at The Gladstone February 10 – 26

presented by season sponsor Preston Street BIAproduced by Plosive Productions

with Gladstone Productionsand SevenThirty Productions

directed by David Whiteley

Director’s note

“Never speak disrespectfully of Society, Algernon. Only people who can’t get into it do that.” —Lady Bracknell

“Oh, flowers are as common here, Miss Fairfax, as people are in London Calcutta.” —Cecily Cardew

While I’ve been working on The Importance of Being Earnest, I’ve been thinking a lot about the importance of being part of a group of people. But what group? “Society” or “community”?

On the surface, the two words don’t seem that far apart: both refer to people living together, united. “Society” shares roots with “associate” and “social”, and its Latin origin means “companion”, while “community” shares roots with “common” and has a Latin root meaning “fellowship”.

Early in the 19th century, however, “society” picked up the meaning “fashionable people”. While “society” formed an exclusive club and carried a positive connotation for the likes of Lady Bracknell, Wilde himself shows a cynical suspicion of its snobbish exclusivity. I’m put in mind of another legendary wit, Groucho Marx,who famously said: “I don’t care to belong to any club that would have me as a member.”

Meanwhile, just as “society” was coming to refer to that privileged few to which everyone wanted to belong but few could, the inclusive term “common” was being wielded as a stinging insult.

Today, in Canada, we like to think we’ve evolved beyond the class system of our colonial roots. Belonging to “good society” is the fetish of a ridiculous, far-away leisure class. “Community” with its inclusive overtones, on the other hand, is so popular that the only objection to it is that we hear it too often: whatever the community, it’s a group that will have us as a member, and we very much care to belong to it.

In this age where “status” is something you have on Facebook and “interactivity” is a selling feature of electronic gizmos, I think we all have a yearning for a basic human experiences beyond texting, tweeting and video chat roulette—like the experience of being in the same room as other living, breathing people, and sharing a common experience together.

Well, who is Plosive Productions to argue with Society? Like everyone else, we want to make “community” our fetish. At this, our inaugural production, we invite you to become part of our community. Let’s sit in a room together and laugh at the snobbish characters of Wilde’s Earnest—characters too caught up in “society” to have any sense of the callous cruelty they blindly inflict on the “common” people of their community, whether Londoners, Calcuttans or Canadians. And as we welcome you into our community, we ask you to let us into yours: whether the theatre community, the Preston Street business community, the Indo-Canadian community or the Ottawa community at large, we want to be in the room with you, and share real, human experiences. Maybe we’ll find we have more in common than we think.

David Whiteley Director, and Co-Artistic Director of Plosive Productions

The Importance of Being Earnest

by Oscar Wildepresented by Preston Street BIA, season sponsor of Plosive Productions

produced by Plosive Productions with Gladstone Productions and SevenThirty Productions

Setting

India under the British RajAct One ......................................................................... Algernon Moncrief ’s flat on Theatre Street, Calcutta

Acts Two and Three ............................................Jack Worthing’s residence in Kalimpong, Darjeeling

Cast (in order of appearance)

Sean Conforti......................................................................................................................................................................... Lane

Garrett Quirk ......................................................................................................................................Algernon Moncrieff

Stewart Matthews ................................................................................................................................Jack Worthing, J.P.

Kel Parsons ........................................................................................................................................................Lady Bracknell

Katie Bunting ...........................................................................................................................Hon. Gwendolen Fairfax

Henna Kaur Sodhi ................................................................................................................................................Merriman

Teri Loretto-Valentik ........................................................................................................................................Miss Prism

Bronwyn Steinberg .................................................................................................................................... Cecily Cardew

Chris Ralph ..........................................................................................................................Rev. Canon Chasuble, D.D.

Sheldon Heard ............................................................................................................................................................ Musician

The performance runs approximately two hours with one 15-minute intermission

Production Team

David Whiteley ........................................................................................................................................................... DirectorAndrea Roberston .........................................................................................................Set and Costume DesignerJohn Solman .............................................................................................................................................Lighting DesignerRachel-Dawn Wallace .............................................................................................................................Props MistressKuljit Sodhi ....................................................................................................................................................ChoreographerRobert Willson ....................................................................................................................................Make-Up DesignerMarsha Awwad } Sam Awwad } .................................................................................................Co-Production ManagersJames A. Fritz ................................................................................................................................................. Stage ManagerRachel-Dawn Wallace ......................................................................................................Assistant Stage ManagerPhil Genest .............................................................................................................................................Technical DirectorNicolas Alain ...................................................................................................................Assistant Technical DirectorNancy Solman .............................................................................................Scenic Artist and Costume AssistantÅnna Lindgren ......................................................................................................................................Costume AssistantMatt Beaubien, Christine Hecker, Grant Hutchings, Will Lafrance, Tim Oberholzer , William H. Robertson, Patti Vopni, Rachel Worton ........................ Crew

