Ovation Vol. 19 No. 4

by

Wendy LiLL

Royal Manitoba theatRe CentRe

Vol 19 no 4 | feb/MaR 2012

centrestageOur community

pride takes

Our performing arts groups are integral

to our culture and our quality of life.

We’re proud to support those who make

our community a better place to live.

3feb/MaR 2012

Why did Wendy Lill call her play The Fighting Days?The title refers in its most

obvious form to the battle

fought by an army of female

soldiers in response to such

laws as the 1906 Dominion

Elections Act, which declared

that “no woman, idiot, lunatic

or criminal shall vote.” The women proved to be a

formidable force, led by those like Nellie McClung

and the Beynon sisters who could speak and

write persuasively about the need for compassion

and equality.

Of course, the fight was complicated by another

version of fighting days, when the Great War in

Europe began to steal the nation’s focus away

from domestic matters. As the women surren-

dered their husbands and sons to the war, they

began to see Manitoba’s diverse ethnic popula-

tion as being split between allies and enemies.

Should all women have the right to vote, or did

war demand that battle lines be drawn at home

as well as abroad?

And, so, yet another fight begins, this one within

the ranks of the suffrage movement. Those like

Francis Beynon, who are opposed to the war on

ideological grounds, are equally opposed to

discrimination against some Canadian women based

on their country of origin. Those like Nellie McClung,

who have a son in the Canadian army, are

swayed by fear and the patriotic zeal of wartime.

An issue that had started

to bring Manitoba women

together now threatens to pit

them against each other. Lill’s

characters arrive at that great

theatrical divide—idealism

on one side, expediency on

the other, and in the middle

the audience, caught in the

mesmerizing crossfire.

This infighting wounds Francis Beynon, the hero

of Lill’s play. The sisterhood that had given her

a new home in Winnipeg—a circle that valued

intelligence, progressive thinking and politi-

cal action—now threatens her own ideals. The

war within Francis herself, finally, reverberates

beneath all the other conflicts in the play. Can

her need for companionship (in love, family and

work) overcome her need for freedom?

Nellie McClung’s statue was unveiled at the

Legislature last year, while Francis Beynon has

become a mere historical footnote. But while the

play rages on our stage, Francis wins the battle for

our hearts and minds. That is the power of great

theatre. It forces us to revisit the old battle-

grounds and to choose anew our allies and, truth

be told, our enemies.

Yours always,

Message froM the artistic Director

TheaTre abbreviaTion Legend Arts Club ArtsClubTheatreCompany,Vancouver BC ATF AtlanticTheatreFestival,Wolfville NS ATP AlbertaTheatreProjects,Calgary AB BAM BrooklynAcademyofMusic,NYC Belfry TheBelfryTheatre,Victoria BC Blyth BlythTheatreFestival,Blyth ON Broadway NewYorkTheatreDistrict CBC CanadianBroadcastingCorporation Centaur CentaurTheatreCompany,Montreal QC Citadel TheCitadelTheatre,Edmonton AB COC CanadianOperaCompany,Toronto ON CS TheCanadianStageCompany,Toronto ON Dora DoraMavorMooreAward,Toronto ON Drayton DraytonEntertinment,Ontario Dry Cold DryColdProductions,Winnipeg MB GCTC TheGreatCanadianTheatreCompany,Ottawa ON Grand TheGrandTheatre,London ON Mirvish MirvishProductions,Toronto ON MTYP ManitobaTheatreforYoungPeople,Winnipeg MB NAC NationalArtsCentre,Ottawa ON Necessary Angel NecessaryAngelTheatreCompany,Toronto ON Neptune NeptuneTheatre,Halifax NS NFB NationalFilmBoardofCanada NTS NationalTheatreSchoolofCanada,Montreal QC Persephone PersephoneTheatre,Saskatoon SK PTAM PopularTheatreAllianceofManitoba,Winnipeg MB PTE PrairieTheatreExchange,Winnipeg MB Rainbow RainbowStage,Winnipeg MB RNT RoyalNationalTheatre,London, England Royal Alex TheRoyalAlexandraTheatre,Toronto ON RSC RoyalShakespeareCompany,Stratford-upon-Avon, England RWB RoyalWinnipegBallet Segal TheSegalCentreforPerformingArts,Montreal QC Shaw ShawFestival,Niagara-on-the-Lake ON SIR ShakespeareintheRuins,Winnipeg MB SNAC St.NorbertArtsCentre,Winnipeg MB Soulpepper SoulpepperTheatreCompany,Toronto ON Stratford StratfordFestival,Stratford ON TA TheatreAquarius,Hamilton ON Tarragon TarragonTheatre,Toronto ON TC TheatreCalgary,Calgary AB TNB TheatreNewBrunswick,Fredericton NB Toronto Free TorontoFreeTheatre,Toronto ON TPM TheatreProjectsManitoba,Winnipeg MB TSO TorontoSymphonyOrchestra U of M UniversityofManitoba U of T UniversityofToronto U of W UniversityofWinnipeg VP VancouverPlayhouseTheatreCompany,Vancouver BC West End TheatreDistrict,London, England WJT WinnipegJewishTheatre WSO WinnipegSymphonyOrchestra YTP YoungPeople’sTheatre,Toronto ON

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6 feb/MaR 2012

setting the stage

byHarry&MildredGutkin

On 27 January 1914, a large delegation of both men and women appeared be-fore the Legislative Assembly of Manitoba, once again to present the case for granting women the right to vote in provincial elections. Included in the group were representatives of the Political Equality League, the Grain Growers’ Association, the Young Women’s Christian Association, the Trades and Labor Council, the Icelandic Women’s Suffrage Association, the Canadian Women’s Press Club, and the Women’s Christian Temperance Union. Dr. Mary Crawford, the President of the University Women’s Club and of the Political Equality League, introduced the five speakers, two women and three men, and the last to address the lawmakers was Mrs. Nellie McClung. Then rivalling Ralph Connor as Manitoba’s most popular writer, Mrs. McClung made her point with sharp lucidity.The delegation had come, she said, not to beg for a favour but to obtain simple justice. “Have w e n o t t h e brains to think? Hands to work? Hearts to feel?And lives to live?” she demanded. “Do we not bear our part in citizenship? Do we not help build the Empire? Give us our due!”

