Presented by the State Ballet Theatre of Russia SHUMKA She ... · She Loves Me at Romeo & Juliet Virtuoso Dancing Framed by Spectacular Costumes and Backdrops ... Try to unwrap candies

February 2012

SHUMKAatShe Loves Me

Romeo & Juliet

Virtuoso Dancing Framed by Spectacular

Costumes and Backdrops

Sweeney MacArthur and Laura CaswellPlay Co-Workers in thisHysterical Musical Romcom

Presented by the State BalletTheatre of Russia

The Magazine of the Rose Theatre Brampton

THE ROMANCE ISSUE!

3rosetheatre.caBOX OFFICE: 905.874.2800

Rose Theatre Box Offices1 Theatre Lane, Brampton

Mon. to Sat.: 10:00 AM - 6:00 PM Sun.: Closed if no event

905.874.2800www.rosetheatre.ca

Lester B. Pearson Theatre150 Central Park Drive

Main Floor, Civic CentreHours are subject to change, please call

ahead or check the times online.

In gratitude for the purchaseof specialized equipment

o·de·um 1. A small building of ancient Greece

and Rome used for public performances of music and poetry.

2. A contemporary theatre or concert hall.

Odeum is the monthly magazine of the Rose Theatre Brampton

EditorGenevieve DeMerchant

[email protected]

Art Direction & DesignTina Mulliss

[email protected]

ContributorsCostin Manu

Theatre [email protected]

Alison Broverman, Catherine Cubitt,

Gabriella Currie, Harry Currie, Jon Eben Field, Sylvia Eng,

Ashley Goodfellow,Nick Krewen and Nicole Rubacha

To advertise

with The Rose contact:Gaye Storozuk

Supervisor of Sales and [email protected]

905-793-6347

February 2012

Manager’s MonthlyScene at The Rose Services & PoliciesCommunity VitalitySponsor & Donor Recognition

every month569

1030

on stagecontents

1220

Romeo & JulietBallet by the Masters

Dan HillAn Incredible Concert With the Songwriter and His Stories

Second City Presents: iLoveA Romantic Dot Com-edy in Time for Valentines

She Loves MeThe Whimsical and Endearing Romantic Musical Comedy Pete ZedlacherHost of 2011 Subscriber Nights Takes on the Comedy Lounge

Shumka at 50Celebrate Their Golden Anniversary With This Thrilling Production

Improvised Shakespeare CompanyA Show That is Hilariously Mind Boggling!

Rhythm of the DanceA Two-Hour Celtic Dance and Music Extravaganza

Peter AppleyardThe Lucky Break That Helped Make Him Into a Jazz Legend

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IN THE GALLERY

JANET SIMMONS SWEETDecember 7, 2011 -March 3, 2012

2 odeum January 2012

Artist StatementIn this fast paced world, constantly being bombarded by “thought provoking” images, I search for those moments where light and colour provides respite, and translate it to a canvas. In direct combat to this era, the intention of my work is to evoke, rather than to provoke.

Artist BiographyJanet Simmons Sweet studied art under the Bill Davis experimental educational program in the late 1960’s in Clarkson High School. Finished artworks are oil, acrylic, or a combination of both, presented with dramatic light on canvas. Janet resides in Brampton, is a full-time artist with a studio in the Historical Alton Mill, and is very active in the local art community, serving as a board member and juror in multiple arts organizations. Her work has been accepted into numerous artistic juried exhibits, and been awarded Juror’s Best of Show, Artist Choice and People’s Choice honours. Janet’s work is displayed locally in multiple public venues and hangs in private collections across Canada, the United States and the United Kingdom.

Tel: 905-840-4140 [email protected] www.altonmill.ca


MANAGER’S MONTHLY

I would like to share with you some of the things I learned and experienced after spending a few days at APAP (Association of Performing Arts Presenters) in New York City last month. The conference provided unparalleled face-to-face networking opportunities in a business that has at its heart, human interaction and creativity. Over the course of five exciting days, APAP hosted nearly 400 exhibitors, spread out over three floors, more than 1,300 performance showcases at venues throughout the city of New York and more than 40 professional and leadership development sessions. More than 3,600 of our colleagues from 49 states and 10 provinces in the U.S. and Canada and 27 other countries attend APAP making it not only the largest, most inclusive marketplace for the performing arts in the world, but the destination for experiencing what’s next, and learning who’s doing it! Attendees represent the entire breadth and depth of the field worldwide, including presenters, agents, managers, artists, consultants, vendors, funders, foreign governments, educators, producers and more. Performing arts presenting is about connecting artists and their work with audiences and engaging communities in live performance. For me, the conference offers ways to make all those connections and more: more performances (showcases, festivals, and events) by more artists in more genres and styles. It is the place to network, learn about latest trends and practices, build our organization, and get a lot of business done. This year, the highlight for me was attending an exciting seminar about Leadership and Taking Action which was both inspiring and challenging at the same time. As the theme of the conference was “Owning the Road Ahead”, it was a chance to learn how to celebrate the communities we serve and to empathize with what matters to them most. We were challenged to imagine a future where we will have to affirm our relevance by defining clearly how we lead. I remember from way back in my first acting classes how we were encouraged to “Tell a Story”. We should always begin by telling a story since storytelling requires us to know our audience and forces us to make choices. We are telling the story of our community, Brampton, and we add a page to that story every day.

Costin ManuTheatre Manager Rose Theatre Brampton

by Costin Manu

It will be evident in our renewed emphasis on Arts and Culture in the coming year that we will consider trends such as what shifts are happening in the economy, how is the demographic picture evolving and which ideas are gathering the most buzz. How will our organization rise to the occasion? By balancing today’s realities with tomorrow’s aspirations and by repurposing what we already are to be of greater service to the community. We will look at how to deliver unprecedented value by looking at where the values of our organizations in Arts, Culture and Theatre intersect with our community’s needs. Five years ago, the Arts Council of England set out to produce a threefold definition of art’s purpose: “to increase people’s capacity for life (helping them to “understand, interpret and adapt to the world around them”), to enrich their experience (bringing “colour, beauty, passion and intensity to lives”) and to provide a safe site in which they could build their skills, confidence and self-esteem. Other community initiatives endeavor to do some of these things, but only art does all three.” So, as we embark on another year of challenges, renewed hope and fresh ideas, we envision a community where all people experience the transformative power of live performance; a community where performing artists are integral to it, where ideas circulate vigorously and freely, and where people from all cultures affirm and understand themselves and each other through the arts.

