Theatre Alberta News

Spring 2004Photo by Sean Dennie

Soliloquy

World Theatre Day 2004Three Voices

Artstrek/Dramaworks 2004

Views from the Wings

Meet the Board

The Buzz 10

Theatre War Stories 11

Public Service Announcements 12

Scenes from PlayWorks Ink 2003 14

Welcome New Members 14

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Theatre Albertais a non-profit educational society. Theatre Alberta News is a publicationof Theatre Alberta and is published four times a year. Contribution ofnotices, news and articles about theatre are welcome, as well as highquality (300 dpi or higher) photographs. Theatre Alberta News alsoaccepts signed letters to the editor but reserves the right to refuse toprint any material it considers sexist, racist, or otherwise in bad taste. Theopinions and views expressed are those of the writers and do notnecessarily reflect those of Theatre Alberta.

Theatre Alberta Library Open:

Regular Hours: Monday to Saturday: 10:00 am to 3:00 pm

Holiday Hours to Note:

Theatre Alberta Office and Library closed April 9 - April 12, 2004 (EasterBreak) and May 22 - 24, 2004 (Victoria Day Weekend)

The next Theatre Alberta News will be published May 28, 2004.Copy deadline is May 7, 2004.

For the upcoming year, submission and publishing dates are asfollows:

August 6, 2004 for August 27, 2004October 29, 2004 for November 19, 2004February 5, 2005 for March 4, 2005

Advertising Rates:

Full Page (10" high x 7.75" wide): $160.00Half Page (5" high x 7.75" wide): $85.00Quarter Page (2.5" high x 7.75" wide): $50.00

All rates are for camera-ready copy. Copy must be in black ink and toactual size. Prices include GST.

Theatre Alberta Board of Directors:

If you have any questions or concerns regarding Theatre Alberta, youare welcome to contact Theatre Alberta board members.

OfficersPresident: Daniel van Heyst, Edmonton

daniel.vanheyst@KingsU.caVice President: Karen Towsley, Fort McMurray

karen.towsley@shaw.caTreasurer: Margaret Shone, Edmonton

shone@shaw.caSecretary: Annette Nieukerk, Lethbridge

ndnieu@telusplanet.net

Directors:Daniel Libman, Calgary libman@telusplanet.netBrian Parkinson, Lethbridge parkinson@uleth.caWendy Punter, Cochrane wendonco@telusplanet.netTanya Ryga, Red Deer tanya.ryga@rdc.ab.caGlenda Stirling, Calgary glendastirling@yahoo.comGrant Tolley, Beaumont tolley@ocii.com

Committee:Harold Truckle, Red Deer haroldm.truckle@shaw.ca

Staff:Marie Gynane-Willis, Executive Director marie@theatrealberta.comLaura Roald, Programmer programmer@theatrealberta.comChris Profiri, Librarian library@theatrealberta.comBrenda Sutherland, Library Assistant library@theatrealberta.comJanice Hoover, Executive Assistant theatreab@theatrealberta.comZenovia Adams, Financial AdministratorLoretta McLaughlin, Financial Administrator

Change of address information and undeliverable copies can be sent to:

Theatre Alberta Society Phone (Edmonton): 422-816211759 Groat Road, 3rd Floor Toll Free: 1-888-422-8160Edmonton, AB T5M 3K6 Fax: 1-780-422-2663

http://www.theatrealberta.comtheatreab@theatrealberta.com

There has been lots of action here at Theatre Alberta in the last few months and things don’t appear tobe slowing down at all. We were delighted with the success of PlayWorks Ink, the pilot projectpresented in collaboration with Alberta Playwrights’ Network held in late November in Calgary. Therewas a real sense of energy and a coming together of the province’s theatre community. Based on thesuccess of PlayWorks Ink 2003, we are planning to make it an annual event. Mark your calendars nowfor the fall - dates will be announced in the summer newsletter.

Artstrek and Dramaworks planning are both in high gear. You should have received a brochure withthis newsletter - check it out! We have a terrific lineup of instructors for both summer programs and areencouraging community theatres, schools and other organizations to send a worthy individual fromtheir community to both of the programs. Attending the programs can be a wonderful of source ofinspiration and renewal, it can spark new ideas and skills and sometimes a much needed confirmationof one’s own work. Not to mention all of the fun that can be had!

World Theatre Day is March 27. Take a moment to acknowledge the significance of theatre in your lifeand don’t be shy about telling others why it is so important. For words of inspiration look inside thisissue of Theatre Alberta News where you will find the Unesco World Theatre Day message as well asCanada’s message from Governor General Award winner, Vern Thiessen. Hang up the poster that camewith this newsletter in a public place. Theatre Alberta has received support from Canadian Heritage towork with three colleges in Alberta, - Keyano College, Red Deer College and Mount Royal College, -who will stage an event in their local City Hall to celebrate the day.

We are also in the midst of another pilot project, Emerge 2004. This province-wide general auditionevent will bring together the artistic directors of professional theatres and casting directors and agentswith the graduating classes of the professional and conservatory acting training programs from Alberta’spost-secondary institutes. Emerge will take place in Edmonton on April 5 and Calgary on April 12. We’lllet you know how it goes.

We wait with bated breath for the impending arrival of spring. It will bring signs of green, longer dayswith more light and a time for creativity and planning. Many of you are planning now for next year’stheatre season. May you be inspired with a fresh start of energy and courageousness in your work!