The Conservative premier, Sir Rodmond Roblin, rejected Mrs. McClung’s demand absolutely. “Most women,” he told the petitioners, “don’t want the vote.” In Colorado, he informed them, where women could vote, “they shrank from the polls as from a pestilence.” Woman suffrage, he said, “would be a retrograde movement ... it will break up the home ... it will throw the children

into the arms of servant girls.” Then he added, gallantly, that there was “nothing wrong with a society that produced such attractive, pure, and noble ladies” as these now before him, but “the mother that is worthy of the name and of the good affection of a good man has a hundred-fold more influence in shaping public opinion around her dinner table than she would have in the marketplace, hurling her eloquent phrases to the multitude.”

Roblin’s flowery courtesies expressed the received attitude of his time and his social group towards the tender sex, simultaneously idealized and subjugated. He loved his mother, he said, and for her sweet sake he revered all women. “Gentle women,” he described the ladies, “queen of the home, set apart by your great function of motherhood ... Women are superior to men, now and always.” Nice women did not want to vote, the common argument ran, and since women exercised so important an influence for good, they must be sheltered from the world and its corruption.

Absolutely not, the suffragist movement in-sisted; women must be given the right to act in that world, to remake that world for future generations.

They were constantly rebuked: was not woman’s place in the home with her children? “Yes,” retorted Nellie McClung to one opponent, “but it’s also in the world those children must enter!” The feminists of the early twentieth century envisioned a world in which the nurturing values of home and fireside would be paramount, putting an end to war and to the exploitation of the weak by the powerful.

About the women confronting him at the legis-lature, Roblin’s perceptions were quite accurate

“No woman, idiot, lunatic,or criminal shall vote” — 1906 Dominion Election Act

the fighting Days

7feb/MaR 2012

in one respect. These were no proletarian toilers, intruding into the deliberations of their betters. Such presumption, he implied, would be unthink-able: he was afraid, he said, that “my friend Mr. Rigg”—Richard Rigg, the labour activist—“might shortly come to us for the extension of the franchise to servant girls, on the plea that servant girls have as good a right to vote as any other class of women.” In the rank and file of the suffrage movement were to be found the wives and daughters of successful men, newly leisured and eager to assert themselves outside the narrow domestic sphere.

Nellie McClung herself, as her writing and lectur-ing career developed, was able to entrust much of the household drudgery to a succession of immigrant servant-girls, and made one of them the heroine of a novel.

In the growing torrent of dissent that was inexorably altering Canadian society, even before the turn of the century, one irresistible tributary stream was the demand of educated, well-informed women for change, primarily in the franchise legislation and the laws on property and dower rights, as well as in the provisions for the health and well-being of the community. With some degree of economic security, and in

many cases some access to men in positions of power, they demanded legal recognition of their equal worth. In Manitoba, significantly enough, the leaders of the woman suffrage movement, with some exceptions, stemmed originally from the self-confident, well-established British background of southern Ontario, a society that took for granted intellectual accomplishment and community leadership.

Two decades earlier, in 1882, twenty-one-year-old Cora Hind had arrived in Winnipeg from Ontario, to carve out a career for herself in journalism. Her close friends were two women doctors, also originally from Ontario, the mother-and-daughter pair of Amelia and Lillian Yeomans; Amelia’s brother, William Dawson, became President of the Royal Society of Canada. The Beynon sisters, Lillian and Francis, were born in Kings, Ontario; Lillian earned a university degree, and both taught school before becoming influential journalists. Dr. Mary Crawford was the daughter of a Scottish schoolmistress who had emigrated to become the principal of an Ottawa ladies’ college. Nellie McClung, on the other hand, grew up on a remote Manitoba farm, of Scottish-Irish stock, but her immigrant parents instilled in their offspring the absolute determination to become something more than shop assistants or farm labourers.

The executive of the Political Equity League of Manitoba, photographed after witnessing the passage of the Suffrage bill at the Manitoba Legislature, January 1916.

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setting the stage the fighting Days

When Manitoba entered Confederation in 1870, the right to vote in provincial elections was assigned to male householders; that is, to “the master or chief of a household; one who keeps house with his family,” if he either owned his home or occupied “a separate maintenance and table enjoyed by himself and his dependents, distinct from other householders.” The following year, the voter, identified specifically as a “male person,” was re-defined as a “rate-payer,” required to have owned property valued at $100 or more for a year prior to the election, or to have paid a yearly rent of at least $20. A single woman, under certain conditions, could be a property-owner and a rate-payer; once married, however, her holdings generally passed to her husband, and if widowed or separated, she had no “dower rights,” no legal claim on any part of her husband’s estate. In any case, whether she did or did not own property, no woman could vote. The federal Election Act, indeed, decreed flatly that “no woman, idiot, lunatic, or criminal shall vote.”

gutkin, hArry & mildred. excerPt from “give us our due!” how mAnitoBA women won the vote. mAnitoBA history: the JournAl of the mAnitoBA historicAl society, numBer 32: Autumn 1996.

In the economy of western Canada, however, women’s role differed markedly from the situa-tion in the settled Ontario townships, where the conventional structures of patriarchal society were the norm, assigning women to dependence on men. Farm women worked side by side with their men in the back-breaking task of establish-ing a homestead, and the urban centres tended to attract some strong-willed young women, already declaring their independence from their families, and as determined as their brothers to improve their own prospects. Prairie women were an assertive presence in the pioneer economy, prominent in farm organizations such as the Grain Growers’ Association, and the farm groups could generally be relied on to throw their support behind the suffrage movement, with its compo-nent demand for the reform of property laws. In the Canadian West, as in the American, women achieved the franchise ahead of their sisters in the conservative East.