Share the future with us!

FEBRUARY 22, 8PM

ROMEO & JULIETFEBRUARY 7-8, 8PM

FEBRUARY 15-19

FEBRUARY 22, 8PM

DAN HILLFEBRUARY 9, 8PM

FEBRUARY 23, 8PM

LET USENTERTAIN YOU!

IN THE STUDIO

BRAMPTON PERFORMING ARTS COMPANIESat the Rose Theatre

Brampton Concert BandHeroes & VillainsFebruary 25 at 8PM

Brampton Festival SingersFamily of BramptonFebruary 26 at 4PM

CONTACT THE BOX OFFICE AT

905.874.2800www.rosetheatre.ca

PETE ZEDLACHERFEBRUARY 16, 8PM

THE IMPROVISEDSHAKESPEARE COMPANY

FEBRUARY 23, 8PM

PETER APPLEYARDFEBRUARY 24, 8PM

SPLASH ‘N BOOTSFEBRUARY 25, 1PM & 3PM

ON THE MAIN STAGE

R O S E T H E A T R E P R E S E N T SFEBRUARY

FEBRUARY 10, 8PM

Sharethe Future

With Us!

6 odeum FEBruary 2012 7rosetheatre.caBOX OFFICE: 905.874.2800

2

6 7

43

5

1

Downtown Bramptonwas Glowing

on New Year’s Eve!

Revelers delighted in fantastic entertain-ment from the main stage in Garden Square including Thornley and Bedouin Soundclash, skating and marshmallow roasting in Gage Park, two spectacular shows of fireworks and unbeatable party in the Rose Theatre lobby.

The Brampton Heart Lake Rotary Club hosted what has become an annual outing to The Rose on January 20, taking in Classic Albums Live: Led Zeppelin. The group gathered pre-show for refresh-ments and a silent auction which raised over $2500 for Paediatric Services at Brampton Civic Hospital and other Rotary charities.

SCENE AT THE ROSE

1 -5

6-7

Caterer, Ted Melchionna, from TK’S Catering.L to R: Meli Colucci (President Heart Lake Rotary 2011-2012), Joyce Haist, Nancy Kastner, and Hema Patel. All from the Heart Lake Rotary Club.

Skaters enjoy the ice trail in Gage Park. Fireworks at 9 pm from City Hall for the younger party-set.

L to R: Anna Mohammed, Reahannon DeRoché, Akilah Prendes, Shana DeRoché.

Jay Malinowski, lead singer of Bedouin Soundclash.

One young celebrator shows his holiday spirit.

8 odeum FEBruary 2012 9rosetheatre.ca

SERVICES AND POLICIES

Hearing AssistanceDevices may be attained from the Box Office, free of charge.

Coat Check There is a complimentary coat check located

next to the entrance for the Secondary Hall.

Free ParkingThe following operation of the Market Square parking garage will now be in effect for allscheduled Rose Theatre shows. During the week, the gates lift at 6:30 pm and remain up until 7 am the next day.

On weekends, the gates will remain up from Friday @ 6:30 pm to Monday @ 7:00 am.

Bar Service - Most events at The Rose will include bar service. When this is the case, the

bar will be open one hour before show time and during intermission.

Pre-Order Service - Avoid long lineups at the bar by taking advantage of our pre-order drink service. Purchase drinks before

the show starts and they’ll be ready and waiting for you at intermission.

Cell phones/pagers Please keep electronic devices turned off during the performance. The light from texting is also distracting for other patrons and performers.

FragrancesDue to allergies and sensitivities, please refrain from wearing perfumes, colognes, or other scented products.

Cameras/RecordingCameras and recording devices are not allowed in the theatre unless otherwise specified in the pre-show announcement by the presenter.

Food & DrinkOnly bottled water is allowed inside the theatre. Try to unwrap candies or lozenges prior to the performance as the crinkling paper can be distracting.

Arriving LateLatecomers will be seated at the discretion of Front of House during an appropriate break in the performance.

Babes in ArmsAre not permitted in the theatre, except for certain age-appropriate shows indicated; however each person –including children – requires a ticket.

For the Benefit of All Patrons, Please Take Note..

WE LOVE HEARING FROM YOU

Our Service CommitmentIf there is anything we can do to make your experience more enjoyable, please do not hesitate to ask one of our volunteer ushers or staff members for assistance.

Visit www.rosetheatre.ca

While you’re online, sign up to receive our e-newsletter or subscribe to our blog (find it on the homepage). You’ll enjoy insightful commentary, interviews with artists, photos and videos.

Enjoy and feel free to comment. Your opinion is important to us.

Follow us on Twitter @RoseTheatreBramBecome a fan facebook.com/RoseTheatreBrampton

P lan an UNFORGETTABLE EXPERIENCE

for your group!Celebrate a special event

at the Rose Theatrewith Family, Friends,

Colleagues or Customers!

GROUPS SAVE UP TO

DISCOUNTEDGROUP TICKETS

ON ALL RTP SHOWS!

25%

We offer personal service.Let us help you plan

a pre-or post-show reception,dinner and a show

or we can suggest one of ourexcellent local restaurants.