About Plosive Productions

Plosive Productions is:Teri Loretto-Valentik }Kel Parsons } .......................................................................................................... Co-Artistic DirectorsDavid Whiteley }Fiona Currie ...................................................................................................................................................Everything Else

Ottawa’s newest professional theatre company, Plosive was born of a desire to put on plays that audiences really want to see and that we and our fellow artists really want to perform. We will grow Ottawa’s theatre-going audience while creating artistically satisfying work and gainful employment for professional artists, recent grads and students. Our repertoire will include any and all plays that allow us to fulfill this mission. Whether familiar favourites or new discoveries, they will always entertain, thrill and challenge. Simply put? Great theatre.

Special Thanks

First and foremost: you, the audience; also: Wendy Rockburn; Lori Mellor and Preston Street BIA; Seigfried Schleich and Marquardt Printing; Marilisa Granzotto, Steve Martin, Betsy Johnson and The Gladstone; Jayne Christopher and Thousand Island Playhouse; Sharon Kelly and Spectrum Promotional; Glynis Ellens, Peggy Laverty, John Muggleton and Ottawa Little Theatre; Ian Farthing and St. Lawrence Shakespeare Festival; David Byks; Rosalind McCanny; Barb’s Touch of Elegance; Allegro Ristaurante, il Piccolino Ristaurante, il Primo Ristaurnate and Stoneface Dolly’s.

Glossary of the British Raj

For this production of The Importance of Being Earnest, we have moved the action from its original English setting to British India. Calcutta (now Kolkata) stands in for London, and Kalimpong , Darjeeling stands in for Woolton, Hertfordshire. Here’s a glossary of some of the new terms you’ll hear that help establish the new setting.

(British) India (replaces England)– Initially governed by the British East India Company, control of British India was transferred to direct rule by the crown in 1858 following the Indian Rebellion, with Queen Victoria proclaimed Empress of India in 1876. The territory was gradually expanded until it encompassed present-day India, Pakistan, Bangladesh and Burma. British India was finally partitioned and granted independence in 1947. This period of British rule of the region is know as the British Raj.

Calcutta (replaces London)– Located in the Ganges Delta in eastern India, Calcutta served as the capital of British India for most of the duration of British Raj. It had a significant British population in its “White Town”, with government institutions, gentlemen’s clubs, schools, churches and theatres.

The Punjab (replaces Shropshire)– “The Land of Five Waters”, encompassing the territory of the major tributaries of the Indus river, straddling the border of modern-day Pakistan and India.

Tollygunge (repalces Tunbridge Wells) – The market (“gunj”) and adjoining neighbourhood on a canal built by Major William Tolly south of “White Town”, Calcutta. Home of the venerable Tollygunge Club and now the centre of the Bengali film industry, “Tollywood”.

The Grand (replaces The Albany) – A stately Victorian hotel, still operated as The Oberoi Grand, located at the heart of “White Town” in Calcutta.

Chacha’s (replaces Willis’) – Started in 1875 as humble roadside dhaba (simple Indian eatery) for the taxi drivers of North Calcutta, Chacha’s Hotel soon earned fame among aristocrats and theatre personalities.

Baroness of Kandahar and Waterford (replaces Duchess of Bolton) – Nora Henrietta Bews , wife of Frederick Sleigh Roberts. Lord Roberts commanded the British forces in Afghanistan and later served as Commander-in-Chief in India. As it happens, Lord Roberts’ mother was named Isabella Bunbury.

Dalhousie Square (replaces Grosvenor Square) – Adjacent to Fort William, the epicentre of the British presence in Calcutta. Home to iconic Victorian landmarks such as the Post Office and the Writers’ Building.

Middleton Street (replaces Belgrave Square) – A fashionable street in the heart of “White Town”, named after the first Bishop of Calcutta. Near the Bengal Club, the oldest gentleman’s club in Asia.

Howrah Station (replaces Victoria Station) – The first railway station in Calcutta, across the Hooghly River from “White Town”.