Marie Gynane-WillisExecutive Director

NOTE: SPECIAL OFFICE CLOSUREThe Percy Page Centre is getting new carpet - and so the Theatre Alberta office and library willbe closed for a few days in mid-April. We expect the office will be closed for at least two days,and the library will be closed for at least one working week. For more information on thespecific closure dates, please contact the Theatre Alberta office.

�Check-In

On the Front Cover:Jennie Esdale as Ruth, a crane biologist, with Miracles, a whooper chick, in Green Fools Theatre’s recentproduction Project: Whooping Crane. This show is the second installment in a trilogy entitled Taking Flight,which aims to entertain and educate a wide and diverse audience on wildlife conservation and the art ofpuppetry while storytelling without words. Photo by Sean Dennie.

Casting Call ARTSTREK SupervisorsAre you 19, a former Artstrek student who has been away from the program for at least one year?Do you have lots of energy and creative ideas? We are now accepting applications forsupervisors for this year’s ARTSTREK program. Your application should include the followinginformation: a cover letter explaining your interest in the position and the year(s) you were aparticipant, a resume and a picture. All resumes should be sent to: Artstrek SupervisorApplication 3rd Floor, 11759 Groat Road, Edmonton, AB T5M 3K6

Theatre Alberta News 3

Soliloquy Accentuate the Positive?by Douglas Abel

Good plays for performance fall into any numberof categories: classic vs. modern, comedy vs.tragedy, character-driven vs. plot-driven, poeticvs. prose drama, naturalistic vs. theatrical, etc.etc. There is one category division, however, theperformance implications of which are oftenignored: imported vs. domestic—those playswhich require non-Canadian accents or dialectsof English, and those which do not. Very oftengood plays with accents either built-in or impliedare chosen. And almost as often, actors anddirectors fall into the traps which that choicecan create.

The essential difficulty is that once you havechosen a play with accents, you have to do them.In a well-written play, the dialects are a keycomponent of dialogue, character and situation.An accent involves more than a few simple soundchanges: dropping or flapping an ‘r’, raised orflat ‘a’ sounds. A dialect has a unique rhythm,cadence, resonance, and thought pattern. Itreflects geography, history, education, class and,often, status. It has intellectual and psychologicalmeaning for both the character using it and thecharacters who hear it. A dialect is a package ofspecific “facts of the play,” facts which must beappreciated, respected and applied to textanalysis and character/relationship development.It is not something added to dialogue, thoughtand meaning; it is a crucial feature of every lineof the play.

Yet, directors and actors often try to ignore theway the playwright has required characters tospeak. Few directors would say, or allow an actorto say, “Sure, these guys in The Cherry Orchardare indolent Russian semi-aristocrats in the post-feudal, half-industrial world just before theRevolution. But none of that stuff is reallyimportant. Let’s just make them regularCanadians; that’s much easier.” Those samedirectors, however, will sometimes say, “Well, themaid doesn’t really have to be Cockney. Peopleare the same everywhere. Just use your own voice

and get the meaning across.” The result is oftena generalized, fuzzy, and flawed production.

There are two typical strategies for dealing with—or avoiding—the real challenges which dialectscreate. The first is simply to ignore them, to re-set the play. Here the director thinks, “This murdermystery is set in an English country house, butit could as easily be a lodge in Kananaskis,” or,“This farce presents an English touring companyof a play; why not a Canadian touring company?”The “ignorance” strategy fails because dialectsare tied to both geography and vocabulary. Tohear an actor with a Southern Alberta speechpattern talking about “pip-pip calls” and the “six-four from Paddington,” or preparing to “eat histea” complete with “cheese roll” will create aclash of perceptions in an audience. We will ask,consciously or unconsciously, “Why are thesepeople who sound like us using words andphrases that we don’t use here?” Similarly, ifactors emitting the cadences of Toronto talkabout taking the A15 down from London, andgetting their luggage out of the boot, theaudience must ask, “Why has this bunch ofCanadians suddenly turned up at an Englishcountry house? Why don’t they ever explain whatthey’re doing in England?” The only “solution”to this problem is to rewrite the play, eliminatingor changing all geographical or dialect-specificterms. Such rewrites are, of course, illegal if theplay’s copyright is still in force and unethical ifit is not.

A second, equally unsatisfying solution is to mixand match dialects, letting those actors who can“do the accents” do them, and those who cannotspeak “as themselves.” Again, this solution doesnot work because it rewrites the facts of theplay and sends confusing signals to the audience.A character who speaks like a Canadian is eithera Canadian or an immigrant who has spent somuch time in Canada that her original accenthas disappeared: history and biography cling toher sound. Similarly, a character who speaks

upper-class standard British like an Oxford donreveals a detailed social and educationalbackground with every word he utters. Theaudience then needs to know why ethnically ornationally dissimilar characters have been broughttogether in the particular situation. If theplaywright has not created such an explanation—if, in fact, his play denies the geographical andcultural distinctions which mixed accents create—a director cannot successfully construct plausibleexcuses for accent disparity. Problems of accenthave been avoided, not addressed; they have notdisappeared. The audience response at some levelwill be, “I guess some of the cast just couldn’tdo accents.”

