All is Calm: The Christmas Truce of 1914 – At Rosebud Theatre

The Rosebud Theatre Production of All is Calm: The Christmas Truce of 1914 Ensemble - Kenaniah Love Schnare, Mark Kazakov, Steve Morton, Joel Braun, Tim Dixon, Aaron Krogman, Griffin Cork, Blair Young
The Rosebud Theatre Production of All is Calm: The Christmas Truce of 1914 by Peter Rothstein – Ensemble – Kenaniah Love Schnare, Mark Kazakov, Steve Morton, Joel Braun, Tim Dixon, Aaron Krogman, Griffin Cork, Blair Young – Photos by Morris Ertman

The voices of the past whisper to us.

They have stories to tell.

All is Calm: The Christmas Truce of 1914 at Rosebud Theatre is a deeply moving and memorable production. The story is brought to life by a wonderful ensemble and is partly told through the use of letters home from the soldiers who found themselves spending that first Christmas in the trenches. Many of those soldiers thought the war would be over by Christmas but tragically the war continued for another four years and didn’t end until November 11, 1918.

In addition to the letters home much of the play consists of songs including classic Christmas Carols like We Wish You a Merry Christmas and The First Noel along with many contemporary songs of the day including It’s a Long Way to Tipperary and Keep the Homefires Burning. Playwright Peter Rothstein has weaved together the music and the words of these soldiers in a way that from the first moments of the play to the final scene keeps us fully immersed in this tragic but humanizing war story.

The Rosebud Theatre Production of All is Calm: The Christmas Truce of 1914 Ensemble - Kenaniah Love Schnare, Mark Kazakov, Steve Morton, Joel Braun, Tim Dixon, Aaron Krogman, Griffin Cork, Blair Young

All is Calm: The Christmas Truce of 1914 tells the story of a brief pause in the fighting during World War I. The Germans and the English sang carols and songs to each other and on Christmas day the soldiers feeling a sense of connection eventually left their trenches and met in no man’s land – the killing field between the trenches. On that first Christmas, they sang songs. They exchanged gifts. They played soccer. They buried their dead. And they wondered what the hell were they doing there trying to kill each other. Of course, the truce ended, and the war continued, and millions would die. But for a moment — there was hope.

The Rosebud Theatre Production of All is Calm: The Christmas Truce of 1914 Ensemble - Kenaniah Love Schnare, Mark Kazakov, Steve Morton, Joel Braun, Tim Dixon, Aaron Krogman, Griffin Cork, Blair Young

Morris Ertman’s direction is flawless as the soldiers interact and tell their stories and there are moments of laughter, moments of faith, moments of grief, and moments of hope. It shows how powerful theatre can be. That’s one of the reasons why we go to the theatre – to experience the emotion of the story. To identify with the characters and understand something more about life and hopefully, we come away feeling a little more connected to our shared humanity.

In no small measure the costumes and setting also add to the experience but what I found particularly moving and worth noting is the musical direction by Bill Hamm because it’s the harmonies of this extraordinary cast that conveys so much of the story. Since the play is giving voice to the words and thoughts of those soldiers long dead having the music performed a cappella really draws us in and connects us to those men whose words are being brought back to life.

The Rosebud Theatre Production of All is Calm: The Christmas Truce of 1914 Ensemble - Kenaniah Love Schnare, Mark Kazakov, Steve Morton, Joel Braun, Tim Dixon, Aaron Krogman, Griffin Cork, Blair Young

So, did I like it? I loved it and not just the play, but I loved the whole experience of going out to Rosebud to see the show. Rosebud has become a favourite destination and a place where good memories are made. A big part of going to the theatre is about who you share the play with – the person sitting beside you – that’s the real joy of seeing a show together. The shared experience with someone you care about and who cares about you. Yes, a live audience adds to the experience but when I think of theatre now it’s all about who I see the show with, and I was fortunate enough to see All Is Calm with my son Graham who also enjoyed the show and the meal very much.

You see Rosebud includes the drive out and the meal and then the show and the drive home. It’s a chance to step away from your routine and to make a good memory and enjoy some of that good old-fashioned Rosebud hospitality which includes Chef Mo’s absolutely delicious buffet. It’s really about taking some time to share a meaningful experience and enjoy each other’s company and to connect and when you see a show as meaningful and memorable as All is Calm it just makes the experience all the more special.

All is Calm: The Christmas Truce of 1914 runs until Saturday, December 23rd. Tickets are available at RosebudTheartre.com or by calling the box office at 1-800-267-7553. The show runs for approximately 70 minutes without intermission.


All is Calm: The Christmas Truce of 1914
Written by Peter Rothstein
Vocal Arrangements by Erick Lichte & Timothy C. Takach

Ensemble
Joel Braun
Griffin Cork
Tim Dixon
Mark Kazakov
Aaron Krogman
Steve Morton
Kenaniah Love Schnare
Blair Young

Understudies
Taylor Fawcett
Caleb Gordon
Dan Hall
Bill Hamm

Artistic Personnel
Director: Morris Ertman
Musical Director: Bill Hamm
Original Scenic/Costume Designer: Carolyn Rapanos
Lighting Designer: Becky Halterman
Stage Manager: Samantha Showalter
Assistant Stage Manager: Christopher Allan
Rehearsal Pianist: Terrah Harper

Production Personnel
Production Manager/Technical Director: Mark Lewandowski
Production Stage Manager: Brad G. Graham
Head of Wardrobe: Amy Castro
Hair: Tracy’s Place Salon Studio
Scenic Carpenter: Wojtek Kozlinski
Scenic Artist: Cheryl Daugherty
Props Builder/Buyer: Brad G. Graham
Load-in/Lighting Crew: Cory Eliuk, Josie Kaip, Kalena Lewandowski, John McIver
Student/Volunteer Crew: Katie Corrigan, Connor Dixon, Joshua Erhardt, Immaneul Halterman, Jack Loney, Kaila Martin



Interview with Mark Bellamy and Sayer Roberts: A Gentleman’s Guide to Love and Murder at Stage West

A Gentleman’s Guide to Love and Murder by Robert L. Freedman and Steven Lutvak at Stage West Calgary is one of the most entertaining and fun shows I’ve seen on a Calgary stage. This production is outstanding, and I guarantee you’ll be delighted and amused and laughing at the exploits of Monty Navarro as he plots and murders his way into high society.