The Hooghly Line (replaces The Brighton Line) – In 1854, the East India Railway Company introduced its first passenger service line to Houghly, 23 miles upstream of Calcutta on the Hooghly river.

Kalimpong, Darjeeling (replaces Woolton, Hertfordshire) – Nestled in the foothills of the Himalayas, the British created “hill stations” in Darjeeling District to escape Calcutta’s summer heat. Along with the town of Darjeeling, renowned for its tea, the district encompasses other communities including the trading post of Kalimpong, home to several British merchants as well as the Scottish University Mission and Dr. Graham’s Homes for destitute Anglo-Indian students.

The Sans-Souci (replaces The Empire) – A theatre in Calcutta founded in 1839. In 1848 a “Native Gentleman”, Baishnabcharan Adhya, played Othello there. The Calcutta Star called him “a real unpainted nigger Othello”.

The Statesman (replaces the Morning Post) – Founded in 1811 as The Englishman, and reborn as The Statesman in 1875. The most widely read English daily in West Bengal for most of its history and still published to this day.

Simla, Himachal Pradesh (replaces Dorking , Surrey) – A “hill station” like Darjeeling and Kalimpong, located on the northwest ranges of the Himalayas. In 1864 it was designated as the summer capital of the British Raj.

Park Street (replaces Upper Grosvenor Street) – A major thoroughfare at the heart of “White Town”, now known as Mother Teresa Sarani.

Budge Budge (replaces Bayswater) – An unfashionable suburb of Calcutta, historically centred on the jute industry. Budge Budge has a Canadian connection as the site where the Komagata Maru was allowed to land following its return from Vancouver, after its 376 Punjabi passengers—all British subjects—were prevented from emigrating to Canada.

Bowbazar Tram (replaces Gower Street omnibus) – In 1880, the first functional tram line was introduced to Calcutta, connecting Sealdah train station to Armenian Ghat via Bowbazar Street, Dalhousie Square and Strand Road.

Lansdowne Cantonment (replaces Leamington) – A cantonment (a semi-permanent military quarters) developed for catering for the Recruits Training center of the Garhwal Rifles, near Delhi.

Bios

Nicolas Alain—Assistant Technical DirectorNicolas has been involved with theatre backstage and onstage in the Ottawa area for the better part of the last 18 years. Recent backstage credits include: Stage Manager for Crush Improv’s Anniversary Special (Crush Improv), It’s Just a Stage (Modern Geek Theatre) and Educating Rita (Arts Court Productions), as well as Director/Designer for The Sorting (Youth Infringement Festival). Catch Nicolas’ next directing/designing adventure at The Youth Infringement Festival May 2011.

Marsha Awwad—Production ManagerMarsha is happy to be helping with Plosive’s exciting first production. She is a graduate of the Department of Theatre at the University of Ottawa and holds a Theatre Arts diploma from Algonquin College. By day she can be found teaching Drama and English at Brookfield High School and by night is the Managing Director for Vision Theatre. She wishes Plosive all the best with this and future productions and she hopes you enjoy the show.

Sam Awwad—Production ManagerSam is the Artistic Producer for Vision Theatre. He enjoys all aspects of the theatre and tries to create a balance between working behind the scenes and on stage and does all sorts of “this & that” for Vision. Sam last appeared on stage in 4play: One Acts by David Ives (2008). Other credits include Crazy Eights, Chazz Palminteri’s Faithful, and in the 2003 Ottawa Fringe Festival’s People’s Choice Winner, Never Swim Alone. Selected directing credits include Baby Food, That Other Person, Sure Thing, the Ottawa premiere of Matt & Ben and Love

Letters. He has had a blast working with Plosive Productions on The Importance of Being Earnest.

Katie Bunting—Hon. Gwendolen FairfaxKatie is thrilled to be part of Plosive Productions’ inaugural cast. Having spent the past two years away from the stage pursuing her degree in Education and beginning her teaching career, Katie is looking forward to a year full of theatre. Last seen in Third Wall Theatre’s award-winning production of The Empire Builders, she is currently a member of Third Wall’s resident company and will appear in their production of Exit the King in June. This coming April she will be playing Ophelia in the Ottawa Shakespeare Company’s production of Hamlet. Some of her favourite acting credits include The Devil and the

Pilgrim and Making Deals with Gods (Scheherazade Theatre), Laura (Arbour Theatre Co.), Alls Well That Ends Well (Salamander Theatre), Jabberwocky, Fireface and The Women (Ottawa University Drama Guild). Katie is currently completing her Hatha yoga teacher training at Upward Dog Yoga Centre.