If a play with dialects has been selected forperformance, then those dialects must beperformed as the playwright has set them down.Once that burden is assumed, the next challengesprings up: not only must the dialects beaccepted, they must be done accurately. Adirector or actor who thinks, “Well, we’ll take astab at North Yorkshire, but nobody in myaudience will really know the difference” is riskingdisaster. We must always assume that, no matterwhere or when the production is done, therewill be at least one native speaker of the dialectwho has bought a ticket. Experience suggeststhat the number of such native speakers is alwaysdirectly proportional to the badness or inaccuracyof the dialect being attempted. In other words,the worse the accent is, the more people in theaudience there will be to be offended by it.

There is no escaping it. If a play with dialects ischosen, the dialects must be done, and donewell. Next time I’ll provide some tips on howactors and directors can “accentuate the positive.”

Douglas Abel is a Professor of Drama at KeyanoCollege, Fort McMurray. He will be sharing his passionfor accent work in Edmonton this summer atDramaworks.

SAVE THE DATE: Theatre Alberta Annual General Meeting July 10, 2004 EdmontonSee you there!

Are you interested in becoming involved with the Theatre Alberta Board? Please contact the Theatre Alberta officeor any Theatre Alberta Board member for more information. (contact information on page two)

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World Theatre Day 2004 - March 27Three VoicesWORLD THEATRE DAY was created in 1961 by the International Theatre Institute (ITI). World Theatre Day iscelebrated annually on the 27th March by ITI Centres and the international theatre community, variousnational and international theatre events being organized to mark this occasion. One of the most important ofthese is the circulation of the International Message traditionally written by a theatre personality of worldstature at the invitation of the International Theatre Institute. http://www.iti-worldwide.org

Theatre is the father of all arts. This is a truthnone can contend, and for this reason it is myone and only passion.

I have always believed that playwrightsdistinguish themselves by their noble humanfeelings. Their message can thus help peopleto rise above themselves, to free themselves fromtheir frustrations, from exploitation, and thusbe able to gain a sense of dignity. Forplaywrights to succeed in accomplishing hismission and in influencing people, they shouldmaster their profession thoroughly, and havefull control over the style of artistic expression.Otherwise their message will be blown away bywhiffs of wind and leave no trace behind, thusmissing the required aim. For in every work ofart, the message of the artist has always beengeared towards human justice, maturity ofexpression, and authenticity. It would thereforebe wrong to think that one of these factorscan hold sway over any of the others.

They say that theatre is an art based on solidstructures devoid of all superfluous trimmings,and that its dialogues should be firm, conciseand far from any babbling. They also say thatfor this reason it is incompatible with the natureof woman, who is unable to dissociate herselffrom her ego, and consequently cannot expressherself with objectivity. They say! To this I reply:woman who can carry in her womb a new lifeduring nine months is just as capable of creatinga play that is solid and coherent. On onecondition: that she be a real playwright.

Fortunately, modern theatre has liberated itselffrom traditional forms as a result of severalwaves of renewal which began with Pirandello,Bernard Shaw, Brecht and many others withthe theatre of the absurd, of refusal and ofexperimental avant-gardism. Today it is veryrare for an author to write in a traditional style.

UNESCO World Theatre Day Messageby Fathia El Assal

In my first play (“Women without Masks”) Ichose “theatre within the theatre”, a formulawhich has become familiar in modern plays.“Women without Masks” began with a cry anda question, for I felt myself pregnant with wordsdating back tens, maybe even hundreds of years.

Could it be that the time had come for thepains of labour strangling my innermost selfto be releasing and projecting my word towardsexistence ? My word ! ….. my passion ….. mychildhood ….. my child ! I listen to its voiceso remote from complaints, from sighs. A voicethat was crushed and humiliated. A voice whoseechos reverberated generation after generation.Conscience, in human history, bears the heavyweight of persecution and bondage.

I have refused to set down on paper a singlephrase that did not emerge from my deepestsoul. Not one line that did not express thetruth about woman, and about her power ofgiving. This is why I have asked my pen totake the oath of refusing to write a single lineif it were to express weakness or frustration, aswell as to refuse to obey me if it felt me cowardlybefore truth. I then asked it to help me bringto the fore the greatest number of womenwhose lives I share, by drawing nearer to themand becoming their mouth-piece.

We would thus bare ourselves completely beforeeach other, by ridding ourselves of the rustaccumulated with the passage of time. Wewould cry out against all the circumstances andevents that have deprived us of the burstingforth of our human powers.

Lastly, I believe that theatre is the light thatilluminates the path of mankind. A light thatensures an organic link with the spectator bycreating warmth between us — be thatcommunication through the written text orthrough the performance on stage.

Fathia El Assal has written120 dramatic works forradio (First play: 1957), 57prime time serials fortelevision, 6 plays, all ofwhich were produced inimportant Egyptiantheatres. (First play: “TheSeesaw”, 1969). Many ofthese expressed themes

revolving around social, religious and politicalproblems regarding Egyptian society in general,and women in particular. She wrote a very frankand audacious autobiography (in 4 volumes),entitled “The Womb of Life”, in which she refersnot only to her own hardships as a girl and awoman, but to the plight of women in general inher country from 1943 to this day.