The Tony Award winning A Gentleman’s Guide to Love and Murder tells the story of Monty Navarro whose mother was cast out and disinherited by the D’Ysquith family when she married for love. Monty and his mother are forced to live in poverty as the D’Ysquith family remains unmoved by his mother’s appeals for reconciliation. When Monty’s mother dies and Monty learns the truth of his birth and that he’s eighth in line for an earldom he sets about to avenge his mother’s death and take his rightful place as head of the family.

The book, songs, and music from a Gentleman’s Guide are smart, fun, and witty, but having great source material only works if you have an exceptionally talented cast to pull it off, and director Mark Bellamy’s production has assembled a stellar cast that works seamlessly together. Kate Blackburn as Sibella and Ellen Denny as Phoebe are pitch perfect and hilarious as the women in Monty’s life who tempt him, tease him, and manipulate him based on their own desires and ambitions.  Tyler Murree shows he has a real gift for farce as he portrays every member of the D’Ysquith family with an air of comic pomposity and entitlement.  And Sayer Roberts plays Monty Navarro with all the charm of Cary Grant and the elegance of Fred Astaire making Monty one of the most gracious and likeable rogues you’ll ever meet.

The play is filled with memorable and smart songs including, I Don’t Understand the Poor, Better With a Man, and I Will Marry You as Monty knocks off his relatives one by one on his quest to become the Ninth Earl of Highhurst. Will Monty succeed or will he get caught? Will fate lend a hand? Will he marry Phoebe? Will he always love Sibella? You’ll have to see it in order to find out.

This is easily a five-star production and worthy of two thumbs up. In fact, it’s so good I’m seeing it again, and I’d highly recommend you see it before it closes, because you’ll have a darn good time, and this production won’t be available on demand. Theatre and live performance is the ultimate “here for a limited time” experience.

I sat down with the director of the show Mark Bellamy and actor Sayer Roberts who plays Monty, the Wednesday before the finale of Game of Thrones, to talk with them about the play, musical theatre, and our predictions of who will sit on the Iron Throne.

Mark Bellamy – Director and Musical Staging – A Gentleman’s Guide to Love and Murder at Stage West Calgary

JAMES HUTCHISON

How did you both get involved in the Canadian premiere of A Gentleman’s Guide to Love and Murder here at Stage West?

MARK BELLAMY

I’ve loved this show from the minute I’d heard about it. I love the music and I’m a huge fan of this style of musical theatre. There’s a lot of old school techniques that have been put into the writing and the structure of it. So, I learned they were doing it while I was here directing Baskerville last year, and they announced their season, and I was like, “Ah you’re doing Gentleman’s Guide.” And Kira Campbell who’s the Artistic Associate said, “Yeah we’ll get you for Gentleman’s Guide or for this other show, and I’m not sure which one to put you on.” And I was like, “Oh God, please put me on Gentleman’s Guide.” And they did.

Actor Sayer Roberts who plays Monty Navarro in the Stage West Calgary Production of A Gentleman’s Guide to Love and Murder

SAYER ROBERTS

I saw it ages ago when they did the performance on the Tony Awards, and for a lot of Canada that was the first time any of us had seen or heard anything about the show. And I remember watching it and asking, “What is this amazing show?”  And then I got a chance to see the show a couple of years later on Broadway, and I instantly knew that this was one show that I would very much like to do. And the fellow doing it too – he wasn’t the original – he was a replacement – but he was incredible, and I thought, “That’s what I aspire to be as a performer.” So, when the audition posting came out that Stage West was doing this I know that myself and almost every other Canadian was, “What? They’re doing this. I have to be a part of it.”

JAMES

The stars aligned.

SAYER

Exactly.

MARK

Yeah, they sure did.

SAYER

So, I went into the audition with a healthy dose of the cynicism that you always have to have as an actor, “This isn’t my show yet. I’m just going to lay down what I can do and show them what I would bring to the role, and if it happens, it happens, and if it doesn’t you move on.” But as soon as I walked into the room and Mark was there and Kira and Konrad Pluta, the musical director, and we started working on material I really felt like Mark gets this show, and I really wanted to work on it. It was a really fun audition, and I just felt good about it regardless of if I got the part or not, and as an actor you have to take that as a win. It doesn’t matter if you get the show or not. That’s not in your control. So, I left the audition going, “That was really fun, and I had a good time, and I feel like I established a good relationship with the people who are in the room and if that gets me the job that remains to be seen.” It was just one of those things where I felt this could work really well.

Ellen Denny as Phoebe D’Ysquith and Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder.

JAMES

Mark, I’m curious about how much you look at the individual and how much you look at the chemistry between the actors when you’re casting a show?

MARK

That’s hugely important to me. I’ve always said that one of my superpowers as a director is that I cast really well. And you don’t just cast the individual roles. You have to cast the rehearsal hall. You have to cast people that are going to work well together and especially in a show like this that has a long run you have to cast people who are going to get along well, and after many years of doing this I have a pretty good sense of who a person is and how they’re going to fit the room. Like Sayer said, so many people were excited to do the show – we had over seven hundred submissions between Toronto, Calgary, and the West Coast, and we saw probably two-hundred of those people either in person or via video because everyone wanted to be in this show. So, I was really fortunate that I got to pick from an incredible pool of talent.

JAMES

Have you ever had that amount of choice before?

MARK

Never.

JAMES

Are you spoiled now?

Kate Blackburn as Sibella, Sayer Roberts as Monty, and Ellen Denny as Phoebe in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

MARK

Yes. (Laughs) I’m really spoiled. Especially after working with these guys because there are some really distinct requirements for this show. You have to have people who have legitimately trained voices. Who can sing without a pop sound and these guys all can – as you’ve heard. Especially Sayer, Kate, and El – that trio of voices has to be so clean and they’re extraordinary. And I can’t actually think of anybody else in Canada I’d want to do this show with other than these people. I’ve been saying this – even before rehearsals started – that I have the best cast in the country, and this will be the cast that you will have to beat from now on.