In Manitoba, a partial break came in 1887, when female rate-payers were granted permission to vote in municipal elections; and in 1890 they were declared eligible to vote in school elections and also to serve as school trustees. Eastern public opinion seems to have been aghast at the recklessness of the uncouth frontier in making this move, and from pulpits and editorial pages alarmed opinion-makers predicted catastrophe: marriage could not survive if a man could not be certain what his wife did in the secrecy of the polling booth, or worse, if she openly defied his judgment. If she opposed him, her vote would cancel his, and if she concurred, what was the point of her voting at all? In any case, nice women did not want to vote.

Notwithstanding Manitoba’s radical concession, the suffrage battle there had barely begun. In 1888 the property qualification for provincial elections had been removed from the male franchise, permitting all adult men to vote, but excluding women, as before. Gathering strength, the campaign to enfranchise women and to establish their economic rights would continue for thirty years longer, led by a number of political-minded women.

Nellie McClung

8 feb/MaR 2012

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Curtain Calls the fighting Days

10 feb/MaR 2012

Q&AWITHTHEFIGHTINGDAYS

PLAYWRIGHT

WENDYLILL

TheFightingDaysplaywrightWendy

Lillhashadadiversecareer,working

asacommunityhealthworker,a

mentalhealthoutreachworker,aradio

broadcaster,andevenaMemberof

Parliament.Manyofherplayshave

delvedintocomplexsocialissuesand

hercharactersareoftenhard-working

womendealingwiththerealitiesof

theirperiodinhistory.Wechatted

withWendyabouthercareerandthe

stayingpowerofTheFightingDays,

29yearsaftertheplaypremieredat

PrairieTheatreExchange.

What inspired you to write The Fighting Days?

When I was living in Winnipeg in the early 1980s, Kim McCaw, who was then the Artistic Director of Prairie Theatre Exchange, and Leslee Silverman, the Artistic Director at Actors’ Showcase, approached me and asked me to write a play about women in Manitoba history. After getting over the initial terror of taking on such a momentous topic, I hit the archives for months in search of inspiration. It was there I found an essay by historian Ramsay Cook called Francis Marion Beynon and the Rise of Christian Reformism. It proved to be the catalyst for the play. The es-say introduced me to someone I had never read about in history books, although Francis fought side by side with Nellie McClung to gain the vote for women. For Francis Beynon, the democratic rights of women could not be separated from the larger free-doms under threat with the arrival of the First World War.

The majority of the characters in The Fighting Days are real people from Canadian history. How close did you stick to historical fact?

The characters in The Fighting Days were all working journalists at the

Francis Beynon

frAncis Beyn

on

Photog

rAPh courtesy o


f mAn

itoBA

Together.

Our community. Our future.

Proud to supportRoyal Manitoba Theatre Centre.

Great-West Life and the key design are trademarks of The Great-West Life Assurance Company. ™ is a trademark of The Great-West Life Assurance Company.

time. They wrote for newspapers such as the Winnipeg Free Press and The Grain Growers’ Guide. They wrote fashion and recipe and advice columns to women living on isolated prairie farms. Every once in a while they were able to introduce radical ideas like having a public wash-room for women when they journeyed into town, or schooling for girls or the vote for women. With their columns and the hundreds of letters they received and published, they provided a forum for the evolving ideas of this isolated population of women. In my research, I pored through years of articles and columns, as well as Francis Beynon’s own fictional account of her life in the book Aleta Dey to capture the colour and language of the period. The conflicts within the story are all rooted in reality.

The Fighting Days was written in 1983 and explores women’s rights in the early 20th century. In 2012, do you think women have achieved the type of freedom Francis longed for?

Francis Beynon was a feminist but also a pacifist and the freedom she fought for in the end was not gender specific. Francis fought against the glorification of war and, in this relatively young country of Canada, the freedom of people to live in peace without the threat of war. Canada’s mili-tary heritage has not diminished since then and I can’t help but think Francis would be horrified by the level of conflict around the world. If she lived today, I don’t think she would be shy about mak-ing her views known.

the fighting DaysCurtain CallsYou’ve written for stage, screen and radio. Does your creative process change depending on the medium?

In my experience, any success one may have in writing for stage, screen and radio all hinges on a good story and I have never found a story more poignant and powerful and relevant to modern times than the story of Francis Beynon. After all these years, I have to admit, I still love this story!

Your plays tackle diverse social issues, from residential schools to stem cell research. What role do you think theatre plays in exploring complex issues?

Theatre provides a place to explore ideas in the dark together. It gives us a chance to enter wildly different worlds and eras than our own and hope-fully come out in some way altered. For me, the best plays are the ones where the conversations continue long after the lights come back on. I hope you can find some part of yourself in each of these characters in The Fighting Days. And, by the way, I’m sure all of these characters lived and worked and walked the streets right around this theatre almost a century ago.

Lillian Beynon Thomascourtesy of the ProvinciAl

Archives of mAnitoBA

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WARnInG Contains script-specific smoking of non-tobacco products, adult themes, mature content, strong language

STARRINg MARThA hENRy DIRECTED by ANN hODgES

MARch 8 – 24

“Flat-out, no asterisks and without qualifications, the most exciting new American play Broadway has seen in years” – New York times

With the Westons, family time is blood sport. Leading the way through a minefield of dark secrets, repressed truths and emotional savagery is the pill-popping mommy dearest who stirs the toxic brew with perverse delight.

next at

WARnInG Strong language

gENEROUSLy SpONSORED by

DIRECTED by MILES pOTTER

MARch 15 – ApRIl 7

“A rancidly funny account of two couples tiptoeing around their mutual dislike” –the GuardiaN

The gloves come off when two couples come together to discuss a playground scrap. When the façade of politeness begins to fade, social niceties give way to a knock ‘em down, drag ‘em out battle… served with dessert and espresso.