Contact our Group Sales Coordinator

Gabriella CurrieT: 905.793.7073 C: 416.806.0440

[email protected]

T: 647.438.5559 Toll Free: 1.866.447.7849www.thegrouptixcompany.com

or

10 odeum FEBruary 2012 rosetheatre.caBOX OFFICE: 905.874.2800

This February We Celebrate the Family The Rose has entertainment for any age. Some of our youngest audience members, who attend Early Years and Little Sprouts programming, are not even a year old! Donor support helps subsidize the cost of discounted tickets for children, making family entertainment more affordable and accessible. Additionally, our free events are important to families, helping to maintain a vibrant downtown core and provide accessible cultural experiences for the entire community. Introducing children to theatre has many benefits for the parents and the children. A 2006 study from Australia found that going to the theatre can improve children’s literacy and social skills. The study documented that children’s oral and written language improved significantly during the project. Children learned to think critically about what they saw and to articulate their ideas and feelings. Rose Theatre’s Acting Educational Programmer, Beverly Ritchie, notes that our student programming is selected to entertain as well as to inspire creativity and intellectual growth. We aim to provide the springboard for teachers and parents to dialogue with children and adolescents about important, meaningful issues. “This year we presented The Shape of a Girl, a well known play which illustrates the darkest side of bullying. Seeing this dramatic piece provided students and teachers with a common experience. It is from this common, safe place, new conversations about bullying in their own lives, and how they feel about it, can begin. That in itself is a reason to believe in the power of theatre.”

There has never been a better time to introduce a child in your life to the magical experience of live theatre or dance. Seeing the performance through their eyes will reinvigorate your passion for performance as well.

Community VitalityCommitted to contributing to the cultural fabric of Brampton

You can bringkids of all ages to enjoy

Family Programming in February

Romeo and JulietFebruary 7th & 8th

*Recommended for ages 12 and up

Shumka at 50February 22nd


Rhythm of the Dance February 23rd


Early YearsFebruary 24th

*Recommended for ages 18 to 48 months

Little Sprouts February 25th

*Recommended for ages 5 and under

Visit www.rosetheatre.cafor more information.

*Age recommendations are only suggestions, parents can use their best judgment

based on their own child’spersonal interest and abilities.

Skating,swimming,

fitness,sports,

and much more!

For a completelist of

activities,contact your localrecreation centre

or visitwww.brampton.ca

Join the

City of Brampton

for an exciting

line-up of fun

family activities.

by Sylvia EngDevelopment Associate


Beautiful Tragedy

Loveof

The

from the State Ballet Theatre of Russia

& JulietRomeo

by Jon Eben Field

ON THE MAIN STAGE FEBRUARY 7 & 8 AT 8PM

hailed a 2007 production by The State Ballet of Theatre of Russia as “full of enchantment” with “lovely scenery” and “graceful costumes.” The company is known for exquisite attention to detail in both costuming and ensemble dances. As Susan Fulks commented in The Daily News, “When pantomime, acting and dancing are executed with intent and musical integrity… the result is positively mesmerizing.” Prokofiev’s version of the ballet originally had a happy ending and was considered “undanceable.” The tragic ending was restored in 1940 when the piece was choreographed by Leonid Lavrovsky . Numerous productions over the years have established Romeo and Juliet as one of the most significant ballet pieces because of the possibilities for expression of beauty and grace, as well as tension and conflict. Because their respective families hold the young lovers apart, the ballet draws the action of the choreography towards its necessarily tragic end. Although we know the fate of Romeo and Juliet at the outset, this production’s dancers make us hope that somehow they will find a way to simply be together. And if their performance is great, it is because our hope aligns with the dancers’ love, if not with their destiny. Going to see a performance of Romeo and Juliet suggests that we will witness great love and great tragedy. Andrea Goddard of the Northhampton Chronicle comments that the production was “enchanting from start to finish, the State Ballet Theatre of Russia managed to bring a tear to my

Romeo and Juliet (1.5.52-3)

Romeo and Juliet (5.3.321-2)

hakespeare’s famous play about a pair of star-crossed lovers

from Verona has resonated throughout history as an archetypal example of beauty and tragedy. Retold in countless forms and productions, Romeo and Juliet has depicted the violence that occurs when political allegiances force young lovers apart. In 1935, Sergei Prokofiev brought a new element to the considerable history of this fabled play. His score for a ballet emphasized a layer of the play that had not been explored, the tension of age. His music draws out the conflict between the flexibility of youth and the static intransigence of age. Although this ballet and score was originally banned by Stalin, the music and choreography have become one of the most lauded ballets in the history of dance. The State Ballet Theatre of Russia’s production of Romeo and Juliet, which has new choreography by Mikhail Lavrovsky, a former principal dancer of the Bolshoi Ballet and now a leading Russian choreographer for the Bolshoi and other companies, bears the heart and soul of this emotionally demanding piece. From the powerful dancing of fight scenes, to the joy of folk dancing, to the mystery of masquerades, to the drama of love, these Russian ballet artists bring iconic scenes to life on stage with strength, grace, and beauty. The State Theatre Ballet of Russia was founded in 1961 in the city of Voronezh. The company has toured extensively throughout the world and received glowing reviews for its performances. The New York Times

Romeo & Juliet February 7 & 8 at 8PM on the Main Stage

Did my heart love till now? Forswear it, sight! For I ne er saw true beauty till this night.’

S eye.” Under the joint directorship of Igor Nepomnyaschchiy and Lyudmila Sycheva, The State Ballet Theatre of Russia will present a lyrical, graceful, and evocative version of Romeo and Juliet. With 54 dancers in the company, we can expect tremendous group scenes, as well as virtuosic performances by the principal dancers. By bringing the fight between Tybalt and Mercutio, the Dance of the Knights, the young lovers’ moments of abandon, and the tragic funeral of Juliet to life, this production takes an ancient story and gives us a fully realized drama expressed in the beautiful and lyrical language of ballet. Love and violence are counterpoised in the dramatic tension of Romeo and Juliet. Youth and age express the conflict between generations within Prokofiev’s beautiful score. The grace, strength, and beauty of the dancers in the company will animate the attraction that drives Romeo and Juliet together and the conflict that drives them apart. On February 7th and 8th, there will be balconies and battles, kisses and curses, love and loss as The State Ballet Theatre of Russia’s gifted set of performers bring the tragic story of Romeo and Juliet to life onstage at the Rose Theatre.

For never was a story of more woeThan this of Juliet

and her Romeo.