After having been taken from school at the earlyage of ten, she suffered the fate of many younggirls and women in the very conservativeEgyptian society of the time (excision, earlymarriage). Married to writer and political activistAbdallah El Touhi, Fathia El Assal received hisencouragement and support to continue hereducation. Both her talent as a writer and herdetermined struggle to improve the treatment ofother women in her country led her quickly toliterary and social prominence. Imprisoned in1982 because she had espoused her husband’spolitical commitments, she wrote a playentitled: “Prison for Women”. This receivednational acclaim, and is now being used all overthe country in radio and television programmesas a reference. Fathia el ASSAL is President ofthe Association of Egyptian female-writers. Sheis also President of the Women’s ProgressiveUnion Member of the Board of the Union ofEgyptian female cinematographers.

Theatre Alberta News 5

On a recent trip to a playground, I was remindedof how limited a playwright I am. Over the courseof an hour, I watched a few children create overtwo-dozen scenarios, each rich in character, storyand detail. If only I could create so deeply and sofearlessly.

We live in a country obsessed with security. Notonly at our airports and borders, but moredespairingly, in our emotional lives, ourrelationships and our careers. We fear pain. Wefear failure. We fear financial uncertainty. Thisdoes not make for good artists (“yes, but will theplay SELL?”) nor does it make for good audiencemembers (“I know what I like and I like what Iknow.”) Our obsession with security is an obsessionwith tomorrow, and thus an abandonment of thepresent. And theatre, by its nature, lives in thepresent.

In short, we fear the future.

Not so in the playground, where monkey barsand slides and jungle gyms provide physical risk,and where - at least for an hour - financial

Canada’s World Theatre Day Message 2004by Vern Thiessen

concerns are muted, and the future is temporarilyforgotten. And even when a child does get hurt,he cries for a minute (or usually less), and re-enters the play being created in the sandbox.

We must inoculate our children against ourobsession with security. By instilling in our childrena healthy respect for risk, we go a long way towardsbuilding a better theatre for tomorrow. For if wewere all a little less fearful of the present - and alittle less fixated with the future - we would notbe tempted, as so many of us are, to tell ourchildren that theatre is a wonderful hobby, butnever a career. If we cannot confront our ownfears, we will continue to spread ourpreoccupation, and in doing so, create ageneration filled with people who are anxious andtimid. And so, as parents, grandparents, aunts,uncles, brothers and sisters, we have a personalduty to inspire respect for the playwright, actor,director, designer, and educator, and the risks theytake.

The following is an excerpt taken from the World Theatre Day address at the University of Alberta in 2003:Why should we all celebrate World Theatre Day?

Well, for one thing, we have to keep doing what we doso we don’t feel completely helpless in a world that seemsat the same time so TV far away, and so horrifically closeto home. For another it helps the people who work intheatre and the people who enjoy theatre realize that weare part of an international community of theatre people.

I guess we can all start by giving ourselves a cultural paton the back. We go to the theatre. We enjoy it. We likeseeing people that we know play a particular role, we liketo see a play that we have heard about, it might be aninteresting evening, it might give us something to talkabout. We might even learn something abut our world,our community, our history, our future, and ourselves.

Perhaps this is an opportunity to reflect on all the peoplewho make theatre possible: The playwrights, thetechnicians, the actors, the designers, carpenters,electricians, and directors. Then we can think about thefunding bodies that we are extraordinarily fortunate inthis country and province to be able to draw from. Thepatrons of the arts - people who love this stuff so muchthat they give tons of cash so that we can put it out therefor better or for worse. We can think about the audienceswho come to take part in theatrical events, not just sitidly back, but participate in every moment alive andthrilling and catch us when we fall. We can think aboutmentors, professors, and teachers, anyone who everencouraged anyone else to do what they want to do nomatter how absurd or odd it may seem; and guide themwith useful advice when they had questions. Don’t forgetthe volunteers. Don’t forget your parents.

When I graduated from the University of Alberta ten yearsago, my ten-year plan was to make a living as an actor. I

am stunned thinking about this because I have donenothing else but be a performer since then. I fully realizehow lucky I am. I won’t tell you what it has done to mypsyche, but I’m still standing here, and not a completequivering mass. I am not mind beguilingly financiallysuccessful, but I own a house. And I like pasta. And mycredit card got me to Mexico for a week, which I will dealwith later. I also have no idea what my next ten-yearplan is.

Perhaps this day is for people like myself to rememberwhy it is we do this. I started doing this because of a darein high school, which turned out to be fun and I wasgood at it. Now, the longer I do it the less I seem toknow about it. It’s bloody hard work. It’s not alwaysfun. The pay is pretty crap. Job security is sort of afamily joke right now. Dental plan? What dental plan?So why do I do this?

I am ashamed to say that I question the strength of myartistic work to move mountains. I lose faith in theimportance of playing this or that character in this orthat play, and I lose faith in the strength of the messagesof these plays. I am ashamed to say that I am not alwayssure I deserve to ask the AFA and Canada Council formoney to help create this show I have in mind. I don’talways buy the passionate speeches of people saying howimportant theatre is.

In his World Theatre Day message of 1976, Eugene Ionescosaid, “Truth is to be found in the imagination...Theimagination cannot lie. It reveals our psychology, ourabiding or passing anxieties, the concerns of man in everyage and of the present time, the depths of the humansoul. A person who does not dream is a sick person.Dreams perform an essential function and the functionof the imagination is no less essential.”