SpONSORED IN pART by

Gailand the late

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A comedy OF MANNERS, without ThE MANNERS

14 feb/MaR 2012

StevenSchipper,ArTiSTiC DirECTOr CamillaHolland,GENErAL MANAGEr

FEBruArY 9 – MArCH 3, 2012

Presents

the fighting dAys wAs commissioned By kim mccAw At PrAirie theAtre exchAnge And leslee silvermAn At Actors’ showcAse in winniPeg. it Premiered At PrAirie theAtre exchAnge on mArch 16, 1983.

the fighting dAys is stAged By ArrAngement with cAtAlyst tcm inc, 100 BroAdview #310, toronto, on, m4m 3h3

thAnk you: monique dumontet, BrendAn cArruthers & the tArA PlAyers, kim hAmin

Director Robb Paterson

Set&CostumeDesigner brian Perchaluk

LightingDesigner larry isacoff

SoundDesigner Michael Wright

AssistantDirector Jennifer lyon

StageManager Margaret brook

AssistantStageManager Candace Maxwell

ApprenticeStageManager lisa nelson

the Cast (in alPhabetiCal order)

GeorgeMcNair Richard Clarkin

FrancisBeynon Sarah Constible

LilyBeynon Daria Puttaert

NellieMcClung Marina Stephenson Kerr

setting

aCt i Winnipeg,1910-1914

aCt ii Winnipeg,1916-1917

by

WENDY LiLL

artists

15feb/MaR 2012

Richard Clarkin

GeorgeMcNair

MTC The Price, Mating Dance of the Werewolf, Waiting for Godot, The Beauty Queen of Leenane, Death of a Salesman (with Mirvish), Goodnight Desdemona (Good Morning Juliet), The Miracle Worker.

OTHER THEATRE Hannah’s Turn (SummerWorks Theatre Festival); Sherlock Holmes: The Final Adventure, Dinner with Friends (TA); Festen, A Whistle in the Dark (Company Theatre); Half Life, The Eco Show (Necessary Angel); The Great War, The Red River Rebellion (VideoCabaret); Ring Around the Moon, Twelfth Night (Soulpepper); The Lion King (Mirvish); King Lear, The Merchant of Venice (Stratford); numerous shows for PTE, MTYP and WJT. Co-founder of Primus.

FILM/TV Goon, You Are Here, Casino Jack, The Five Senses, The Firm, Lost Girl, Republic of Doyle, Heartland, The Listener, Murdoch Mysteries, Flashpoint, The Border, Naturally, Sadie (series lead).

Sarah Constible

FrancisBeynon

MTC The 39 Steps, After Miss Julie, Bleeding Hearts, The Threepenny Opera (with SIR).

OTHER THEATRE Generous (Theatre by the River); Henry iv, The Merry Wives of Windsor, Othello, The Merchant of Venice, Richard iii, The Tempest, The Odyssey (SIR); The Monster Trilogy, Murder Ballads, Between Then and Now (TPM); The Edible Woman, Godspell, Unity (1918), Strawberries in January (PTE).

FILM/TV The Stone Angel, Less Than Kind, House Party, High Life, The Many Trials of One Jane Doe, The Haunting in Connecticut, Todd and the Book of Pure Evil.

Daria Puttaert

LilyBeynon

MTC The Shunning, Top Girls, Pride and Prejudice, Shakespeare’s Dog (with NAC), The Tempest, A Christmas Carol.

OTHER THEATRE The Moonlight Sonata of Beethoven Blatz, Stretching Hide (TPM); Strawberries in January, Unity (1918) (PTE); Honour (PTE/Belfry); Troilus and Cressida, Measure for Measure (Tom-Tom Theatre); To the Country (Winnipegger Ensemble); Stripped-Down Hamlet (SIR).

FILM Zooey and Adam (Bed Bug Films).

TRAINING Graduate of the National Theatre School and the University of Winnipeg.

ET CETERA Love to Jamie.

Marina Stephenson Kerr

NellieMcClung

MTC Pride and Prejudice, Strong Poison, Shakespeare’s Dog (with NAC), The Goat or, Who is Sylvia?, Top Girls.

OTHER THEATRE Bingo!, Apple, Chimera, Zadie’s Shoes, The December Man (PTE); Urinetown (Persephone); Waiting for the Parade (TC); Puttin’ on the Ritz (Belfry); Cat on a Hot Tin Roof, Who Has Seen the Wind (Citadel); Some Assembly Required, Bordertown Café (Sudbury Theatre Centre).

FILM/TV TV: Todd and the Book of Pure Evil, Less Than Kind. Film: Capote, The Big White, Class Project, My Awkward Sexual Adventure.

Wendy Lill

Playwright

Playwright and former politician Wendy Lill has writ-ten extensively for radio, magazines, film and televi-sion. Her work has resulted in two ACTRA awards, a Golden Sheaf award (for her film Ikwe), a New York Festivals Radio Program and Promotion Award in 2011 for A full list of theAtre ABBreviAtions,

PleAse refer to legend on PAge 4

artists

16 feb/MaR 2012

(Backbencher) and four nominations for the Governor General’s Literary Award for Drama (The Occupation of Heather Rose, All Fall Down, The Glace Bay Miners’ Museum and Corker). Chimera, her first play since leaving politics, premiered at the Tarragon Theatre. She created and was head writer for the award-winning CBC Radio series Backbencher (2009-2011).

Lill was born in Vancouver and grew up in London, Ontario. She completed a BA in political science at Toronto’s York University. Lill lived in Winnipeg from 1979 until 1984 and during this time she began writing plays and developed a productive association with Prairie Theatre Exchange and its artistic director, Kim McCaw. In 1988, Lill moved to Dartmouth, Nova Scotia and continued to write for theatre. She co-founded Dartmouth’s Eastern Front Theatre Company in 1993. In 1997, Lill was elected as a Member of Parliament (NDP) for Dartmouth. She was re-elected in 2000 for a second term.

Robb Paterson

Director

MTC Directing credits include: The Shunning, White Christmas, It’s a Wonderful Life: A Radio Play, Bleeding Hearts, Pride and Prejudice, Our Town, Rope’s End, Guys and Dolls (with TC/Citadel), Trying, My Fair Lady, Steel Magnolias (1993, 2010), An Inspector Calls, The Retreat from Moscow (MTC); Chicago, Cabaret, Grease, Little Shop of Horrors, The Pajama Game (MBA/MTC). Acting credits include: Richard iii, Lady, Be Good!, True West, Little Shop of Horrors, Romeo and Juliet, Hamlet, Billy Bishop Goes to War, A Christmas Carol – The Musical.