“That, on the other hand, was juxtaposed with just how incredibly focused Manny was. When he was singing, his focus – even with 200 people in the room – he was listening and hanging onto everything I was saying. He had the focus of the champion. “The last time I’d seen that kind of focus was with Céline Dion, when I was coaching her, but obviously you see that focus when Manny’s fighting.” Hill’s involvement with celebrated Canadian songbird Dion happened in 1996 near the peak of her recording career: he contributed the song “Seduces Me” to her 30-million-selling album Falling Into You and also co-produced the track, earning him a Grammy to add to his mantle of five Juno Awards when the project was named Album Of The Year. Other hits that Hill has co-authored over nearly 40 years and 14 albums include “In Your Eyes,” a Top 30 U.S. hit for George Benson and Jeffrey Osborne, as well as Hill’s own duet version with Rique Franks; “I Do (Cherish You),” a Top 10 pop hit for 98 Degrees and a #2 country smash for Mark Wills; “She’s In Love,” another Top 10 hit for Wills; and “Maybe Not Tonight”, a country music duet between former spouses Sammy Kershaw and Lorrie Morgan.

And that’s in addition to his own stack of hits, including 1975’s “You Make Me Want To Be (A Father),” “Hold On,” “All I See Is Your Face,” “Can’t We Try”, “Never Thought That I Could Love” and “Carmelita” among them. Hill is also branching out to other avenues, writing articles for such prominent outlets as Maclean’s and The Globe And Mail, and in 2009 he published his first memoir - I Am My Father’s Son - via Harper Collins. Strangely, as a result of his literary ventures, Hill has found interest rekindled in another area of his life he had curtailed to pursue full-time life as a songwriter. “Because of the interest the book generated, there’s a lot more interest in me as a performer, where I had gone 15 years without performing,” notes Hill, who will be performing in Manila next month. “So in a way I’m trying to go back to the Dan before I was writing hits for other artists, trying to get back to that personal part of me, that got me started as a performer, because I find that sometimes that’s what my audience really likes the most.” Hill, who says he’ll probably write a book about his recent cancer battle, says he only has one goal. “I just want to continue to lead a creative life,” he says. “My perfect day, other than giving and receiving love within my family, is just jumping back and forth from music to writing prose, and trying to keep a balance therein. “And then when I find my brain gets too cluttered with thoughts, I’ll go out and run 10 miles, just to break up the intensity of my mind.”

ut Hill, 57, has lately developed a more unlikely connection: the world of professional boxing, exclusively due to his involvement with World

Welterweight Boxing Champion Manny Pacquaio. Not surprisingly, that association was borne from “Sometimes When We Touch.” “I just saw Manny sing it by chance on Jimmy Kimmel Live!, and he’d gone public saying it was his favourite song of all time,” recalls Hill from his Toronto home, where he is recovering from prostate cancer. “We had managed to contact each other. And from there we made a video documentary together (as well as a Hewlett Packard commercial), where I was basically coaching him and singing harmony.” Hill says his evergreen classic that has “been covered so many times I can’t even keep track anymore” has always been popular with pro boxers, probably due to the couplet “I’m just another writer/Still trapped with my truth/A hesitant prize

by Nick Krewen

ON THE MAIN STAGE FEBRUARY 9 AT 8PM

B fighter/Still trapped within my youth.” “Joe Frazier, for example, used to sing the song,” Hill recalls, “But in Manny’s case, it started a whirlwind of activity because the boxing world found this quite intriguing, that the toughest boxer in the world would be singing such a sensitive song.” Hill, who calls Pacquaio “a gentle and sweet guy,” says that although he was exposed to a much different world, there were similarities between the music and boxing scenes. “What I found interesting was how much it reminded me of rock ‘n roll, except even more extreme, as to how big the entourages were, how lavish the lifestyles were,” he explains. “When I was coaching Manny through the vocal of ‘Sometimes When We Touch’ at the Capitol Recording Studios in Hollywood, he’d literally have an entourage of 200 people inside the recording studio with him. They’d be everyone from his nephew to his real estate agent to his lawyer to his accountant, and I would have to tell them to hush when we were recording.

Hearing the name “Dan Hill” conjures up many things: singer, songwriter, performer, recording artist, author, activist and inevitably, a connection to his most famous hit, the global phenom known as

My perfect day, other than givingand receiving love within my family, is just jumping

back and forth from music to writing prose, and trying to keep a balance therein.

DAN HILLSTILL PUNCHING OUT THE

“Sometimes When We Touch”

HITS

Dan Hill February 9 at 8PM on the Main Stage

“

“



A ROMANTIC DOT COMEDYiLove,

uLove,

we all Love

The Second City

Ahhh...love. It’s invigorating, right? Tender moments and wistful gazes. It’s all rainbows and lollipops. Hello? Reality check, anyone? Sure, love is grand and all that— but let’s not forget those clumsy first dates and ridiculous lovers’ quarrels. Those are the things that make love real— or, as The Second City stages it, hilarious. The legendary comedy theatre group brings us a show tagged as a “Romantic Dot Comedy” that explores the funnier side of love in the age of social media and they’ve cleverly called it iLove. Taking elements of some of the best skits from past Second City shows, iLove follows two different couples on their journey to love— finding it and keeping it. Mix that with some hysterical social networking references (think Facebook, Plenty of Fish and eHarmony)— and you’ve got a live romantic comedy for the ages. “It’s four different people and their take on the ins and outs of dating— awkward first dates, meeting the parents, things like that,” says Allison Price, one of the four performers in the touring show that stops at Rose Theatre February 10th. “It’s a collection of our most romantic scenes— romantic situations with a comedic point of view.” It’s sketch comedy, explains Price, so those unfamiliar with The Second City