So, maybe imagination and playing pretend are importantafter all. I find answers in the characters and situations.More importantly, I find understanding in the flaws andmistakes they make. I accept the characters’ ignorance,and learn from it. It’s good to question the importanceof what you’re doing, so that you can continue doing itwell. Otherwise, why bother? It is good to have a goodlong look at where you’re going next, so that you canhopefully get there. Then, when you’re there, be able toshare your experiences so that you can bring people withyou, and then they go further and deeper. In short, createa community of thinking, feeling individuals, who arecapable of understanding the international community.

I made a decision to be an actor because it was fun.Now, it is challenging. That’s okay, because I like thechallenge. Theatre is an art as valid as any other. Nomore, no less. The people who work in theatre do sobecause it is their way of expressing their imaginationand their feelings about their world. The methodologyof performing it onstage is their way of sharing it witheveryone.

In closing, I want to say thank you, thank you for beinga part of this extraordinary community. Thank you forallowing me to be a part of it.

John Ullyatt, Actor, Edmonton

If we create, for the child, a theatre that is fun,magical, meaningful, risky, and above all,necessary, our future theatre may build a resistanceto our addiction to security.

For the theatre’s needs are basic, its mediumsimple, its method durable, its function necessary.In needs little more to survive - and flourish -than a child in a playground who is free of fear; achild free to imagine a world different than herown, and an audience to cheer her on.

Vern Thiessen

Vern Thiessen is a playwright, dramaturge, actor,director and theatre educator. He has written for stage,radio and television. His stage plays have been seenacross Canada, including the Governor General Awardwinning Einstein’s Gift. He is currently ArtisticAssociate at the Citadel Theatre in Edmonton andPresident of the Playwrights Guild of Canada.

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Theatre Alberta News 7

Artstrek 2004 - A Summer Like No OtherSome are born great, some achieve greatness, and some have greatness thrust upon ’em.

Join us at Artstrek 2004 to celebrate Twelfth Night, Shakespeare’s rollicking comedy of mistaken identity, hilarious pranks, and thefabulous folly of falling in love.

From July 4 - 18, theatrically minded teens from across Alberta will gather at Red Deer College for the unique Artstrek intensive -and this year, explore the magic and excitement of Shakespeare! This unique summer theatre exploration program will givestudents a chance to experience the thrill of classical text.

For full details on ARTSTREK 2004, please see the enclosed brochure or check out the Artstrek Information Online atwww.theatrealberta.com.

Dramaworks 2004 - Hot Times in the CityThis July Edmonton’s Citadel Theatre heats up with Dramaworks, theatre workshops for adults who love theatre. This summerprogram gives emerging and established theatre practitioners a chance to stretch their theatrical muscles.

Check out the Dramaworks lineup for 2004 - and find the perfect workshop to add sizzle to next season!

Weekend One: Friday, July 2 - Sunday, July 4

A Directing Primer with Geoffrey BrumlikMaking the Scene: Acting Out! with Stephanie WolfeACCENTuate the Positive! Dialects with Douglas AbelImprov: Discover the Moment with Alistair Cooke (CanadianImprov Games)

Special 1.5 day Workshop July 2 - 3:

Child’s Play: Writing for Young Audiences with Marty Chan

Full Week Workshops: Monday, July 5 - Friday, July 9

Challenging Words: Playwright Intensive with Sharon PollockThe Direct Approach (Directing Intensive) with James MacDonaldThe Actor Advances with Maralyn RyanCharacter Mask: Creation to Exploration with Michael Florizone

Weekend Two: Friday, July 9 - Sunday, July 11

Acting Through Song: Musical Theatre with Kate RyanActs of Violence: Stage Combat with Paul GélineauThe Audition Adventure with Bradley Moss and Ron JenkinsSet Design on a Shoestring with Marissa Kochanski

For full details on DRAMAWORKS 2004, please see theenclosed brochure or check out the Dramaworks InformationOnline at www.theatrealberta.com.

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Views from the Wingsby Sharon Pollock

I went to the theatre the other night to see aproduction by a company that possesses manyhuman and financial resources. I paid for myticket. I watched well-costumed lively actors ona grand set with a soundscape and lightingdesign that revealed the theatre’s strikingtechnological capabilities. Yet the productionfailed to ignite.

I had come believing in the artists involved andthe company’s marketing. Both promised adelectable feast of theatre. How is it I left withonly a cube of dry cheddar and a glass of wetplonk?

I could acknowledge the money, the talent andthe effort invested in the company’s offering,but still I felt a sense of loss, and it wasn’t justthe dollars spent on an overpriced ticket.

A solitary hike to my car through the sterileenvironment of the Plus 15 walkways broughtPeter Brook’s comment to mind: “the differencebetween life and death, so crystal clear in man,is somewhat veiled in other fields.”

Don’t get me wrong. My intention is not thetrashing of our regional theatre flagships. Theyface many challenges, not the least of which isan evolving capitalist organization of not-for-profit cultural activities including theatre (andof other areas of public life i.e. education andhealth.)

However when my faith in our major companiesfalters I remind myself of the legions who workwithin small companies, co-operatives andcollectives, in artist-generated projects, or incommunity and youth theatre. Here the flameof vitality still burns brightly on most occasions.

I’m not referring to the quality of any oneproduction but of smaller companies’ potentialto make and present theatre by creating waysand means of doing so that are not modeled onthat of the larger institutionalized companies.