OTHER THEATRE Directing credits include: The Immigrant, The Tale of the Allergist’s Wife (WJT); Beauty and the Beast (2005, 2009), Peter Pan, The King and I, Big: The Musical, Footloose, Crazy for You, 42nd Street (Rainbow); Rick: The Rick Hansen Story, Seussical the Musical, Pippi Longstocking (MTYP). Acting credits include: Marvin’s Room (PTE); Oliver!, Angels in America (Centaur); Chicago, The Music Man, Fiddler on the Roof, Oklahoma!, Damn Yankees (Rainbow).

ET CETERA Robb has appeared in more than 150 productions in Canada over the past 31 years.

Brian Perchaluk

Set&CostumeDesigner

MTC More than 40 productions, including recent and favourites: The Shunning, After Miss Julie, Steel Magnolias (2010), Educating Rita, The Boys in the Photograph (with Mirvish), Pride and Prejudice, Shakespeare’s Dog (with NAC), Our Town, Trying, My Fair Lady, The Lonesome West, To Kill a Mockingbird, Patience, Quills, Travels with My Aunt, Picasso at the Lapin Agile, Oleanna, M. Butterfly (with NAC), Morning’s at Seven, A Midsummer Night’s Dream, Filthy Rich.

OTHER THEATRE Brian’s work has been featured at theatres across the country, including two seasons each at the Shaw and Stratford festivals. Selected recent credits include: Vimy (NAC/GCTC); To Kill a Mockingbird (TC); The Secret Mask, Burnin’ Love, The Savannah Disputation (PTE); Sweeney Todd, The Light in the Piazza (Dry Cold); King Lear, Fidelio (Atlantic Ballet Theatre of Canada); The Moonlight Sonata of Beethoven Blatz (TPM); Spring Awakening (Winnipeg Studio Theatre); Les Disparus (Theatre Vice Versa Theatre).

TRAINING Brian is a graduate of the National Theatre School and the University of Winnipeg.

ET CETERA Brian has received a Gemini Award for outstanding production design and Jessie Richardson and Prix Rideau awards for outstanding set design. He is a member of the Associated Designers of Canada.

Larry Isacoff

LightingDesigner

MTC The Shunning, The Seafarer, Looking Back – West, Bleeding Hearts, Rope’s End, The Retreat from Moscow, Fully Committed, Mating Dance of the Werewolf, The Miracle Worker, Cloud Nine, Bedroom Farce, How I Got That Story, The Affections of May, Mrs. Klein, The Gin Game, Paper Wheat.

OTHER THEATRE Globe Theatre, 25th Street Theatre, Winnipeg’s Contemporary Dancers, PTE, MTYP.

ET CETERA Larry divides his time between engaging theatre projects and teaching yoga.

continued on PAge 20

9226 - ACU - Ovation4.75 in x 3.75 in (half page) : full color

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When you choose local banking, you are choosing a better community because your money stays here in Manitoba. By supporting Assiniboine Credit Union, you help local co-operatives, businesses and ventures thrive. Why do we care so much? Because we’re local too.

Peg City Car Co-opACU Member

BROADWAY ROCKSFRIDAY, MARCH 16 I 8:00PMSATURDAY, MARCH 17 I 8:00PMSUNDAY, MARCH 18 I 2:00PM

Tickets available at the Winnipeg Symphony Orchestra and all Ticketmaster outletsWSO Box Office 949-3999 www.wso.ca I 1-855-985-ARTS

Richard Lee, conductorBravo Broadway:

Christiane Noll, performerCapathia Jenkins, performerDoug LaBrecque, performer

Rainbow Harmony Project;Vic Hooper, director

Bravo Broadway concerts havebeen smash hits at WSO Popsfor years. Each guest artist bringsan impressive list of leading-roleperformances in popularBroadway musicals. Togetherwith the WSO, they will light upthe stage in a dynamic revue thatwill leave audiences breathless!

BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE

& AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER





























































































































BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER

Warm up to some fantastic food and beverages from Winnipeg’s finest restaurants, all minutes from mtc.

Whether you crave steak, sandWiches or soufflé, these culinary delights and luscious libations Will complete your night out on

the toWn, before or after the shoW.

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BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER BEFORE & AFTER

Before Curtain

TRE VISI Cucina Italiana

MAIN FLOOR 173 McDermot Ave.

(204) 949-‐9032 trevisirestaurant.com

Reservations Recommended

After Encore

SENSI wine lounge

SECOND FLOOR 173 McDermot Ave.

(204) 975-‐0160 sensiwinelounge.com

No Reservations

artists

Michael Wright

SoundDesigner

MTC Romeo and Juliet, The Seafarer, Looking Back – West, Top Girls, Rope’s End, Fully Committed, The Last Five Years, The Beauty Queen of Leenane, Cherry Docs.

OTHER THEATRE North Main Gothic, The Monster Trilogy, The Elmwood Visitation, Age of Arousal (TPM); Everything is Coming Up Roses (Gearshifting Performance Works); Mmm Munsch, Something Drastic, Puppet Munsch (PTE); Macbeth (SIR); The Designated Mourner (Persona Theatre); Hedwig and the Angry Inch (Winnipeg Fringe Theatre Festival); Hedwig and the Angry Inch Atrocity Tour 2004 (Rose Tinted Productions, UK).

FILM The Last Harvest, Métis, Métis Not, Dead Mothers Kitchen Floors.

ET CETERA Michael is active in the music world with over two dozen album credits. He lives in Winnipeg with his partner Arlea and is a member of iatse 63.

continued on PAge 22

Jennifer Lyon

AssistantDirector

MTC Actor: White Christmas, Pride and Prejudice, Guys and Dolls (with TC/Citadel), My Fair Lady, A Christmas Carol – The Musical, Steel Magnolias (1993).