JAMES

This needs to go on tour.

MARK

I would put this production on any stage in Canada.

JAMES

This is one of my favourite shows I’ve seen at Stage West in the last ten years.

MARK

I think it’s one of the best things I’ve ever seen here. And not that I’m biased because I directed it – but I am. (Laughs) I love the show, and because it was the Canadian premiere we worked really hard, and I was able to get these incredible performers. I was like, “We have to make this good. We can’t compromise anywhere. We have to push and push and push to make it as good as we possibly can.”

Elizabeth Stepkowski-Taran as Miss Shingle and Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

JAMES

I’ve been telling people about it and saying you’re going to like it – young or old you’re going to like this show. What do you think are the elements in this play that make it work so well?

MARK

I think there is something about a charming villain that we love. He’s like the antihero. But he is supremely charming, and we root for him. It helps that all of the people he offs, for the most part, have a slightly despicable edge to them or are deserving of their deaths in some way. But I think we love to see someone who’s an underdog and a bit of an outsider succeed in spite of all the odds, and it satisfies that part of our soul that goes, “I know he should get caught but he’s not going to and that’s so great!”

SAYER

The writing is why it appeals to me. It’s the book and the lyrics and the melodies. And it’s like a mixture of Oscar Wilde and Noel Coward and Noises Off and the classic British farce and Gilbert and Sullivan. It’s just such a perfect marriage of all of the mediums coming together to create such an exquisitely written piece. And I think, just like Mark was saying, the antihero charmingness – the fun farce side of it – he’s murdering people and yet this is fun, and there’s the underdog story, and it’s all bouncy and light from the beginning. It’s an entertaining show.

MARK

And there’s a lot of great humour in it. So, there’s that aspect and also the aspect that we have one actor, Tyler Murree, playing all of the D’Ysquith family. That’s a fun little tour de force. And it plays into that theatrical convention, and it gives the audience a bit of that, “Oh we know what’s going on. We’re in on the joke.”

Tyler Muree as Lord Adalbert D’Ysquith and Katherine Fadum as Lady Eugenia D’Ysquith in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

SAYER

As if the show isn’t funny enough already it just bumps it up so much more once the audience starts to catch on that that’s the same guy…

JAMES

…and he’s playing all the parts…

MARK

…and it’s really clever, and it starts out really slowly, and as you escalate towards the end of act one you just suddenly start to rip through these people. Like literally in scene eleven – which is the ultimate finale of act one – there are four times where he changes characters and comes in and out.

JAMES

Well, on a show like this just how vital is that backstage crew for you?

SAYER

This show would not be possible without a dynamite costume crew and running crew.

MARK

There are two crew members who are dedicated to doing nothing but changing Tyler Murree into all the D’Ysquiths. And all of those costumes had to be constructed.

SAYER

So, he might be wearing a full suit, but it’s all connected with a zipper in the back.

MARK

So, shirt, tie, vest, jacket it’s all one thing.

JAMES

One piece that he can step into and out of.

MARK

Because for some of his costume changes he’s literally got fifteen seconds.

JAMES

That’s part of the magic for the audience. Didn’t he just leave and then he comes back.

MARK

I think we’re so good at it that sometimes people don’t realize what just happened, because it’s so seamless and he’s coming out so calmly that sometimes you don’t realize he’s just made an immense costume change.

Tyler Muree as Lady Hyacinth with her entourage in the Stage West Theatre production of A Gentleman’s Guide to Love and Murder

JAMES

So, in terms of the production, how do the costumes and the set add to the overall experience of seeing the play.

SAYER

Well for me as an actor whenever I put on a costume it instantly amps up by twenty percent whatever the character was before in rehearsal and that’s particularly true when you’re doing period dramas. Costumes give you the aesthetic, and it definitely adds to the British sensibility of the show, and it changes how you move, how you sit, how you stand. I know for the women wearing those kinds of dresses and with their trains behind them it completely changes things for them. I didn’t have to deal with that as much because I simply wear high waisted suspender pants which I could live the rest of my life in very comfortably. (Laughs) And Monty goes from poor to slowly getting richer and the changing of the jackets really helped with that. That’s a real juxtaposition from starting with a rather old well-loved jacket that literally has pockets that are falling apart to ultimately finishing in a tux.

Tyler Murree as Lord Adalbert D’Ysquith Katherine Fadum as Lady Eugenia D’Ysquith, Sayer Roberts as Monty Navarro, and Ellen Denny as Phoebe D’Ysquith in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

MARK

I think the set and the costumes are so vital to this show which was another challenge for Stage West because we need these Edwardian costumes, and that’s not something Stage West has a ton of sitting in their storage room, because they don’t do a lot of shows like this. So, a lot of this had to be created. Leslie Robison-Greene who is our costume designer is a genius. It was just incredible what she came with, what she was able to construct while she was here, and what she was able to adapt.

JAMES

Are there any particular songs that you just love and why?

MARK

I’ve Decided to Marry You, I think, is the pinnacle of the show.

JAMES

Is that the one with the two doors where he has Sibella in one room and Phoebe in the other room and he’s trying to keep them apart?

SAYER

Yes. I think with the exception of the bench scene from Carousel between Billy and Julie there’s no better example of musical theatre than the doors. I shouldn’t say of any musical theatre because there are lots of different genres but going for musical comedy there’s nothing better than that door scene.

MARK

It so hits the peak of the farce that the show is and that kind of encapsulates the whole thing. I think one of the things that’s beautiful about the music is that even though it echoes the British Music Hall and it echoes Gilbert and Sullivan it does it in such a way that it’s a homage that doesn’t copy it, and it doesn’t feel antiquated.

SAYER

It’s accessible.

MARK

It’s accessible and very modern and every single song carries the story forward and that to me is the hallmark of a really good musical.

Sayer Roberts as Monty Navarro and Kate Blackburn as Sibella Hallward in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

JAMES

It reminds me a lot of My Fair Lady.