It takes courage and commitment to explore thatpotential. The trade-off can be the sacrifice ofsuch exploration in exchange for recognition bypublic funding bodies, sponsors, and sad to say,even other theatre companies and members ofthe profession. This carrot of conformity isseldom proffered directly, but it dangles in thebackground, a powerful incentive to join the

crowd and do as it’s done in the Big House ifyou want to be taken seriously.

Two of the most engaging productions I’ve seenrecently were artist-generated projects: Skin, thevenue a small pub; and a theatrical creationdrawing on The Maids presented in analternative space in the inner city. Minimalisttheatre, maximum impact, underwritten byartists.

I celebrate and am heartened by those companiesand groups of artists who are making their ownway of making theatre. Their means of creationand financial return may be small but their workis intense and disciplined. On some days I seethem in the vanguard, on other days as mountinga guerilla action against forces that would rendertheatre impotent in our society.

I am sufficiently bold to offer some suggestionsalong with my support and congratulations.

Resist the carrot.

Withstand the seduction of numbers. Bum inseat is important; I’m not sure if bums in seatsare important. They are not an indicator, evenless a guarantee, of a good production. Theyrepresent nothing more than revenue. Compedor free theatre is as good as paid for this simplereason: the audience is the last character to enterthe play, and without that character there is noplay. A house of 20 should be as valued as ahouse of 600. Stay free of decision-making andjudgements based only on numbers. This is oftenhard to do.

See any budget as yourartistic philosophy expressedin financial terms.

Challenge assumptions as to what constitutes a“professional”. Only one of the many dictionarydefinitions of “professional” relates the word toa paid occupation; instead I read “high andconsistent canons of conduct and objectives “ “conscientious workmanship” “characterized bytechnical and ethical standards”. Community,youth and alternative theatre is full of dedicatedprofessionals who for economic or personalreasons are not Equity members.

Let your primary concern be the honing andexpanding of your art and craft. Don’t see unionmembership as legitimizing your professionalstatus. The union’s primary concerns are workingconditions, pay, and benefits.

If you are not already, be open to colour-blindcasting; let backstage and on stage reflect thediversity of our time and place. We don’t needmore white ghetto theatres.

In the search for a better waynever swallow whole theteachings of any theatreguru.

Don’t workshop plays as an end in itself. Committo production, the only true test.

Beware the “season” concept. It’s based oneconomics, marketing, perceived tastes andpredictability, not creation.

Walk the tightrope between silencing yourinternal voice of judgement and welcomingcriticism. The former inhibits risk and play; thelatter may provide an opportunity for insight andgrowth.

And finally - be prepared tobe poor. If it turns out youaren’t, it will be a wonderfulsurprise.

Sharon Pollock is a woman of the theatre: actor,director, producer, and two-time Governor GeneralAward winning playwright based in Calgary.

Book Reviewcontinued ...

Theatre Alberta News 9

Meet the Board! Grant Tolley - DirectorGrant Tolley is a member of the Board ofTheatre Alberta, currently completing his lastyear of two terms on the board. Grant livesin Beaumont, and has been actively involvedin community theatre in southern Albertaand then in Beaumont and district for moreyears than he cares to count. His theatricalpassions are writing (plays, screenplays andhumour articles), producing and directing,and occasionally making it onto the stagebut he tries to avoid this as the audiencestend to stay away in droves when he does.Grant has also worked on a number of co-productions with local schools, and feels that

BE A PART OF THE MAGNETIC NORTH THEATRE FESTIVAL 2004BECOME A MAGNETIC VOLUNTEER

The Magnetic North Theatre Festival wants you! Get connected with other like-minded theatre lovers from across the countrywhile supporting this exciting national celebration of new, contemporary Canadian theatre.

Edmonton hosts the Magnetic North Theatre Festival June 9-19 and the search is on for 200 energetic volunteers to make thisshowcase of national theatre a great success. Your time and energy will ensure an outstanding festival and guarantee you a funand fascinating experience.

Magnetic North requires volunteers in the following areas:

PRE-FESTIVAL: assistance with mailings and with collating hospitality kitsDURING THE FESTIVAL: team leaders, ushering, box office, front of house management, driving artists’ shuttles and staffing forthe information and hospitality desk.

More Information will be available online at the end of March at www.magneticnorthfestival.ca. In the meantime, if you wish tobe added to the volunteer e-mail contact list please contact eva@magneticnorthfestival.ca.

National Theatre Festivals Aren’t Just for Grown-Ups!

The Magnetic North Theatre Festival will present MAGNETIC KIDSJune 14 – 19 in the TransAlta Arts Barns (English and French Shows Available)

Magnetic Kids will showcase two productions at the 2004 Festival, Dear Fizzy by Theatre de l’Oeil from Quebec, and Cirkus Inferno by theDaredevil Opera Company from Ontario.

Dear Fizzy (in English) / La Félicité (in French) creates a zany world of an unconventional and slightly clumsy, magical fairy named Fizzy. Thiswonderful production for ages 5 and up tells the story of learning to co-exist with others who might be a little different.English performances: June 14 - 15 (10am). French performances: June 15 (1pm) and June 16 (10am).