Sean Conforti—LaneSean Conforti made his theatrical debut last autumn here at the Gladstone in David Hersh’s I as a member of the acclaimed 40-man (give or take) chorus. He has trained in improvisation with Second City Toronto, and is in the final year of his bachelor’s degree in Carleton’s College of the Humanities. However, pursuing an arts degree has left him essentially unemployable, so he is concurrently pursuing a certificate in Sustainable Local Food Systems at St. Lawrence College while also trying theatre on for size. It seems to fit well—surprisingly, since properly fitted attire is often hard to find for a man of his small stature…

FionaCurrie—Sound DesignerFiona has been working behind the scenes in Ottawa theatre for more than a decade, working with such companies as mutatis mutandis, Third Wall Theatre and Vision Theatre and others. She has a special passion for sound design, but has also stage managed, designed props, built sets and costumes and has even created prosthetic bums and boobs! By day, Fiona is a Broadcast and New Media Specialist at Parks Canada. She is thrilled to be a part of Plosive Productions and its inaugural production at The Gladstone.

James A. Fritz—Stage ManagerJames is excited to be part of Plosive’s inaugural production. He has worked with several of Ottawa’s professional and educational organizations, most recently as Stage Manager for Pulse Theatre’s I, The Gladstone’s productions of Shirley Valentine, The Final Twist, Farndale Christmas Carol and Italian American Reconciliation, and as Production Manager with The Ottawa School of Speech & Drama. He has worked as Stage and Production Manager with Third Wall Theatre, and as Stage Manager with New Theatre of Ottawa, for which he was a 2008 Rideau

Award nominee. James has also worked as scenic carpenter for the Algonquin College Theatre Arts program and for SevenThirty Productions.

Phil Genest—Technical DirectorThis is Phil’s first time working with Plosive Productions, but he is no stranger to Teri, David and Kel! Working in both French and English theatre, he has also been the Technical Director at Compagnie Vox Theatre since 2006, and has been touring shows with Vox, Creations In Vivo, and others all over the country. He is excited to be working with Teri, David, and Kel on this new Project.

Sheldon Heard—MusicianSheldon started his musical carer over 20 years ago when he got his first electric guitar for Christmas. After years of teaching himself guitar, he formed a small three-piece band and preformed for several years in and around Cornwall Ontario. During this time, Sheldon also joined the High School Jazz band and Stage band under the direction of conductor Mrs. Hellen MacLear. During this four year period Sheldon studied many instruments such as Guitar, Drums, Percussion, Bass and Piano. After moving to Ottawa in 2003, Sheldon began his studies in Classical East Indian music with his Guru Hardeep

Buckshi. Under the guidance of Hardeep he learned to play the Sitar, Israj, Tabla, Oud and Sarod. Since then Sheldon has played in the East Indian Culture days here in Ottawa and at various performances by his Guru.

Ånna Lindgren—Costume AssistantÅnna Lindgren is thrilled to be working on Plosive Productions’ first show. Originally from Wolfe Island, Ontario, Ånna is currently a student of theatre and music at the University of Ottawa. She has worked on the technical side of several shows at the university, including Mourning Becomes Electra, Blood Relations, and the upcoming productions of The Dumb Waiter and The Jew of Malta.

Teri Loretto-Valentik—Miss PrismOscar Wilde, the inaugural show of a new theatre company and some of her favourite people in theatre make this a show Teri is terribly pleased to be working on. Recent credits include, Mary in It’s a Wonderful Life (which she also directed), assistant director to John P Kelly on A Flea in her Ear (SevenThirty Productions), the title role in Shirley Valentine (Gladstone Productions), and roles in the films The Righteous Tithe, Metal Tornado (Space Network) and Summer’s Blood (Zed Filmworks). She is also the stand in weather person for CBC News in Ottawa. She teaches theatre at

Algonquin College and is desperately trying to finish her MA in at the University of Ottawa. Special thanks to her family for supporting the arts (at times the artist), to Max the wonder cat, Daniel for his patience, all her Plosive peeps, and her perfect husband Ivo.