could look to Saturday Night Live or Mad TV for an example of what to expect. What sets this show apart, however, is that all the scenes follow the same theme— love. In addition, the live performance allows for the actors to include improv components into the show, so at points the audience might be asked to help by providing suggestions, or even by volunteering on stage. By breaking down that fourth wall, patrons are able to connect more to the sketches. And if you’ve seen components of the show before from previous Second City productions, it’s a slightly different experience— although equally hysterical— every time. Price says the best thing about a show based on the theme of love is that everyone can relate. “We laugh not only because it’s funny but because we see ourselves in these characters,” she says. Coming from the Chicago stage, iLove enjoyed overwhelming laughs and decided to hit the road on a North American tour. Luckily for Brampton, iLove’s Friday night date with the Rose theatre aligns closely with the most romantic day of the year— Valentine’s Day. “It’s definitely a date night, but it’s also a great show for a group of girlfriends. It has appeal to young couples, single people, people married for 30 years— it’s a great show,” says Price, who has been with The Second City in varying capacities since 2009. A Ryerson Theatre School grad, Price was enlisted as part of The Second City crew over two years ago and has been involved with the education company (developing shows for younger audience) as well as the National Touring Company.The end of the show will likely wrap up with an improv set— a popular component of The Second City shows that are largely driven by the audience. And patrons will be treated to a special video appearance by Second City alum Fred Willard (This is Spinal Tap, Best in Show, Everyone Loves Raymond), along with the show’s stars Craig Brown, Stacey McGunnigle, Price and Sean Taberes. People leaving the show are going to be engaged with what they saw, and will be talking— and laughing— about it long after they leave, says Price. Creators of the smash-hit touring show Sex and the Second City are also behind this one. And, this is why the comedy theatre group has been around for 50 years— it knows the anatomy of comedy and finds the funny bone every time. “Laughter is the way to the heart,” she muses. “It’s a very funny show. It’s a show with a lot of heart.”

iLOVE February 10 at 8PM on the Main Stage

by Ashley Goodfellow

18 19rosetheatre.caBOX OFFICE: 905.874.2800odeum

ON THE MAIN STAGE FEBRUARY 15-19

FEBruary 2012

his fun, whimsical musical, is based in the 1930’s, and is the fifth

adaptation of the play Parfumerie by Hungarian playwright Milkos Laszario. Producer Rob Woodcock describes She Loves Me, as “a traditional ‘30s musical”, saying, “ this show is all the glitz and glamour of what made Broadway famous”. Laszlo was a naturalized American citizen born in Budapest, Hungary. He is best remembered for his play Illatszertar (better known as Parfumerie) which was adapted as the storyline for three major movies. The first was Shop Around the Corner, released in 1940 starring James Stewart, followed by In the Good Old Summertime in 1949, this rendition was written as a semi-musical showcase for Judy Garland, also starring Van Johnson and S.Z. Sakall. The most recent film adaptation and possibly the most recognizable to the modern audience

T

would be the 1988 Hollywood production with Tom Hanks and Meg Ryan starring in You’ve Got Mail. The stage version, premiered on Broadway in 1963, as a full Broadway musical with book by Joe Masteroff, who is most famous for his work on Cabaret, and music by Sheldon Harnick and Jerry Bock who worked together on such memorable pieces as Fiddler on the Roof and The Apple Tree. She Loves Me opened on Broadway at the Eugene O’Neill Theatre, where it ran for 302 performances, featuring Gary Raymond, Rita Moreno, Anne Rogers and Gary Miller, but was later moved to the Lyric Theatre. In 1964, Jack Cassidy was nominated and won the Tony Award for Best Featured Actor in a Musical for his portrayal of Stephen Kodaly, one of the shop’s salesmen. The story follows Amalia and Georg, two rival sales clerks in the European parfumerie during the 1930s. These characters often find themselves at odds with one another at work, but they secretly find solace in their respective anonymous romantic pen pals. As the musical unfolds with songs like “Good Morning, Good Day”, and “Three Letters” we learn that although their working relationship may be confrontational, their affliction to their pen pal grows too until they come to the realization that they have been unknowingly corresponding with one another.

Anne Allan has been brought on to join the Rose Theatre Production team as Director for this light hearted musical. Allan has previously worked as Artistic Director for The Charlottetown Festival, and has worked with Livent as Senior Resident Director for their Toronto production of Phantom of the Opera. In her capacity as Director and/or Choreographer, she has also worked with Drayton Entertainment, Theatre Aquarius, Stage West (Toronto, Mississauga and Calgary). Ms. Allan’s resume includes work for the Randolph School of the Arts as well as the London City Ballet, as Ballet Mistress. During that time, she was also the private teacher to “Her Royal Highness” The Princess of Wales. Allan, who lives in Toronto, said she, “leapt at the opportunity” to direct at the Rose Theatre, pointing out what a wonderful facility The Rose is, noting that she is looking forward to working in a theatre that has such great support from the city. The show’s producer, Rob Woodcock says that when his team found out that Ms. Allan was available, it was, “an opportunity we couldn’t pass up”, and they actively sought her out to direct this show. Audiences will also experience a slightly different flavor in this Rose Theatre Productions show, as all set design and construction have been outsourced to Production Canada, who have worked previously with the Rose on other demanding sets. Casting for She Loves Me was completed in mid January, and will not only bring us some familiar RTP names, including Laura Caswell, Jay Davis and Sweeney MacArthur, but will also introduce our audience to Jayme Armstrong who will play the part of Amalia. Woodcock describes Armstrong as, “an amazing talent” noting we are “very fortunate”, to have signed her for this production, and he is looking forward to watching her future career soar following her third place finish, in the CBC Television competition, How Do You Solve A Problem Like Maria?

She Loves Me February 15-19 on the Main Stage

February is the month of love, and we are sure

you are going to love,

She Loves Me!by Catherine Cubitt Sweeney MacArthur and Laura Caswell

ham it up for the camera.

The story follows Amalia and Georg, two rival sales clerks in the European parfumerie

during the 1930s. These characters often find themselves

at odds with one another at work, but they secretly find solace in their respective

anonymous romantic pen pals.


Hope You Brought Extra Pants

PETEZEDLACHER

by Nicole Rubacha

IN STUDIO TWO FEBRUARY 16 AT 8PM

What do you get when you take a guy from a small town, put him through a New York

theatre program and give him a microphone on stage?

You get Pete Zedlacher. I got the chance to sit down

with the comedian to talk about comedy and why he

loves what he does.