Cirkus Inferno joins Lucky and Lady, the world’s most lovable pair of troublemaking clowns, on a wacky adventure to the Daredevil OperaCompany’s Cirkus Inferno. The big show of thrills gets cancelled and a whole new one is created. Inspired by silent film, animation, vaudeville,circus and mythology, the Daredevil Opera Company presents physical comedy at its most explosive. Suitable for ages 7 and up.Performances: June 17 - 18 (10am)

Student tickets are $6. Student workshops are available following select performances.

For information on bookings and to receive a Magnetic Kids brochure please call Bottom Line Productions in Edmonton at (780) 988-8914

fine and performing arts education should beincluded in every young person’s schoolexperience.

A big challenge faced by many theatre groupsis finding affordable rehearsal space andperformance venues. Grant helped his groupovercome this challenge recently by pursuinggrant funding which assisted in the purchaseof fully mobile stage, lighting and soundsystems, enabling the troupe to take theirproductions on the road to a number ofsmaller communities. Although it’s a lot ofwork to “go on the road”, joint production

ventures with other community groups haveproven to be mutually beneficial on manyfronts.

Grant is inspired by the broad range ofwonderful theatre in the province, all the wayfrom amateur and school productionsthrough to the professional theatres. Hehopes that Theatre Alberta can continue tobe a strong and positive resource for theatrelovers and practitioners throughout Alberta.

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The Buzz ...News and Notes fromAround the Province fNew Faces for 2004!Theatre Network in Edmonton welcomes its new GeneralManager: David Cheoros, former Festival Director of FringeTheatre Adventures and most recently the Executive Directorof FAVA (Film and Video Arts Society – Alberta). David is theCo-Founder of Edmonton’s Comedy Arts Festival, and is alsothe vice-chair of the Edmonton Arts Council.

John Kirkpatrick has been appointed as the new ArtisticDirector of Free Will Players in Edmonton. He replaces GeoffBrumlik, who stepped down early last fall. John has a longhistory with Free Will Players as an actor, appearing in tenproductions at the River City Shakespeare Festival since 1998.Also, Free Will Players is pleased to welcome back LindaHuffman as General Manager!

All Nations Theatre of Calgary proudly announces the hiringof Leslie Holth as General Manager. Through the generoussupport of the Department of Canadian Heritage and theCalgary Foundation, Ms. Holth was hired to model themanagement of All Nations Theatre and as part of a businessstrategy to increase capacity, performance and effectiveness.Presently, the All Nations is touring Calgary schools with TheOther, a play about racism and bullying by Calgary playwrightDoug Curtis.

Northern Light Theatre in Edmonton welcomed Erin Newellas the new General Manager. Erin joins the company after AlRasko left at the beginning of the season to take the helm ofFringe Theatre Adventures.

Alberta Playwright’s Network is pleased to announce thewinners of the 2003 Write to Win Competition! The winner isNeil Fleming for his play John Doe - Jack Rabbit. Neilreceives a full workshop to continue the development of hisplay. APN would also like to recognize the plays whoachieved Honourable Mentions: The Mighty Carlins by CollinDoyle and Trance Canada by Jason Long The jury, whichconsisted of Michael Green, co-founder and co-artisticDirector of One Yellow Rabbit in Calgary and David Belke,playwright-in-residence at Shadow Theatre in Edmonton, wasvery pleased with the quality of submissions.

David Belke officially joined the staff of Alberta Playwrights’Network December 1, 2003 as the new Edmonton Liaison.David’s primary responsibility will be reading scripts andproviding constructive feedback one-on-one with playwrightsin Edmonton and area through APN’s Script Doctor program.He will also be facilitating and organizing workshops of newplays through the Script Shop program and assisting with thepromotion and recruitment of playwrights for The EdmontonPlaywrights’ Circle in conjunction with the Circle’s Instructor.

The Citadel Theatre has many new faces in theadministration office. Some of the recent appointmentsinclude Managing Director Penny Ritco, Marketing DirectorLesley Howard-Stafford, Development Director Karla Schell,and Director of Finance Keith Strong. Welcome everyone!

New Title Sponsor for ATP’s playRites FestivalEnbridge Inc. (Enbridge) has become the title sponsor forATP’s playRites Festival of New Canadian Plays under a three-year agreement. The 18th annual festival ran from January 28to March 7, 2004 and was now known as the EnbridgeplayRites Festival of New Canadian Plays. Since its launch onJanuary 18, 1987, the Festival has become the leading

producer of new Canadian theatre having launched 161productions that have been presented by 91 theatrecompanies across Canada, the United States and abroad.“We’re proud of our accomplishments in fostering artisticexcellence in the development of new Canadian plays andinnumerable Canadian playwrights, and this generous supportfrom Enbridge will enable us to continue to play a nationalleadership role,” said ATP Artistic Director, Bob White.

Donors (Report) Card...A new report prepared by Hill Strategies Research Inc. showsthat 451,000 Canadians 15 years of age or older made directfinancial donations worth about $47.9 million to arts andculture organizations in 2000. The 451,000 arts and culturedonors represent 2.4% of donors to all types of non-profitorganizations and 1.8% of the Canadian population 15 yearsof age or older. The 451,000 arts and culture donors in 2000represent a 21% decrease over the estimated 571,000 donorsin 1997.