Stewart Matthews—Jack Worthing, J.P.Stewart is delighted to be a part of Plosive Productions’ inaugural cast. Stewart is mostly known for being REALLY ENGLISH… no… really the accent is real. Directing credits include Six Characters in Search of an Author (Sock ’n’ Buskin), Zombies (Screwed & Clued), Pinocchio (Screwed & Clued) and Grimm Tales (Screwed & Clued). Acting credits include Eddie in Greek (Third Wall) and Jimmy Porter in Look Back in Anger (Third Wall). He really has done a lot, but at present cannot remember; such is the way when writing a last minute bio. Keep your eyes

open for Stewart who will be playing the role of Third Wall General Manager very soon. OH and yes, don’t forget to enjoy the show!

Kel Parsons—Lady BracknellKel Parsons combines over twenty years of experience in the realms of acting (stage, radio, and screen) and writing with an academic background in Renaissance English literature. She has written program notes and delivered Table Talk lectures for the Stratford Shakespeare Festival, taught English and theatre at the University of Ottawa, and served on the boards of a number of arts and cultural organisations. She is part of the Niche creative space here in Ottawa, at which her own small production company, Otherkin, resides. Select theatre credits include This Is A Play,

Playing Bare and pool (no water) with Evolution Theatre; Molly Sweeney and A Flea In Her Ear with SevenThirty Productions; and The Last Disciple of Abraham and Race with New Ottawa Repertory Theatre. Kel is part of the upcoming web series Sweet Tarts Takeaway (YOW Productions) and will also be producing short films with YOW, based on her series of short stories and monologues.

Garrett Quirk—Algernon MoncrieffGarrett Quirk was rather excited to learn he’d be putting on one of Oscar Wilde’s greatest works with a company containing such formidable talent. Recently he has been seen creeping the boards with Ottawa Chamber Theatre’s Mechanicsville Monologues, and just over the summer he was jumping from role to role to role across northern Ontario with Salamander Theatre’s Romeo and Juliet. Garrett is grateful to be offered this wonderful opportunity and hopes you will enjoy seeing Importance of Being Earnest as much as he has enjoyed working on it.

Chris Ralph—Rev. Canon Chasuble, D.D.No stranger to Gladstone audiences, Chris recently played the fledgling guardian angel Clarence Oddbody in It’s A Wonderful Life (Gladstone Productions). And earlier this season, he lost 15 lbs playing both Chandebise and Poche in the SevenThirty production of Feydeau’s A Flea in Her Ear. Other recent Gladstone credits include the dim-witted Freddie Fellowes in Noises Off, and the earnest (though dim-witted) Huey Maximilian Bonfigliano in Italian American Reconciliation. In an earlier life, Chris spent seven years working on board icebreakers in the

Antarctic and Arctic. He can be seen rowing for his life in the award-winning IMAX film Shackleton’s Antarctic Adventure. Chris is a graduate of the National Theatre School of Canada and York University’s MFA Acting program, and during the day he teaches Voice and Acting at the Ottawa Theatre School.

Andrea Robertson—ScenographerAndrea has a BFA in Theatre (Set and Costume Design) from Concordia University. After graduating, Andrea worked in theatre in Ottawa designing and scenic painting before switching her focus to filmmaking and starting her own production company, Blinding Flash of Light Productions. As a filmmaker, Andrea received critical acclaim for her work art-directing, producing, writing, directing, and editing short films, documentaries and videos. In 2006, Andrea achieved a Masters of Science in Teaching from The State University of New York. Since returning to

design for Theatre, Andrea has designed sets and costumes for As You Like It, The Merchant of Venice, Taming of the Shrew, Measure for Measure, Trouble on Dibble Street and Macbeth, all for the St. Lawrence Shakespeare Festival. She is returning to the festival in 2011 to design All’s Well That Ends Well and Twelfth Night. Andrea is earnestly thrilled to be working in Ottawa again on such an exciting production, with such a dynamic new company.

Henna Kaur Sodhi—MerrimanHenna is currently a grad twelve student in Canterbury High School’s Dramatic Arts Program. Since age seven, Henna had dabbled in theatre, dance and song constantly, but was focused on becoming a visual artist. Then in 2007, with prompting from her grade eight drama teacher and family, she decided to try out for the Theatre program at Canterbury High School. Ever since Henna has studied areas of theatre such as mask, restoration theatre, Shakespeare, children’s theatre, and voice. Henna has also appeared in several shows within and outside Canterbury, including:

Super Girl, The Bald Soprano, Animal Talk, The Matchmaker, and Annie Get Your Gun with the New Star Children’s Theatre Co. Henna intends to pursue and study professional acting after Canterbury. The role of Merriman is Henna’s first professional acting experience. “I am extremely excited to be part of my first professional theatre performance! I feel privileged to have had the opportunity to work with such talented individuals and see the show come to life. May you all enjoy!”