Pete was born in Wawa, Ontario and when it came to deciding what to do after high school he had two paths; aerospace engineering at the University of Toronto or performing at the American Musical and Dramatic Academy. How long did it take him to decide? “I had to think about it for maybe 2 seconds. New York City is a lot more fun than an engineering lab. No offense to the engineers reading this.” I can’t help but imagine an alternative universe where there might be a Zedlacher engineer, like a character from the television show The Big Bang Theory. I digress. That theatre won over engineering might seem like an easy call, but then again most people’s greatest fear is speaking in front of others. So what is it about being on stage that Zedlacher enjoys so much? He declares “Stand up comedy is the purest form of art. The artist presents the work and the audience will immediately react… In every other form of entertainment, there are people between the art and the reaction – whether they’re producers, directors, curators, caterers – they all add their thumb to the pie. Well, maybe not caterers.” Zedlacher isn’t just a comedian, when asked if he could only do one thing for the rest of his life he asserted “That would be the worst, having to do just one thing for the rest of your life. Gross. I love my career; I’m an actor, I’ve been a director, producer, writer, standup comedian. I got into this to be creative; I feel a real need to always be creating.” Performing in front of an audience all alone isn’t easy, especially making sure that you are also being entertaining. When I asked Zedlacher about his approach for stand up and acting, he replied “Stand ups and actors are both sponges of society. Maybe sponge is the wrong word – we soak up the world around us so we can reflect it back to the audience. Mirrors would be a better word, forget sponges. Actors

find mannerisms, gestures, emotions in the people around them to add to their characters. Stand ups do the same along with the scenarios to perform that piece. Standup and acting is character driven…When I hit the stage it’s an amplified version of myself. Literally. Most stand ups you meet in real life aren’t the guys you see on stage. Off stage I’m a lot more reserved, taking in the world so I can bring that to my next show. “ Entertaining and performing must present some interesting reactions both good and bad. Zedlacher states “a transsexual once threw chicken wing bones at me on stage… A guy came up onstage to give me a hug in Calgary. A girl in the front row flashed her boobs during my encore in Edmonton. But the strangest was having to leave the stage in Kandahar because the Taliban fired a rocket at the camp. We went into the bunker and waited for the ‘all clear”… I came back onstage and said “The Taliban’s fireworks show can’t stop me from entertaining the Canadian soldiers,” to a standing ovation. That was my favorite moment in comedy ever.” Pete Zedlacher was the first

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comedian to perform for the troops in Afghanistan; he didn’t find that out until he got there. He gets serious for a moment affirming “I was there for the troops. To give those guys a break from the war and make them laugh. It’s one of the few times I felt like what I did really made a difference.” Over the 13 years that Zedlacher has been performing, there are some things that he has learnt about the audience, bombing a show and what to do in those situations “In standup if you bomb, you dust yourself off and try again. Learn from your mistakes. Failure is part of the process. In standup, you learn by making mistakes. That doesn’t work for auto racing.” As is the case with most things you only get better when you try, whether it’s coming back from a bad set or trying out some new material. Zedlacher reflects on advice he received from fellow comedian Brent Butt, “always be trying something new every time you hit the stage. It’s really easy for stand ups to become lazy and not write new material. They go up on stage, mentally press ‘play’ and walk through the show on autopilot.”

With each show there is a different relationship and energy with the audience, I asked if the set changes sometimes to reflect this and how Zedlacher handles it, he expressed “Comedy is a two way street between the comic and the audience. If I’m hitting roadblocks, I’ll take the back alleys. If the back alleys are clogged, I’ll crawl through the sewer. Sometimes you’re a bullet train and sometimes you’re a monster truck. But I prefer to fly, with a business class upgrade.” Pet explains what you should anticipate from his show. “I’m not there to offend or change someone’s world view, I’m there to entertain. What I want to do as a comedian is to leave the audience breathless after a performance. My favorite compliment to hear after a show is ‘I almost peed my pants.’ My goal is to actually make someone pee their pants.” When you go see Zedlacher perform you can expect two things; for him to bring the funny and for you the need for an extra pair of pants.

Pete Zedlacher February 16 at 8PM in Studio Two


anada’s Ukrainian Shumka Dancers from Edmonton are

bringing unbridled energy, enthusiasm, and entertainment to the Rose Theatre in their Shumka at 50 performance on February 22nd, 2012. The artistic director of Shumka, Dave Ganert, told me how this performance explores the “dictionary of the Ukrainian dance lexicon,” while also drawing on contemporary dance, ballet, and drama. From dances of joy to dances of sadness, this show explores folk tales, the cycle of life, fate, love, and the search for truth, but, as Ganert made clear, “first and foremost, it is definitely a family show.”

C


50th AnniversaryHopak

The

Ukrainians began immigrating to Canada in the 1890s and settled near Edmonton. Over the next 20 years, 170,000 Ukrainians came to work, live, and farm, primarily across the prairies. The history of Shumka dancing hearkens back to the church basements that were home to both weddings and community events where early Ukrainian Canadian families would celebrate, play music, and dance into the evening. The dancing would remind those present of Ukrainian traditions, the family still abroad, and their mother country. As Ganert told me, “In 1959, Shumka became an institution and a dance company that wanted to take some of the dancing and traditions and put them on the stage.” For Ganert, it is very important to “tell the stories of Canadian Ukrainians on a national and international stage.” Shumka uses the dance aesthetic and traditions of Ukrainian folk dancing to tell both traditional and contemporary stories. This aesthetic includes brilliantly coloured costumes, whirling acrobatic movements, breathtaking feats of strength, speed, and agility, as well as a razor sharp sense of timing. Shumka tells stories from Ukrainian tradition and folklore to maintain its roots, while the company also commissions new pieces of music and choreography to ensure that, as Ganert says, “we express the aesthetics of the society that we live in.” Shumka at 50 will astound you in terms of what is possible for the human body in physics, but it will also draw you into the depths of its narratives and its expression of the human desire for understanding and truth. The opening piece, Harvest Angels, explores the four distinct regions of Ukraine. This dance shows how the regional harvest dances are about much more than just harvesting wheat; they are rather about harvesting the pride and passion of the Ukrainian people. The next piece, Pathways to Hopak, is a whirling dervish of dance that closes the first act. A hopak is the Cossack dance that celebrates winning a battle. Ordinarily, an all-male dance, it involves acrobatic agility, feats of strength, quickness, flexibility, twirling, jumping, and spinning. Ganert points out that Pathways to Hopak, “is an emotional journey that guides the audience through life’s universal cycles.” By placing birth, youthful exuberance, the quest for love, the tragedy of conflict, and the desire to wash away battle wounds onstage, this hopak explores what it means to have lived a life worth living. The Cobbler’s Gift is a whimsical and comedic exploration of what happens when a couple of cobblers promise boots to some delightful and comely young ladies. As they aspire to have their boots live up to expectation, these boot makers can’t quite seem make them fit. The Eve of Kupalo which follows is a “Ukrainian version of A Midsummer Night’s Dream” containing a lot of symbolism and tradition. Based partially on old pagan rituals, the dance explores notions of love, fate, relationship, and the search for truth on a summer evening near solstice when creatures and phantasms come to life and young ladies search for romance. Shumka at 50 closes with Ganert’s especially choreographed 50th Anniversary Hopak. This dramatic finale is a “hyper-visual” feast of explosive dancing, which expands the vocabulary of the hopak by making it distinctively Canadian. Ganert said that although we often see “the virtuosity of the males with