MARK

Yeah.

SAYER

It’s very Lerner and Loewe.

JAMES

I Don’t Understand the Poor really reminds me of…

SAYER

Why Can’t the English

JAMES

Yes, but it feels fresh and original.

MARK

I’m a huge fan of the Golden Age Musicals of the late fifties to mid-sixties, and this really does echo back to that era when all the great American musicals were being produced.

Ellen Denny as Phoebe D’Ysquith and Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder

JAMES

So, what is it about musical theatre that adds to a theatrical experience? What does the music bring?

SAYER

Well, there’s an old saying, or a piece of wisdom, or whatever you want to call it, that says, “When you have something to express you speak it. If you can’t speak it – you sing it. If you can’t sing it – you dance it.” And the progression of that so perfectly encapsulates what musical theatre is. And in good musical theatre there is a reason the character is singing. I love speaking Shakespeare. I love speaking monologues and straight plays, but there is nothing quite as deep as you can get into, in my experience, as you can in musical theatre when you sing words that are accompanied with some kind of soaring melody that is an expression of the turmoil or the joy or whatever is going on inside the character. Scientifically music evokes a different part of our brain so the audience tunes into it on a different level. So when you mix the emotion that you can gain from poetry and the emotion you can get from a piece of orchestral music and you put that together that’s double the amount of emotion you could have alone by itself. 

MARK

Music is visceral. It just is. It affects you in a different place, and I think it carries emotion in a way that a scene – I mean not that scenes can’t – but it just heightens everything, right? Which is what I think that saying is about. As you continue to heighten and heighten and heighten – the song heightens the scene and the dance heightens the song. And I think it’s thrilling to watch, and I think it’s also thrilling to watch really talented performers who can sing the way that these guys sing, and when you hear these voices it’s stunning, and it’s beautiful. So, I think that’s part of it because I started my career as a performer doing musicals, so they hold a special place in my heart because I think you can move an audience in a way with a musical that you can’t with a straight play.

Sayer Roberts as Monty Navarro in the Stage West Theatre Production of A Gentleman’s Guide to Love and Murder.

JAMES

Well speaking of moving an audience, why should an audience come see this show?

SAYER

I think it’s probably because they’ve never seen a show like this before. And if you like British Farce, if you like musicals, if you like comedy and drama – you’ll like this.

MARK

It’s got a bit of everything. And I think it’s probably one of the most entertaining evenings you’ll spend in a theatre for a very long time. It’s ridiculously fun. It’s ridiculously entertaining.

JAMES

Okay, quick question for both of you – off topic – do either of you watch Game of Thrones?

MARK

Oh, God yes.

SAYER

I haven’t started yet.

MARK

Not any of it?

SAYER

No.

JAMES

I’m interviewing you now, but by the time this gets published the finale will have aired this coming Sunday. So, Mark who do you think is going to end up on the Iron Throne?

MARK

Oh, God.

JAMES

I’ll tell you who I think.

MARK

I don’t know. If you asked me that two weeks ago I would have had a different answer, but now after seeing what just happened…I think it’s going to be Arya.

JAMES

Oh, interesting.

MARK

I think she’s the only one who isn’t conflicted in some way who can actually do it.

JAMES

Interesting choice. My choice is Tyrion in the South, Sansa in the North, and Jon goes back to his direwolf.

MARK

I read a whole article comparing it to Tolkien’s Lord of the Rings and how you know Frodo doesn’t stay – he ends up going to the Gray Havens and that Jon Snow is Frodo and he won’t stay. He wouldn’t be happy on the throne. But that’s an interesting theory – that it splits. That might be it. 

JAMES

Who knows? I’ve been wrong about so much.

MARK

Who saw any of this coming? Who saw that last episode coming? It will be interesting to see what happens. I had this random thought the other day that the only other person it could possibly be is Gendry because he’s actually been legitimized.

JAMES

Oh yeah.

MARK

She made him a Lord. He’s actually been acknowledged as a Baratheon. Spoiler! He’s the last and technically the Baratheons are kind of still on the throne. Anyway…

JAMES

…we shall see.

SAYER

I just love that.

MARK

People are so invested.

SAYER

And it just shows you that people need this stuff in their lives so much so that here we are talking about something fictitious and completely meaningless in the rest of the trajectory of our life and our world and politics and everything and yet it matters so much to us what happens to these characters and that’s why we’re engaged, and that’s why entertainment is not frivolous.

A Gentleman’s Guide to Love and Murder

Book and Lyrics by Robert L. Freedman
Music and Lyrics by Steven Lutvak
Based on the novel by Roy Horniman

CAST

Mark Allan – Ensemble, The Magistrate, Mr. Gorby & others
Alicia Barban – Ensemble, Miss Evangeline Barley & others Understudy for Phoebe D’Ysquith
Kate Blackburn – Sibella Hallward
Emily Dallas – Ensemble, Tour Guide, Pub Owner’s Wife & others Understudy for Sibella Hallward
Ellen Denny – Phoebe D’Ysquith
Katherine Fadum – Ensemble, Lady Eugenia D’Ysquith & others Understudy for Miss Shingle
Sarah Gibbons – Ensemble, Understudy for Female Ensemble roles
Jeremy LaPalme – Ensemble, Understudy for The D’Ysquith Family
Luke Marty – Ensemble, Tom Copley, Dr. Pettibone, Guard & others Understudy for Monty Navarro
Tyler McKinnon – Ensemble, Detective Pinckney, Pub Owner & others
Tyler Murree – The D’Ysquith Family
Sayer Roberts – Monty Navarro
Elizabeth Stepkowski-Tarhan – Miss Shingle

THE BAND

Konrad Pluta – Musical Director/Keyboards
Rob Hutchinson – Bass sub
Jonathan D. Lewis – Violin
Jim Murray – Trumpet sub
Keith O’Rourke – Clarinet
Sean Perrin – Clarinet sub
Jason Valleau – Bass
Andre Wickenheiser – Trumpet

CREATIVE TEAM

Mark Bellamy – Director & Musical Staging
Konrad Pluta – Musical Director
Howard Pechet – Executive Producer
David Fraser – Set Designer
Leslie Robison-Greene – Costume Designer
Norman Macdonald – Wig Designer
Anton de Groot – Lighting Designer
Michael Gesy – Sound Designer/Head of Audio
Shane Ellis – Scenic Artist
Kira Campbell – Production Manager Artistic Associate
Sean D. Ellis – Technical Director
Ashley Rees – Stage Manager
Darcy Foggo – Assistant Stage Manager
Jennifer Yeung – Apprentice Stage Manager
Taisa Chernichko – Dresser
Chris Cooper – Followspot Operator

This interview has been edited for length and clarity.



