage to help tell the story.

CRAIG

It’s certainly not a traditional retelling of the story. Those basic characters of Katrina Van Tassel and Ichabod Crane and Brom Bones come from the original and the love triangle still exists but it’s an expanded world. It’s not as simple a story.

It’s got a lot of politics around the revolutionary war in it, and everybody is suffering a little bit of PTSD from the war and how the country was torn to pieces. So, Anna and Judd really dug into the history and what was happening at the time and how that parallels what’s happening now. The story goes far beyond the simple relationships of those three characters.

And Ichabod is very much a creature of survival. He will become whoever he needs to become in order to survive. You’ve got this character who’s out of his element and you’re really rooting for him but then his choices are not always correct morally. And what he believes to be true versus what’s actually true becomes this sort of interesting moral conundrum in the piece.

JAMES

You mentioned truth. Do you believe theatre’s role is to reveal truth?

CRAIG

I think its role is to wrestle with it. The most interesting theatre requires you to discern what the truth is. It offers both sides of an argument. And I think that’s what Anna and Judd have done. They want the audience to see there’s an ambiguity to it, and they want the audience to go I’m not sure who the hero is and whether or not they are a reliable narrator so that the audience is wrestling with that truth by the end. And I think they’ve put so much thought into the story and done a lovely job of it so that it ends up being a really satisfying journey and puzzle.

JAMES

So, what kind of an experience are audiences going to have when they come to see the show?

CRAIG

I think at its base it’s a nice spooky experience with some beautiful ensemble storytelling. Some beautiful visuals. I think that people who know the story will love to see it expanded and to see these characters fleshed out.

And Judd and Anna are two of the smartest people I know. They both have their own fascinations. Judd loves chaos and Anna loves order. And you get to see these two things kind of battle inside of a script which makes for a really satisfying whole. I think that each of them individually would have written a very different piece, but together they wrote something that has a lot of complexity and depth.

And Ichabod calls himself a poet warrior. That’s his own self-aggrandizing definition of himself but words are what he uses for battle. It’s that idea that the pen is mightier than the sword and he’s going to change the world through his words, and he does but whether it’s for better or for worse remains to be seen.

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Alberta Theatre Projects presents the world premiere of a brand-new Canadian adaptation of The Legend of Sleepy Hollow by Washington Irving. Co written by Anna Cummer and Judd Palmer and produced in association with the Banff Centre for Arts and Creativity and The Old Trout Puppet Workshop, this production presents an exciting multi-organizational collaboration that breathes new life into the enduring and haunting tale of the Headless Horseman.

The Legend of Sleepy Hollow runs until November 9th at the Martha Cohen Theatre in the Werklund Centre. Tickets are available at albertatheatreprojects.com or by calling 403-294-7402.

Beyond the Sea by Kristen Da Silva at Lunchbox Theatre

Posted on October 16, 2025February 25, 2026 by James Hutchison

Lunchbox Theatre kicks off its 51st season with the very funny and heartfelt Beyond the Sea by Kristen Da Silva running from October 14th to November 2nd. Playpasses and tickets are available online at lunchboxtheatre.com or by calling the box office at 403-221-3708.

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Every stranger we meet has the potential of influencing our lives in a deep, meaningful, and powerful way. Of course, that does require a level of vulnerability and often I would suggest the sharing of pain. The painful aspects of life. The struggles. And those struggles can be individual short falls or life’s unfair circumstances. No life is without its challenges.

How’s that for a comic premise?

It’s a pretty darn good one actually.

And playwright Kristen Da Silva has crafted a genuinely funny, heartfelt, and deeply moving play that follows the evolving and deepening relationship between two strangers who by the end of the story have transformed from strangers to friends.

The play is brought to life with wonderful performances by Meg Farhall and Mike Tan. Mike portrays Theo as a man whose personal shortcomings and approach to life have forced a reckoning from which he is trying to emerge a better person. He’s been working on himself – let’s say. And the new Theo has arrived at the pier where he has arranged to meet a woman he met online for a first date. Needless to say, he’s nervous and vulnerable and the pressure is on because he wants to do better and be better and not mess things up like he has in the past.

Meg Farhall, always a joy to watch on stage, plays Gwen who on a very hot day dressed in heavy wool clothing of the 1800s and is the ticket seller for the lake’s ghost tour which features the story of The Woman in White seems to be a free spirit who approaches life with a smile and humour. There’s an immediate fun and playful chemistry between Gwen and Theo as they chat and joke and get to know each other on a deeper level. But of course, there’s more to the story than we first realize as secrets are revealed and intentions uncovered.

Personally, I like the intimacy of a small theatre. I like to be close to the performers. I love a theatre where the actors can be more natural and their voices more nuanced because they don’t have to project to the back of the second balcony. Not to say I haven’t enjoyed some big, bold, beautiful plays on the larger stage but when it comes to an intimate two-hander like Beyond the Sea the play works best when presented in an intimate space. And so, the play is ideally suited for the Studio at Vertigo Theatre which makes the play all that more compelling.

Beyond the Sea is a wonderfully intimate and funny play brought to life with tenderness and humour by director Bronwyn Steinberg who has a talent for these deeply human and evolving relationship stories. This is the perfect play for an afternoon or night out with friends. Or a great idea for a first date. Or a terrific option for a date night for any couple looking for an entertaining and heartwarming story about second chances that will have you leaving the theatre feeling good about life and the future.

Beyond the Sea by Kristen Da Silva runs from October 14^th to November 2^ndat Lunchbox Theatre. Performances are Tuesday to Saturday at 12:00 pm with evening performances on Friday at 7:00 pm and late Saturday afternoon at 4:00 pm and Sunday at 1:30 pm. Tickets are available at lunchboxtheatre.com or by calling the box office at 403-221-3708.

Elvis is Dead Title Card - with Sally Knowlton

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