OTHER THEATRE Actor: My Fair Lady (Arts Club); Skylight (TNB); I Love You, You’re Perfect, Now Change (PTE, Belfry); The Road to Hell, Communicating Doors (Persephone); Jacques Brel is Alive and Well and Living in Paris, Godspell (PTE); Hairspray, Singin’ in the Rain (Rainbow); Comet in Moominland (MTYP, Toronto, Montreal, NYC); Camelot, Man of La Mancha, The Miracle Worker (Stratford); The Who’s Tommy (Elgin Theatre, Canadian Tour).

ET CETERA Jennifer gratefully acknowledges the sup-port of the Manitoba Arts Council and the Winnipeg Arts Council.

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heavenly off-broadway musical | in association with winnipeg studio Theatre

february 22 - march 11Full of sharp parody, sinfully tuneful songs and irreverent humour, this is a pitch-perfect spoof about a boy band trying to save souls, one screaming fan at a time.

CALL 942-5483 | WWW.PTE.MB.CA

PRAIRIE THEATRE EXCHANGE3rd floor of Portage Place (next to IMAx)

SponSored In pArt by: MedIA SponSor:

20 1 1 / 20 1 2 s e a s o n

Marc devigne, Simon Miron, Jeremy Walmsley, Joseph Sevillo and Michael Lyons as the Altar boyz. photo: rodney braun

artists

Candace Maxwell

AssistantStageManager

MTC The Boys in the Photograph (with Mirvish), The Syringa Tree, Over the Tavern, The Constant Wife, Fiddler on the Roof, Driving Miss Daisy, MTC 50th Anniversary Homecoming.

OTHER THEATRE Salome, The Magic Flute, Tosca, Carmen (Manitoba Opera); Bingo!, The Savannah Disputation, Munscha Meeya, Chimera, The Vertical Hour, Honour (PTE); La Tragédie de Carmen, Siren Song (Banff Centre); Pride and Prejudice (Banff Centre/Citadel).

TRAINING University of Winnipeg and the Banff Centre.

ET CETERA Thank you to all my family and friends for their constant love and support. Enjoy the show!

Lisa Nelson

ApprenticeStageManager

MTC First engagement.

OTHER THEATRE Way to Heaven, Talk at Prairie Scene Festival, Sunday Father (WJT); The Moonlight Sonata of Beethoven Blatz, Encore (TPM); H.M.S. Pinafore, The Pirates of Penzance, The Gondoliers, The Mikado (Redressed), Ruddigore (Gilbert & Sullivan Society of Winnipeg); StreetZone (FemFest/Sarasvàti Productions).

TRAINING University of Winnipeg.

ET CETERA A big thank you to all my friends and family for all their love and support—especially Nick and Dave!

Doowah Design Inc.Client: Manitoba Theatre Centre Job no: 2462 The Melville Boys ad / 4C / 4.75 in x 3.75 in Problems or questions, call Mitch at (204) 949-7230

2012 Regional TourPRESENTED BY

SUPPORTING SPONSORSTransport Cast & Crew

WITH TOURING ASSISTANCE FROM

TOUR SPONSORSPRESENTING SPONSOR

For more info, visit: mtc.mb.ca

regional tour

as part of MtC’s commitment to the whole region, we’ve been sharing professional live theatre with enthusiastic audiences in Manitoba and northwestern ontario for more than 50 years. Communities hosting the tour are well-known for their warm hospitality and keen appreciation of the art form. this year’s regional tour of norm foster’s the Melville boys brings a touch of summer to 25 communities from January 24 to february 24.

1 Murray Farnell as Owen Melville 2 Kevin Klassen as Lee Melville 3 Alix Sobler as Mary 4 Elizabeth Stephensen as Loretta 5 Murray Farnell and Kevin Klassen 6 Elizabeth Stephensen and Kevin Klassen 7 Alix Sobler and Kevin Klassen 8 Murray Farnell and Elizabeth Stephensen (seated), Alix Sobler and Kevin Klassen (background)

1 2 3 4

5 6

8

7

PhotosbyLeifNormanby Norm Fosterby Norm Fosterby Norm Foster

SUPPORTING SPONSORS

Transport Cast & Crew

WITH TOURING ASSISTANCE FROM TOUR SPONSORSPRESENTING SPONSOR

corner

savings

THE

Winnipegculture on every corner

Exclusive offers, e-deals and entertainment bundles. Find out more at cultureoneverycorner.ca

Don’t let any show go on without you!

The Royal ManiToba TheaTRe CenTRe

honouRs heR MajesTy Queen elizabeTh ii

on The oCCasion of heR diaMond jubilee,

CelebRaTing 60 yeaRs of heR sTeadfasT seRviCe

and dediCaTion To Canada.

inDiviDual giving

Leaving a legacy is a natural inclination for many of us, something we contemplate on our journey through life. The women of The Fighting Days accomplish something far greater than many of us could ever hope to achieve: a legacy of demo-cratic change and a more equitable society.

At MTC, we are b lessed with a very committed group of supporters who have decided their legacy includes showing confidence in the future of live theatre by making a planned gift to MTC. The Founders’ Circle was established in 2009 to honour and recognize those who make a planned gift to MTC. From modest beginnings, the Found-ers’ Circle has grown to 21 members: individuals committed to ensuring that great theatre and programming excellence are enjoyed by future generations of audiences and artists.

Making a planned gift is relatively easy and can take several forms:

• A bequest in your will• Life insurance• Charitable gift annuity• Charitable remainder trust• Listed securities

You or your estate can potentially realize tax benefits from a planned gift as well. Talk to your financial advisor about possible tax savings.

For Founders’ Circle member Heather Power, leaving a legacy to MTC in the form of a life insurance policy made good sense. She pays a tax deductible premium on a policy and has named MTC as the beneficiary. “I have loved, been involved with, and supported the theatre all my life.

Through a life insurance policy, I can make a big impact after I’m gone. Each year,

I pay the premium and get a tax receipt in return,” said Ms.