Uncensored, Unexpected, Unforgettable Theatre: Calgary Fringe 2018 – Festival Director Michele Gallant

Michele Gallant and Jane Mackinnon at the Calgary Fringe
Calgary Fringe Festival Board VP, Jane Mackinnon and Calgary
Fringe Festival Director and Producer Michele Gallant out promoting The Calgary Fringe Festival.

We’re only a few weeks away from the Uncensored, Unexpected, and Unforgettable Calgary Fringe and I’ve just finished making my list of want-to-see theatre. The Calgary Fringe has become part of the cultural fabric of the city and is a welcome addition to the theatre season providing Calgarians with the opportunity to see and experience local, national and international artists. I spoke with the current Festival Director and Producer of the Calgary Fringe Michele Gallant.

JAMES HUTCHISON

What is it about the Calgary Fringe that you personally love and keeps you motivated to do all the work and organizing required to present the festival every year?

MICHELE GALLANT

I love the fact that the fringe is all-inclusive, embracive, and that there’s no segregation. Everyone from all backgrounds of life can be involved and participate. All are welcome. I love that artists are free to choose what they want to perform, in what style, and on what topic. I love that patrons have a wide variety of acts to choose from, and how willing they are to take a chance on something new. I love the passion of our volunteers to support the arts and to have fun while doing it. I love that the artists support each other and that one hundred percent of the artist’s set ticket price goes directly back to the artist.

Calgary Fringe performers from 2014 - Rory Ledbetter, Penny Ashton, and Deanna Fleysher
Calgary Fringe Festival Artists, Rory Ledbetter from a Mind Full of Dopamine, Penny Ashton from Promise and Promiscuity: A New Musical by Jane Austin and Penny Ashton, and Deanna Fleysher from Butt Kapinski – Calgary Fringe Festival 2014 – Photograph James Hutchison

JAMES

These are tough times for the Calgary Arts Community. I know a number of Arts Organizations have struggled with funding and have had to adjust how they do business. How is the Fringe doing in these tough economic times and how have you had to respond to the downturn in the economy and what solutions have you been able to implement in order to continue the festival?

MICHELE

It has been a struggle for sure, and it’s meant being smarter and more creative about how we spend our money. We have a rainy day fund set up for situations just like this, but we know that can only go on for so long. We’re currently researching other business ventures and looking for models to help support and augment what we do by creating opportunities for reoccurring revenue streams while spreading the gospel of the fringe to outlying communities.

Of course, as a non-profit, any contributions and donations are always appreciated whether in kind or in cash. You can donate by visiting Canadahelps.org and searching for the Calgary Fringe Festival or donors can contact me directly by e-mail if they’d like to discuss making a donation. (michele@calgaryfringe.ca)

JAMES

The fringe festivals are great places for young artists to get a start. What advice would you give a young artist starting out about getting into the fringe festival circuit and maybe the Calgary Fringe specifically?

MICHELE

I don’t think it’s just a great place for young artists. I think it’s a great place for any artist of any age to get their start. The best advice I can give newbies is to plug themselves into the collective fringe hive minds via fringe festivals such as Calgary and others around the world. Talk with other fringe artists and don’t be afraid to ask questions about how they got started and what works or doesn’t work. Then plan a production and figure out a travel budget and start putting money towards that. Do some research and find out what funding is available to support what you do. Learn how to market and promote yourself. And apply to the Canadian Association of Fringe Festivals (CAFF) touring lottery in early fall. It’s a great way to apply to multiple fringe festivals all at once.

Calgary Fringe Artist Mark Ikeda
Festival Artist Mark Ikeda out promoting his festival show Sansei: The Storyteller – Calgary Fringe Festival 2014 – Photograph James Hutchison

JAMES

The Fringe festival couldn’t operate without its volunteers. What kind of volunteer opportunities are there for people who want to get involved with the Fringe?

MICHELE

There are so many and varied volunteer opportunities available. Everything from ushering to box office staff to concessions to Lounge monitor to fringe ambassadors to being on the Board of Directors or the Management Committee. If you have a specialized skill like marketing or legal services and you want to help support the fringe I’d love to hear from you. And we’re still currently looking for some volunteers to help out with this year’s fringe. You can find more information on our website.

JAMES

What advice to have to first-time fringers and what can they expect?

MICHELE

Expect the unexpected! Be open for anything. Leave no stone unturned! There’s something for everyone. The number one thing I consistently hear from patrons is how passionate the artists are about what they do and their shows. They may not always like what they see but that never deters patrons from seeing more shows, in my experience. You can expect to see some amazing shows, meet some great people, and feel good that the money you’re paying goes back into the artists’ pockets.

Calgary Fringe Artists Ian McFarlane, Ryan Reese, and Geneviève
Frivolous Fools, Ian McFarlane, Ryan Reese, and Geneviève Paré out promoting their show The Hudson Bay Epic – Calgary Fringe 2014 – Photograph by James Hutchison

It’s never easy to pick what you want to see and this year is no exception. I like to try and see a variety of shows, so I’ll build my list to include some mask or clown shows, dance if there is any, a monologue or two, musical storytelling and even a conventional one-act play if one is being presented. And then of course when you attend the festival you get a chance to meet some of the performers who are out and about promoting their own shows and sometimes that will be a deciding factor. It’s always a fun way to spend a day or two during the summer.