John Solman – Lighting DesignerJohn is pleased to be working with this new company on a wonderful show. Over the years he has designed lighting for well over 100 shows for theatre companies in Ottawa. This is his third show here in the Gladstone. John has also worked with Director David Whiteley in the past on shows including Trojan Women, Zastrozzi, and Othella. John has designed for Orpheus, Ottawa Little Theatre, Vision Theatre, Zucchini Grotto, New World Theatre Project, Tara Players, Sock ’n’ Buskin, Savoy Society, and OSSD, among others. Recent credits include Italian American Reconciliation

and I here at The Gladstone, Tom Sawyer for Orpheus, Trying and Inspecting Carol for OLT, My Fair Lady for OSSD, and Joseph and the Amazing Technicolor® Dreamcoat for the Tamir Foundation.

Nancy Solman—Scenic Art and Costume AssistantNancy is excited to be joining her third production at The Gladstone and working with the newly minted Plosive Productions. Her previous Gladstone productions were as Set Designer and Scenic Artist for Italian American Reconciliation and most recently for I. Other recent set designs include Annie for Orpheus Musical Theatre, Joseph and the Amazing Technicolor® Dreamcoat for the Tamir production at Centrepoint Theatre, The Memory of Water for OLT (where she received honourable mention for her set design at the EODL Spring competition and was a part

of the winning team for Outstanding Visual Presentation). Enjoy the magic of theatre…

Bronwyn Steinberg—Cecily CardewBronwyn is very excited to be back onstage at the Gladstone, this time with Plosive Productions and one of her favourite plays. In Ottawa, she has been seen as Eugénie in A Flea in Her Ear (SevenThirty), Rachel in Murder in the First De-Glee (Eddie May Mysteries) and Anne in Anne & Gilbert (GOYA).

Other favourite credits include Little Sally in Urinetown, Wendy in Peter Pan and Rosencrantz in Rosencrantz and Guildenstern are Dead. She recently completed her MFA in Theatre (Directing) at the University of Ottawa, where she directed Sharon Pollock’s Blood Relations for her thesis and also had the opportunity to be a directing intern under Peter Hinton at the National Arts Centre. Her next project is directing Homechild, a Canadian musical running in the new studio theatre at the Centrepointe in May (GOYA).

Kuljit Sodhi —ChoreographerKuljit divides his time between working as a civil engineer, practicing, writing, promoting and performing the music with the East Indian group Galitcha, and teaching dance in the styles of Bhangra and Bollywood.

Rachel-Dawn Wallace—Props and ASMRachel-Dawn is proud to be a part of Plosive’s first production, The Importance of Being Earnest, as Assistant Stage Manager and Properties Mistress. Past productions include A Flea in Her Ear (SevenThirty Productions), Italian American Reconciliation and Shirley Valentine (Gladstone), Willy Wonka and The Wizard of Oz (Suzart

Productions), and Everything in the Garden (Algonquin College). This is Rachel-Dawn’s second professional show working as a Props Designer, and she is excited to be learning more and more about the wonderful world of properties! As a graduate from Algonquin College’s Theatre Arts program, Rachel-Dawn is more than thrilled to be working in and further exploring the theatre community. She would like to thank Plosive for allowing her to be a part of this amazing production, as well as Sal, Sunshine, and Minnie for all of their love and support. Break a leg everyone!

David Whiteley—DirectorDavid is thrilled to be returning to The Gladstone for a fourth consecutive show, hot on the heels of A Flea in Her Ear, I and It’s a Wonderful Life. David has variously acted, directed, written, translated and/or played music for most of the regions professional theatre companies. He looks forward to working with many happy returns for Plosive Production, as well as working with a Companyof Fools again—this time as director—for their Torchlight Shakespeare summer show: Antony and Cleopatra Shakespeare’s funniest comedy, coming to a park near you this summer.

Robert Willson—Make-Up Designer/Artist In Lost Letters of a Victorian Lady (Tara Players, 2007), Bob was asked to make a young actress of Indian descent look more like a Victorian lady in London. In this production Bob has been asked to make an actor of European descent look more Indian. Bob has been a make-up designer since 2004, working with a number of community theatre groups on period pieces dating from 1668 (The Miser) to an unspecified time in the future (Communicating Doors, 2007). Bob is thankful for this first opportunity to work in a professional capacity with Plosive Productions.