their incredible athletics” in a hopak, it was important to him “to feature the women.” By opening the horizon of the hopak, Ganert has accomplished an important function for this 50th anniversary performance because this hopak reflects traditional Ukrainian dancing, the current state of Shumka, and where Ukrainian Canadian dancing is headed. After 21 years with the company, Ganert knows how Shumka “creates new ways of telling older stories and genres by trying to find the heart and root of the joys and pains of today.” Shumka at 50 is a spectacle that you do not want to miss because of how it connects with tradition and explores folklore, presents mind-boggling movement, and offers a unique vision of harmony and creativity based in Ukrainian-Canadian folk dance.

Shumka at 50 February 22 at 8PM on the Main Stage

by Jon Eben Field



he Chicago-based troupe has been inventing plays on the spot in the style of the Bard since

2005. The audience suggests a title and the group, three of whom will be performing in Brampton, improvises a brand new Shakespearean classic right before your eyes. “We were improv nerds before we were Shakespeare nerds,” says Joey Bland, who’ll be coming up to Brampton with two fellow troupe members to perform. “But ‘nerds’ is definitely accurate.” There is a common improv exercise or game in which the performers, mid-scene, are given an instruction to continue the scene in a certain style. “Film noir,” for example, or “melodrama,” or “Shakespearian.” The Improvised Shakespeare Company was born out of the success of the latter exercise. “Blaine Swen, (the creator and director of the company) had the idea of maintaining the Shakespeare challenge for longer and

T

longer,” says Bland. Eventually, they worked up to creating an entire Shakespearian-style play on the spot, and they now perform every Friday night in Chicago, as well as tour extensively. There are currently about 15 troupe members, and they take turns performing in town and out. As is typical for the life of a performer, they’ve all got multiple pans in the fire (other improv and sketch comedy troupes, burgeoning film and theatre careers), but for Bland, at least right now, this is his primary gig. “It requires constant maintenance,” he says. “Like a muscle you keep working.” To ensure that the troupe’s take on Shakespeare doesn’t completely horrify English professors, they spend a lot of time steeping themselves in his style. “We read and watch plays together,” says Bland. “And we get a lot of guidance from a university professor.” In addition to throwing around a plethora of “thees” and “thous”, Bland says that one of the troupe’s guiding principles is to “use as many words as possible.” Bland swears that every show comes out of the audience’s suggestion, with no preconceived agenda. “We never start with a specific structure, but we often fall into the structure of one of Shakespeare’s plays,” he says. Part of the joy in playing with Shakespeare is in gently satirizing the tropes and stock characters found in his plays: ingénues, witches, kings, fools, not to mention miscommunications between lovers, and women disguised as men, to name only of a couple of familiar plot devices. Bland and his fellow performers are so familiar with each other that they almost immediately recognize what their stage partners are doing just from the turn of a wrist or toss of a chin. Audiences never fail to be impressed by the “magic trick of improv” done well, but (as with most things that seem like magic) it’s really just the result of lots of work and practice. Bland likes the flexibility within the Shakesperian frame: the show can easily be adapted for young audiences, but when it’s adults-only, the performers delight in getting “super low-brow,” says Bland. Ultimately, though, the troupe means no disrespect to the Bard: “It’s an homage as much as it is parody.”

R7

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The Improvised Shakespeare Company February 23 at 8PM in Studio Two

If you’re watchingthe Improvised Shakespeare Company,

appearing in the Rose Studio Theatreon February 23,

the answer is definitely yes.

Is thisa made-up playI see before me?

by Alison Broverman “

“To ensure that the

troupe’s take on

Shakespeare doesn’t

completely horrify

English professors,

they spend a lot of time

steeping themselves in

his style.


FEATURE ARTICLE BALLET TODAY AND CONTEMPORARY DANCE TOMORROWON THE MAIN STAGE FEBRUARY 23 AT 8PM

The Rhythm’s in the Dancing

by Harry Currie

Rhythm of the Dance February 23 at 8PM on the Main Stage

The Rhythm of the Dance is coming to the Rose Theatre on February 23, 2012, at 8 pm. The Riverdance phenomenon became a double-edged sword for traditional Irish dancing. It introduced the dance genre to global audiences and generated massive interest in a particular cultural dance form, but it also set the bar very high for any future Irish-themed productions. It has spawned countless offshoots and derivative Irish dance shows of various qualities, many of which have toured throughout the world, and none have come close to replicating Riverdance’s technical precision and dynamism. Until now, that is. Direct from The National Dance Company of Ireland, and heralding a new era in Irish entertainment, The Rhythm of the Dance, a two-hour dance and music extravaganza, contains a wealth of talent, including a live band, three, yes three, Irish tenors, and 22 dancers. The show is an inspiring epic, reliving the journey of the Irish Celts throughout history. This richly costumed show combines traditional dance and music with the most up-to-date stage technology. It is a thousand year old story executed with all the advantages of the modern day stage. Rhythm of the Dance will take you on an epic journey through the ages, from ancient mythology to the travels of the Irish emigrants, from the rolling hills and stonewalls of Connemara all the way to the modern skyscrapers of New York, with lots of surprises along the way. These travels cover the inspiration of the French Revolution, to the songs of the Irish Music Halls, touching the differences between Ireland’s North and South, the original “old style” of Irish dancing, to the Hill of Tara, which was the former seat of the High King of Ireland, the cacophony of Irish festivals, the potato famine and the American influence, Irish reels, the beat of the Bodhrán (the Irish drum), Danny Boy accompanied on the harp, the Irish émigrés and swing music, and the final time