Montparnasse with Kathy Zaborksy and Carolyn Ruether is Must See Theatre

Carolyn Ruether & Kathy Zaborsky in Montparnasse – Photo: Jaime Vedres Photography

We go to the theatre to experience something about the complexity, beauty, heartache, joy and tragedy of life. So when you see a play that delivers…that has a wonderful script, mesmerizing performances and takes you along for a ride, where you completely forget about the time, you have to tell others. You have to share the news. You have to let people know they need to go and see this show before it closes.

So, before you do another thing go see Montparnasse by Lethbridge’s Theatre Outré at the Motel Theatre in the Arts Commons.  The play runs 75 minutes without an intermission and does contain nudity, strong language and mature themes – so it’s for an adult audience. But it’s also for an audience that loves theatre. An audience that wants to see a play that dives into ideas about the creation of art with complex characters presented in a wonderfully theatrical way.

The play takes place in the Paris of the 1920s. A Paris that has survived the death and devastation of the First Great War and the ravages of the Spanish flu. Millions have died and Paris is being reborn – it’s an era of Jazz where writers like Hemingway and Fitzgerald mingle with painters such as Picasso and Matisse. 

Nicolas Bohle & Carolyn Ruether in Montparnasse Photo: Jaime Vedres Photography

The story focuses on Margaret (Mag) and Amelia two Canadian girls who find themselves part of this hedonistic and artistic world. Mag has been living in Paris and earning her living as a model. Amelia arrives from Canada intent on pursuing her dream of becoming a painter. Eventually, Amelia also ends up modelling, but both women see themselves as more than simply models. Instead, they see themselves as collaborators in the creation of art. Eventually, Amelia gets an opportunity to present a painting at an exhibition but she struggles to find inspiration and subject matter for her painting until Mag says, “paint me.” And while the play is about the creation of art it’s also about the complicated relationship between Mag and Amelia and their feelings of love and friendship towards each other.

Both Kathy Zaborsky as Mag and Carolyn Ruether as Amelia give rich and emotionally true performances.  The play is wonderfully staged making use of four main acting areas that divide the audience into four sections. The Motel is a small theatre and that simply works to make the experience of the play even more intimate.  The script is rich and layered and filled with humour and passion. Plus, there’s music! Live music. From the moment we enter the theatre and throughout the play, Nicolas Bohle, who also plays a number of characters, has composed a beautiful score that enhances the overall experience of the play. This is a great ensemble production and director Jay Whitehead has brought all the elements together to create a memorable and moving piece of theatre.

So, if want to see a great show at a fantastic price hurry down to The Motel Theatre at the Arts Commons and catch Montparnasse. The show runs until September 2nd at 8:00 pm nightly with a Saturday matinee at 2:00 pm. Tickets are just $25.00 for adults and $20.00 for students – cash only.

MONTPARNASSE

Created by Maev Beaty and Erin Shields with Andrea Donaldson

CAST: Katharine Zaborsky as Margaret/Sylvia – Carolyn Ruether as Amelia/Queen – Nicolas Bohle as Artists & Writers

CREW: Director Jay Whitehead – Designer Deonie Hudson – Sound Designer Nicolas Bohle – Technical Support Conner Christmas – Dialect Coaching Douglas MacArthur



6 Guitars by Chase Padgett is a Fun and Uplifting Tribute to Music

6 Guitars by is a one-man, six-character fun and uplifting tribute to music with plenty of laughs and lots of heart. The one-man standing on stage playing six characters and six different styles of music is Chase Padgett. Chase is a multi-talented musician, actor and storyteller who switches effortlessly between this cast of diverse characters as they tell their stories and play their kind of music.

Chase Padgett as Rupert

There’s 87-year-old blues guitarist Tyrone; heavy metal rocker Michael; country-loving Rupert; jazz guitarist Wesley; classical guitarist Emmanual; and Peter who just loves to sing and play folk music.

Who wouldn’t want to see that show? I’ve seen it twice. Once at the Calgary Fringe back in 2013 and then again in 2015 when Chase performed his show at the Bert Church Theatre in Airdrie. And now, I’m happy to report, 6 Guitars will be at Lunchbox Theatre in Calgary from January 9 to 28th as part of One Yellow Rabbit’s High Performance Rodeo.

The good news is I don’t have to wait until the show opens to recommend it. Like I said, I’ve already seen it – and I’ll be seeing it again. In fact, I’ve already got my tickets and I’ve been hounding some of my friends about going to see this show for some months now because – well – it’s just that damn good!

And I’m not the only one who thinks so. Since 6 Guitars premiered at the Orlando Fringe in 2010 it’s been winning awards, getting rave reviews and selling out.

Jim Murchison of the Charlebois Post said, “The writing is terrific. The storytelling is personal and brilliant. It is great fun. With a shift in posture or a change in the eyes Padgett becomes a completely different character in an instant and he can capture the soul of music in his guitar and voice as well.”

Brad Oswald from The Winnipeg Free Press said, “Talk about hitting all the right notes — this energetic and exhilarating solo show by Portland, Ore., musician-actor Chase Padgett is a jaw-dropper on every level. The acting is superb, the stories are smart and funny, and the music is flat-out stunning. All the right notes, indeed.” 

Chase Padgett as Emmanuel

So if you want to see a terrific show that will make you feel good about life I can’t think of a better way to start 2017 than going to see 6 Guitars with Chase Padgett at Lunchbox Theatre.

Well, winning the lottery would be a pretty cool way to start 2017 too, but next to winning the lottery I can’t think of a better way to start 2017 than going to see 6 Guitars at Lunchbox Theatre from January 9th to 28th.

Unless, of course, you could build a functioning fusion reactor and solve the world’s energy problems. I mean that would be an amazing way to start the new year, but still – next to winning the lottery or building a functioning fusion reactor I can’t think of a better way to start 2017 than going to see 6 Guitars at Lunchbox Theatre during the High Performance Rodeo.



Everyone’s a Critic

When we read a book, watch a movie, go out for a meal we judge it. We either like it or we don’t. We all have opinions and we generally share those opinions with our friends and family. Word of mouth is still the best way to spread the news. Why? Because usually word of mouth means people are talking with people they know. They have a relationship and that means they’re better able to judge the recommendation and they know from experience whether or not what their friend likes will be something they like.