Power. “It’s a small monthly donation, probably less than most people spend on cof-fee in a month, but it can be quite big in the end.”

It was this kind of forward thinking that inspired

MTC co-founders John Hirsch and Tom Hendry to

create a professional theatre company 54 years ago as a

“celebration of community, of the values which a society holds.” With

the visionary support of Founders’ Circle members, their dream will live on for gen-erations to come.

Be part of the dream. Consider joining the Found-ers’ Circle by making a planned gift today. Infor-mation about our Planned Giving program and the Founders’ Circle is available in the lobby right now or from the MTC Development Office.

Tomakeaplannedgiftortoobtainmoreinformation,visitwww.mtc.mb.caorcontactGarthintheDevelopmentOfficeat956-1340ext240.

“I do not want to pull through life like a thread that has no knot. I want to leave something behind when I go.”

– Nellie McClung in The Fighting Days

26 feb/MaR 2012

Photo co

urtesy of the w

inn

iPeg free Press

Founders’ Circle member Heather Power takes a seat alongside MTC co-founders Tom Hendry and John Hirsch.

Will YouLeave Something

Behind?FO

UNDERS

CIRCLE

’

The ROYAL MAniTObA TheATRe CenTRe And The MAniTObA bAR AssOCiATiOn pResenT The 2012 COMMuniTY pLAY

MOUSETRAP

by AgAthA Christie

the

DireCteD by steven sChipper

May 2 – 5, 2012Tom Hendry WareHouse | 7:30 pm curTain

“One Of the mOst skillfully written murder mysteries ever prOduced” – New York Times

TickeTs $95Call 942-6537 CliCk www.mtc.mb.ca/mousetrap

On sale nOW!

Proceeds from this fundraising Play benefit the royal manitoba theatre centre and its Programs.

Doowah Design inc.Client: MTC Job no: 2225 insertion: January 18, 2012MTC Mousetrap ad - Ovation / CMYk / 4.75”x3.75”Problems or questions, call Brent at (204) 949-7230

GeNerouslY spoNsored bY:

spoNsors: desiGN spoNsor:

hilarydruxman.com/philanthropy.asp

100% of the net proceeds from each LIVE necklace

sold will be donated to MTC’s Backstage Pass:

Theatre Perspectives for Students program.

Hilary Druxman royal manitoba tHeatre Centreis proud to support the

available at

258 McDermot Ave.

947-1322 Toll Free 877-212-8122

Monday to Friday | 9 am to 5 pmSaturday | 10 am to 5 pm

available online at

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$40

Doowah Design Inc. Client: MTC Job no: 2216 Insertion: Ovation 1MTC Development ad / CMYK / 5.5” x 8.5”Problems or questions, call Priscilla at (204) 949-7230

We need YOURSUPPORT.dOnate tOdaY!MTC relies on the generosity of donors and friends to help produce great theatre at accessible prices.

donate online at www.mtc.mb.ca or call 956-1340 today!

Make your

gifT today!

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29feb/MaR 2012

supporting partners

MTCexpressessincerethankstoourmajorcorporateandgovernmentsponsors.

|SEASONPARTNERS|

|ThEATREfORyOuNg| |wORdPlAy| |bACKSTAgEPASS:ThEATRE|

AudiENCES PERSPECTivESfORSTudENTS

|JOhNhiRSChMAiNSTAgE| |TOMhENdRywAREhOuSE|

PROduCTiONCO-SPONSORS PROduCTiONSPONSORS

|REgiONAlTOuR|

|JOhNhiRSChMAiNSTAgE| PERfORMANCESPONSORS

|blACK&whiTE| |COMMuNiTyPlAy| |TAlKbACKS| |dESigNSPONSOR|

gAlAbAll

|2011wiNNiPEgfRiNgEThEATREfESTivAl|

|ShAwfEST2012|

Black

CMYK

Pantone

|MEdiASPONSORS|

TMS T R O N G E R C O M M U N I T I E S T O G E T H E R

Gailand the late

Babs AsperDeborahGray

DeborahGray

TMS T R O N G E R C O M M U N I T I E S T O G E T H E R

TheExchangeDISTRICT

30 feb/MaR 2012

honorary MeMberSHiS HONOur,Lt.GovernorPhilipS.LeeTHE HONOurABLEGregSelinger,PremierofManitobaHiS WOrSHip,MayorSamKatz

execuTive officerSGaryHannaford,FCA,CHAir

KerryDangerfield,CHAir-ELECT/CHAir, COMMuNiTY rELATiONS

PatrickGreen,TrEASurEr/CHAir, OrGANizATiONAL pErFOrMANCE

DavidCarefoot,ASSiSTANT TrEASurEr

AnthonyC.Fletcher,SECrETArY

RobertEastwood,CHAir, rESOurCE DEVELOpMENT

JimMcLandress,CHAir, GOVErNANCE & STrATEGiC pLANNiNG

TruSTeeSDavidAtkinsBrenleeCarringtonTrepelDavidChristieDerrickCouplandSandyGousseauJeffLamotheBruceLeslieMichelleWeinbergRickWorkmanRichardL.YaffeBrendaZaporzan

adviSory counciLGerryCouture,CHAir

GailAsperMorleyBlanksteinDonetaBrotchieAngusCampbellHyDashevskyGlenDyrda,FCAJohnF.FraserJeanGiguereCharronHamiltonYudeHenteleffKenHoussinGordonKeatchColinR.MacArthur,QCPatrickJ.MatthewsClaireW.MillerJeffreyMorton,FCAHon.JackMurtaLillianNeamanShelleyNimchonokAndrewOgaranko,QCJamesPappasJohnPetersmeyerLawrenceProutJeffQuintonPatriciaRabsonMargaretRedmondSusanSkinnerAlSnyderMaureenWatchorn