travel traverses the trials and tribulations of Ireland’s historic times at full tilt, the varying tempos, formations and rhythms leading to a climactic finish, resonating with the abundant spirit and energy of its people. A review in the West Australian newspaper stated: “Wintry winds on opening night might have blown in from the Irish Sea, yet it was Gaels of a different kind who swept all before them in a dazzle of light, sound and action. Rhythm is at the heart of this pastiche of Celtic culture, compelling even the stiffest limbs to jog and tap in pale imitation of the frenetic stepping on stage. Irish dance makes scant use of the arms, so the creators have thrown in slick choreography and a virtuoso band of musicians to match the dancers.” And from the Munster Express: “The show has a tidy, touristy set, with back projections, a live band and backing tracks, with about twenty attractive young performers; a frontline of about a dozen beautiful girl dancers and at least six handsome males, with three hot tenors who do the Irish stuff with dash. The young musicians are talented, sharp, and they keep the pace driving all the time. Add to this a glamorous, gorgeous and graceful lead girl dancer who has blonde hair in ringlets, a star male dancer who has blonde highlights and gelled-up hair, and you have an exciting and entertaining show. The many quality costume changes create a wonderful impression, and a dancing fiddler with green eye shadow gives the show a sassy sparkle. The routines are tuneful and foot-tapping, the smiles and enthusiasm are infectious, and a dancing bodhrán sequence was sexy and classy.” This live-action spectacle of music, dancing, song, and special effects has sold more than three million tickets worldwide. The blend of contemporary aesthetics with ages-old Irish rhythms is an effective one that will get your feet tapping. If you are looking for a dazzling family night out, this one will more than fit the bill.

Seen Riverdance?Enjoyed it? Well, you ain’t seen nothin’ yet!



PeterAppleyard

’ve known Peter Appleyard, one of the world’s leading jazz vibraphonists,

for about 30 years, mainly from concerts and shows we’ve worked on together. When I YouTubed him, the first video that came up was of Peter playing with Rob Habermehl on sax, Keith Murch on guitar, Drew Waters on drums and – Surprise! There I was introducing them! That was 1997 and I was hosting a television show called daytime. It was great to hear and see it again - but I’ve got to say, I’m more than a little embarrassed at my outfit! Born in Lincolnshire, England, a natural sense of rhythm blossomed to make him a drummer, and the influx of

I

American big band music convinced him that this was his kind of music. Boys Brigade bands, Royal Air Force bands, then UK dance bands led to a move to Bermuda in 1949. “I spent my holidays in Canada, and then I realized what I really wanted to play,” Peter said. “I had been most impressed with Benny Goodman’s quartet and sextet recordings, and I realized that the sound that attracted me was Lionel Hampton’s vibraphone. On a trip to Canada I bought my first set of vibes. I was on my way.” But the way wasn’t easy. Unable to get a union card in Toronto after moving from Bermuda, Peter worked at several odd jobs and began studying music with Gordon Delamont. The doors opened eventually, and he began playing the vibraphone in concerts with Billy O’Connor in the early 1950s. “From 1954 to 1956 I played with a band at the Park Plaza Hotel and made a lot of appearances on CBC Radio with jazz pianist Calvin Jackson,” Peter recalled “I formed my own jazz ensemble in 1957. We played not only in Toronto but also toured North America and appeared on US television during the 1960s.”

There are a lot of good musicians in the world, and a handful of really great ones. I asked Peter what makes a great jazz musician. “Practice, practice, practice,” laughed Peter, “and the desire to improvise, plus knowing the chord sequences of the great American songbook. But just being able to play all the chords and scales isn’t enough. When you improvise you’ve got to create melodic lines, unlike so many young players who can only dazzle with chords and scales. That’s not jazz.” Peter Appleyard realized a great ambition when he played with the Benny Goodman Sextet for 8 years. How it came about is a rarely told story. “One evening in 1956 when I was playing at The Embers in New York, a middle of the road jazz club, Benny came in, all alone, to listen. I went down to him and said ‘Good evening, I hope you’re enjoying the music. He just mumbled something like ‘It’s alright” and that was it. “Move ahead to 1972. A couple of us went to hear him play a concert at the TV studio on Yonge Street. My friend asked me if I knew him, and I said no, not really, he wouldn’t remember me. My friend

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was a music critic for the Globe and Mail, and suggested we go backstage to see if he could get a quote from Benny for his column. We went backstage, and there he was sitting in his dressing room with the door open, drinking a shot of whiskey. “He looked up, looked right at me, and said, ‘Peter, how are you?’ I replied, ‘Fine, Benny, how are you?’ ‘Fine,’ he said. What are you doing up here?’ ‘I live here,’ I replied. ‘I’m doing studio work and I have a band in the hotel down the street. What are you doing?’ ‘Oh,’ said Benny, ‘We’re going into The Rainbow Room in October.’ I said ‘Are you using vibes?’ He replied, ‘No – would you like to come?’ I said ‘For you, I’d come for union scale.’ ‘Perfect,’ he replied. And that’s how it started.” In 1992, Peter became an Officer of the Order of Canada and was recently honoured with a Doctor of Letters degree from the University of Guelph.

Peter Appleyard February 24 at 8PM in Studio Two

by Gabriella Currie


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Documents

Presented by the State Ballet Theatre of Russia SHUMKA She ... · She Loves Me at Romeo & Juliet Virtuoso Dancing Framed by Spectacular Costumes and Backdrops ... Try to unwrap candies