And I think the same holds true for critics. While we may not know the critic personally if we read enough of their articles we gain a sense of whether or not this critic’s views match our own. That’s one of the things we’re looking for. We’re looking for someone who has a similar view as us so we can decide which of the many movies or theatre shows we’d like to spend our hard-earned money on.

Now, I have, on occasion, used this blog to recommend particular shows that I’ve liked but I don’t consider myself a critic.  That’s a different profession and one that seems to be disappearing with the collapse of conventional media. At one time I would get my local paper and I could find a list of all the theatre productions coming up as well as concert listings and other arts-related events. It’s harder to find that information gathered in a central location nowadays and one of the things being cut and eliminated from newspapers is arts coverage. I think we’re in a time of transition. I think there will be online sources of information that will provide local coverage in the future beyond what we see on social media and places like Yelp or Facebook. Or we may see Facebook evolve so that all events for a particular city can be viewed as a list of some sort.

The thing is if you’re a lover of the arts and you’re lucky enough to still have some form of local arts coverage I encourage you to share the online reviews and event information through social media. Newspapers can see how many people read an article and how many shares it gets. It’s still all about eyeballs. The more eyeballs the greater the revenue potential when it comes to advertising. If you don’t read the articles and don’t share them then why would a news outlet pay someone to write about the arts – they won’t.

So what is it I do if it’s not criticism? I think it’s commentary. I read a HowlRound article called Chloe Veltman on Arts Criticism where she talks about the difference between Arts Criticism and Commentary and I think that’s a good distinction to keep in mind. You can read the entire article at the bottom of this post. I’m not, when it comes to theatre, interested in writing about the productions I wouldn’t recommend. I’m much more interested in helping to promote the shows I like. In the past, I’d shoot off an e-mail to a few friends with a recommendation when I’d seen a good production. Now I have my blog, so when I see something I think is worth a friend’s time and money I can share it with a wider audience.

And you can do the same. And I know a lot of people are already sharing their opinions and recommendations, but if you don’t then I encourage you to let the world know when you see something you love.

Chloe Veltman on Arts Criticism

Jamie Gahlon asked arts journalist Chloe Veltman to answer some questions about criticism. She kindly obliged.

What is the state of arts criticism today, as compared to a decade ago?

There is relatively little genuine arts criticism in America today. But there is a lot of arts commentary.

I was thinking about this recently as I wandered through downtown Austin, TX, as the South by Southwest Festival was entering its final throes.

For the past five days, this city has been a playground for musicians and lovers of music. I don’t know how to begin to quantify the amount of discussion in writing, video and audio that the festival generated. I myself contributed to the overall noise, writing my blog, lies like truth, every day during my stay here (as well as during last week’s SXSW Interactive Festival.)

What I wrote provided hopefully interesting commentary on the music I experienced and other facets of the SXSW scene. But it wasn’t criticism, I realized. And with that realization, I felt bad.

The thing is that criticism, when practiced diligently, is a much higher calling than commentary. Anyone can comment on something.

But to construct an engaging, deeply felt, educational and entertaining response to a work of art is an art form in itself. And unless I spend the necessary time digesting the work, reading around it and thinking about it before putting my thoughts into the public domain, then it’s not criticism. It’s merely commentary.

Meanwhile, true criticism is dying. (I know, I know, it’s a cliché to say this, but I can’t help myself because it’s true.)

Today, criticism is really the purview of a few people who still have those precious staff critics’ jobs for mainstream media organizations and those for whom money and time are meaningless. I am talking trust fund babies and trophy wives. That’s too bad.

If the thinking is that social networking is replacing professional criticismand nixed a professional review’s ability to drive salesthen can some middle ground be found between professional criticism and interactive social networking and if so, what would that look like?

This question carries the assumption that the point of criticism is to drive ticket sales. Box office revenue is one by-product of criticism, but in my view it has always been a minor one.

And I don’t think that the falling off of this aspect of criticism in the wake of the growth of social networking is hugely responsible for the demise of arts criticism in the media. It’s only part of the story.

In any case, if I accept this assumption, I would say that the middle ground, at least in the short term, is the acceptance of the fact that criticism is something that must be created by people who are passionate about art but not dependent on criticism as a way to make a living.

Once this reality has been established and accepted (and perhaps it’s just a short-term reality) then it’s a question of harnessing the web’s filtering power to allow the best of the (mostly amateur) voices to rise to the top.

So the middle ground is likely to be a mixture of the work of the few remaining professional critics, seasoned amateur critics (who may well once have been paid for their work in this field) and members of the public who have no particular arts writing background but have a strong enough editorial voice to be heard above the din.

Describe your arts criticism utopia.

In my arts criticism utopia, I would have the resources to practice criticism rather than commentary. And every day would bring a lively conversation between a wide community of stakeholders, including members of the public, artists and journalists, about art.

“This piece, “Chloe Veltman on Arts Criticism” by Jamie Gahlon was originally published on HowlRound, a knowledge commons by and for the theatre community, on March 27, 2012.”



Twelve Thumbs Up – It’s a Wonderful Life at Lunchbox Theatre

Andy Curtis, Devon Dubnyk, Arielle Rombough, Kevin Rothery, Katherine Fadum. PHOTO CREDIT: Benjamin Laird Arts & Photo
Andy Curtis, Devon Dubnyk, Arielle Rombough, Kevin Rothery, Katherine Fadum. PHOTO CREDIT: Benjamin Laird Arts & Photo

Gather up the family and invite your friends, coworkers and neighbours to come experience the true spirit of Christmas at Lunchbox Theatre’s production of It’s a Wonderful Life. Presented as a radio play from the 1940s this production is a fun, energetic and inventive retelling of the classic story.

The Lunchbox production features an outstanding cast, brilliant direction, a beautiful set and an amazing mix of sound – both recorded and created live – to bring the story of George Bailey and the town of Bedford Falls to life.

I give it  two thumbs up. Although I went to see the play with my sister, her husband, my niece, her boyfriend, and his mom and we all gave it two thumbs up so that’s twelve thumbs, right? How can you argue with twelve thumbs? That’s got to be as good as, if not better than, four stars or five sugarplums.