accounTing/financeSharonBurden,ACCOuNTiNG

YvonneO’Connor,ACCOuNTiNG

ShelleyStroski,CONTrOLLEr

adMiniSTraTionBrianAdolph,iT MANAGEr

ZazBajon,GENErAL MANAGEr EMEriTuS

NataschaHainsworth,OuTrEACH COOrDiNATOr

CamillaHolland,GENErAL MANAGEr

DaphneMacMillan,ADMiNiSTrATiVE SECrETArY

DebbieNeufeld,rECEpTiON/MArKETiNG ASSiSTANT

AlanWaite,ASSiSTANT GENErAL MANAGEr

arTiSTicJeffKennedy,WOrDpLAY COOrDiNATOr

LaurieLam,prODuCEr

RobbPaterson,ASSOCiATE ArTiSTiC DirECTOr

StevenSchipper,ArTiSTiC DirECTOr

CaseyShapira,LiTErArY ApprENTiCE*MelindaTallin,ArTiSTiC COOrDiNATOr

carpenTryLouisGagné,LAYOuT CArpENTEr

BrentLetain,MASTEr CArpENTEr

ChrisSeida,SCENiC CArpENTEr

LloydThomas,CArpENTEr

coMMunicaTionSSueCaughlin,MArKETiNG & COMMuNiCATiONS MANAGEr

DoowahDesign,DESiGN

BruceMonk,pHOTOGrApHEr

BrentPhillips,DirECTOr OF MArKETiNG & COMMuNiCATiONS

MarkSaunders,MArKETiNG & COMMuNiCATiONS COOrDiNATOr

TeriStevens,puBLiCiST & ONLiNE MEDiA COOrDiNATOr

deveLopMenTKristineBetker,DirECTOr OF FuND DEVELOpMENT

GarthJohnson,MAjOr, iNDiViDuAL & pLANNED GiViNG OFFiCEr

MichaelJoyal,DEVELOpMENT ASSiSTANT

StephanieLambert,SpECiAL & DONOr EVENTS COOrDiNATOr

John hirSch TheaTre fronT-of-houSeDeborahGay-deVries,FrONT-OF-HOuSE MANAGEr

SheenaBaird,ASSiSTANT HOuSE MANAGEr

KimCossette,ASSiSTANT HOuSE MANAGEr

JaimieChapman,JonnyHall,ElfieHarvey,KelseyJohnson,SherriKostecki,TiaLevine,RobynMilligan,RachaelNeal,JessicaOlson,AmariahPeterson,AngelaRajfur,CarolineShields,CristinSinclair,KevinStroski,PhyllisVanDrunen,RitaVandeVyvere,ChelseaZacharias,DerekZorniak

MainTenanceAndrewDrinnan,BuiLDiNG SupEriNTENDENT

ChrisFletcher,ASSiSTANT BuiLDiNG SupEriNTENDENT

painTSusanGroff,HEAD SCENiC ArTiST

LawrenceVanWent,SCENiC ArTiST

ASSiSTED BY:KimHamin,JulieSlessor

paTron ServiceS officeLaurieFletcher,pATrON SErViCES OFFiCE MANAGEr

MelanieSexton,TiCKETiNG SErViCES DirECTOr

JenniferSkelly,TESSiTurA AppLiCATiON COOrDiNATOr

pATrON SErViCES rEprESENTATiVES:KatieAdamson,AlisonDerksen,NaterciaDoucet,Anna-LaureKoop,VictoriaPopp,MichaelaPorter,JessicaRoss

producTionLauraEnns,BOOKKEEpEr/ASSiSTANT

IanKirk,ASSiSTANT TECHNiCAL DirECTOr/TOur TECHNiCAL DirECTOr

LauraLindeblom,ASSiSTANT prODuCTiON MANAGEr

RickMacPherson,TECHNiCAL DirECTOr, TOM HENDrY THEATrE

RussellMartin,prODuCTiON MANAGEr

BenjaminRoss,TECHNiCAL DirECTOr, jOHN HirSCH THEATrE

RobertSmith,iNTEriM ASSiSTANT TECHNiCAL DirECTOr

properTieSPeterBaureiss,prOpErTiES BuiLDEr/BuYEr

LarryDemedash,SENiOr prOpErTiES BuiLDEr

AliFulmyk,ApprENTiCE prOpErTiES BuiLDEr

KariHagness,HEAD OF prOpErTiES

JamesSutherland,prOpErTiES BuiLDEr

STage crewBeverlyCovert,WiGS & MAKEup SupErViSOr

HartGreenberg,HEAD CArpENTEr

JoanLees-Miller,HEAD OF WArDrOBE

KaylaMcSwain,DrESSEr

ClaudeRobert,HEAD ELECTriCiAN

JohnTomiuk,HOuSE STAGE HAND

MichaelWright,HEAD OF SOuND

TeLe-SaLeS repreSenTaTiveSandraRubin

ToM hendry TheaTreRandyHarder,HEAD ELECTriCiAN

RickMacPherson,TECHNiCAL DirECTOr

AlisonNutt,HEAD CArpENTEr

GregWood,HEAD OF SOuND

MichaelWright,HEAD OF SOuND

ToM hendry TheaTre fronT-of-houSeKimCossette,FrONT-OF-HOuSE MANAGEr

ScottTweedy,ASSiSTANT HOuSE MANAGEr

PhyllisHildebrand,TiaLevine,PamNeal,CristinSinclair,ChelseaZacharias

wardrobeAmandaIsaak,SEWEr

DonnaJenkyns,SEWEr

NormaLachance,SEWEr

ThoraLamont,CuTTEr

BarbMackenzie,SEWEr

LorraineO’Leary,HEAD OF WArDrOBE

LoisPowne,FirST HAND

HollisSpevack,SEWEr

JackieVanWinkle,BuYEr/ACCESSOriES

IrisWood,SEWEr

winnipeg fringe TheaTre feSTivaL & MaSTer pLaywrighT feSTivaLSamanthaHarrison,FESTiVAL ASSiSTANT

ChuckMcEwen,ExECuTiVE prODuCEr

RobRing,iNTEriM FESTiVAL DirECTOr

BehinD the scenes

*Position funded through the JeAn murrAy – morAy sinclAir theAtre APPrenticeshiP ProgrAm

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Documents

Ovation Vol. 19 No. 4