It’s a Wonderful Life asks the question: Does your life matter? Can one man or woman make a difference?

Devon Dubnyk, Arielle Rombough. PHOTO CREDIT: Benjamin Laird Arts & Photo
Devon Dubnyk, Arielle Rombough. PHOTO CREDIT: Benjamin Laird Arts & Photo

I think there’s a fundamental human need to live a meaningful life. When we reach the end we want to feel, in some way, that we’ve made a difference – that we’ve made the world a better place.

But of course sometimes when we face a crisis in our life we feel lost. We feel like nothing matters. We feel like we don’t have a friend in the world, and if you’ve ever felt like that then you can relate to George Bailey as he stands on a bridge thinking about jumping into the icy waters below and ending it all.

Luckily for George he has a guardian angel. An angel named Clarence. And Clarence shows George what the town of Bedford Falls would be like had George never been born.  Let’s just say that George made a big difference in the lives of a lot of people.

That’s the story in a chestnut shell and the Lunchbox Theatre production does an amazing job of telling that story. I love the fact that we’re transported back to a Christmas Eve in the 1940s to hear and be a part of a “live” radio broadcast.

Katherine Fadum, Arielle Rombough, Devon Dubnyk, Andy Curtis. PHOTO CREDIT: Benjamin Laird Arts & Photo
Katherine Fadum, Arielle Rombough, Devon Dubnyk, Andy Curtis. PHOTO CREDIT: Benjamin Laird Arts & Photo

The production stars a talented and versatile cast that includes:

  • Kevin Rothery as Freddie Filmore playing Clarence & others
  • Devon Dubnyk as Jake Laurents playing George Bailey
  • Arielle Rombough as Sally Applewhite playing Mary Hatch
  • Katherine Fadum as Lana Sherwood playing Violet Bick & others
  • Andy Curtis as Harry Heywood playing Uncle Billy & Others
  • Connor Pritchard as the Studio Assistant Edward Irvine

The entire ensemble captures beautifully the feel and energy of a live radio show while bringing humour and warmth to a classic Christmas story.

And if you like Vertigo Theatre then you’ll be familiar with  Craig Hall and his inventive staging of noir thrillers from the 40s and 50s. His affinity for that time period shines in this production and even though it’s a “radio play” there’s never a dull moment. The actors are kept moving as they participate in creating the story and jumping from character to character.

Kevin Rothery. PHOTO CREDIT: Benjamin Laird Arts & Photo
Kevin Rothery. PHOTO CREDIT: Benjamin Laird Arts & Photo

The script for It’s a Wonderful Life is an adaptation of the original 1946 film written and directed by Frank Capra and starring Jimmy Stewart. And even though this version of the story is less than half the length of the movie playwright Joe Landry manages to skillfully keep much of the plot without losing any of the heart of the original film.

The costumes by Deitra Kalyn and the set and the lighting design by Anton de Groot only add to the nostalgia and drama of the story.

And the sound design by Aidan Lytton – much of it created live on stage by Connor Pritchard and the rest of the cast – is a marvel to watch and experience because – as this production proves – you can build an entire world with sound. You can be transported to any time or place. And the Lunchbox Production of It’s a Wonderful Life not only transports us to Bedford Falls but it takes us on a journey where we are reminded about the truly important things in life and the real spirit of Christmas.

***

After you see the show you can help spread the word by Tweeting about it, sharing an update to Facebook, posting about it on Instagram or writing a blog post. At the end of every Lunchbox Theatre Show the cast poses for photographs so you can add a photo to your social media shares. It’s a great idea and one that more theatre’s should be doing. Here’s my photo from when I saw the play:

Connor Pritchard, Andy Curtis, Devon Dubnyk, Kevin Rothery, Katherine Fadum, Arielle Rombough.
Connor Pritchard, Andy Curtis, Devon Dubnyk, Kevin Rothery, Katherine Fadum, Arielle Rombough.

***

And one final thought, that I have contemplated long and often on many a Christmas Eve as I’ve sat waiting for Santa to arrive: Why on earth did George and his wife Mary name their daughter Zuzu?

***



 

Recommended Reading: The Holy Man by Susan Trott

the-holy-man-cover

When you’re facing dark times a lot of people have a favourite song or a book or a movie that they turn to. If you do, it’s because there’s something about that story that resonates. There’s something about that story that helps restore your balance and helps you get on with life. For me, one of those books is The Holy Man by Susan Trott.

I discovered this little gem in the discount rack at the Coles Book Store in the North Hill Mall one afternoon twenty or so years ago. I have read this little book on many occasions when my spirits have needed a lift.

The Holy Man is based on one of my favourite Zen stories about – you guessed it – a holy man. A holy man living on a mountain in a hermitage.

I won’t tell you the Zen story here because that’s part of the book and I don’t want to spoil the surprise. Yes, there is a surprise. Or certainly a lesson. Many lessons, in fact. After all, Zen stories are meant to teach us something about life and this little book is certainly an examination of life.

The cast of characters includes thousands of pilgrims who line up each summer to see the Holy Man. There are also seven monks who live at the hermitage. And of course, there is the holy man himself.

Each pilgrim comes to the mountain seeking answers about some aspect of his or her life. There’s the angry man, the drunkard, and the killer amongst others. Trott examines addiction, vanity, and jealousy through each character’s quest. But one of the things I like most about the book is the fact that not everyone comes away having learned his or her lesson. Some remain as deluded and unenlightened as when they started their journey.

I always come away from reading the holy man with a sense of gratitude. That whatever troubles I face in life, I have a choice about how to live my life. I can be grateful and appreciate each day or I can be blind to the blessings that each day brings. And what I have learned is that blessings come in many forms. Often our troubles and battles are the things that help to form our character. Life is about learning how to live with failure and defeat not just victory and success.

So, if you’re in need of some inspiration or just a fun and delightful read check out The Holy Man by Susan Trott.


DOWNLOAD – James Hutchison – Recommended Reading – The Holy Man by Susan Trott