A recent report on arts and culture volunteers showed that351,000 Canadians 15 or older volunteered for arts andculture organizations in 2000. A more detailed examinationof these figures shows that volunteers and donors to arts andculture organizations appear, by and large, to be differentpeople, with only about 50,000 Canadians both volunteeringand donating in 2000. When combined, the volunteer anddonor figures reveal that about 750,000 Canadians 15 orolder volunteered time or donated money (or did both) forarts and culture organizations in 2000.

Catalyst Theatre in Edmonton will be engaging in facilityupgrade with the help of grants from the Canadian HeritageCultural Spaces Program ($100 000) and the ProvincialLottery Community Facility Enhancement Program ($125000). Look for new chairs, sound system and lightinginstruments in this popular performance venue. This upgradeis part of a renovation project with the adjacent YardbirdSuite to upgrade the building for Alberta’s centennial in2005.

Theatre Alberta would like to congratulate Dr. JeffreyAnderson on his recent appointment as Director, ArtsDevelopment Branch, Community and Citizenship ServicesDivision. Dr. Anderson is also the Executive Director of theAlberta Foundation of the Arts. He replaces Dr. Clive Padfieldwho retired from government service. Jeffrey took up hisduties effective March 1, 2004.

Jeffrey holds a Doctor of Musical Arts degree in performance,literature and pedagogy from the University of Colorado, aMaster of Music degree in trumpet performance from YaleUniversity and a Bachelor of Music degree in theory andcomposition from the University of Victoria. Jeffrey hastaught brass instruments and related subjects at KeyanoCollege since 1992, where he chaired the Visual & PerformingArts Department from 1993-2002. He has also taught atMedicine Hat College and the Universities of Colorado andLethbridge.

Jeffrey was appointed to the Alberta Foundation for the Artsin 1997. He was appointed chair of the Foundation in 2002.We wish him great success in his new role.

Another warm welcome: the Honourable Helene ChalifourScherrer was appointed as the new Minister of Canadian

Heritage. Helene Chalifour Scherrer was first elected to theHouse of Commons in November 2000. She has served as aMember of the Standing Committee on the Environment andSustainable Development. Before entering federal politics, sheheld several organizations providing health and socail servicesin Quebec City. Ms. Chalifour Scherrer received a diplomafrom Sillery’s Jesus-Marie College, and received a bachelor’sdegree in social work from Laval University.

Theatre Calgary Seeks AdvancementTheatre Calgary and Petro-Canada have announced a newprogram to be launched in June 2004. This new initiativecalled ‘Theatre Calgary’s Petro-Canada Play AdvancementSeries’ provides an opportunity to Western-Canadianprofessional theatre companies to apply for the opportunityto workshop a new Canadian play for production in theirsubsequent season. The series will be open to non-traditionalcasting and workshop methods. Local professional actors willbe provided to explore the play with the director andplaywright/creator of the companies selected. Look for thefirst public workshop presentations this coming June.

Order of Canada RecipientsCongratulations to the following for their recent appointmentto the Order of Canada: Kenneth Welsh (theatre and filmactor) and Leonard P. Ratzlaff (Professor of choral studies atthe University of Alberta)

DID YOU KNOW.......that the #1 produced play in the United States of Americathis season is Michael Healey’s The Drawer Boy? ThisGovernor General award-winning Canadian play is beingproduced at 16 major theatres across the USA.

What’s happening in your theatre?Theatre Alberta News welcomes updates from theatresacross the province. Please send news items to:theatreab@theatrealberta.com

In Memoriam:Uta Hagen (1919-2004)

“To achieve a technique which will allow for agenuine existence on stage can take a lifetime toaccomplish. The search never stops; there are nodead ends.”

Uta Hagen, actor, teacher passed awayat the age of 84. Author of thecelebrated text, Respect for the ActorMs. Hagen was respected throughout theworld for her passionate commitment tothe art and craft of performance.

Theatre Alberta News 11

Theatre War StoriesE YElvis Busted

I was a prop builder at Theatre Calgary, and backin the early 90’s we built a production of La Bete,designed by Leslie Frankish. The productionopening happened to fall on the anniversary ofElvis Presley’s birth, so part of the set designinvolved casting about a dozen replicas of an Elvisbust and decorating them in various period waysto look kind of like “Elvis Through the Ages”. Wecouldn’t find a bust in Calgary and had to haveone shipped in from Toronto. It arrived late andin pieces, so I had to reassemble it and then figureout how to cast it in a multi-part mold and pourover a dozen copies. This turned into a herculeantask that had me working late hours,experimenting with various materials and callingeveryone I knew who knew anything about casting(and staying up late at night and obsessing aboutit). I finally figured out a process, pulled the busts,decorated and got them onstage at the beginningof tech week. A week after opening I got a callfrom the front desk saying that someone fromthe “Globe” wanted to talk to me about the busts.I assumed “The Globe Theatre” in Regina andalthough talking about the busts was the last thingI wanted to do (I was still dreaming about them)I got on the line and launched into a long involvedexplanation of my process. As I stopped for breaththe guy on the other end finally got a word inand I found out I was talking to The Globe andMail and they were doing a background piecebecause our production was headed to CanadianStage Co. in Toronto. He didn’t really need thespecifics. It turned out that those busts gotmentioned in reviews both in Calgary and Toronto,and people asked me about them for a long whileafterwards. Somehow that always seems tohappen with the pieces you’d rather forget.

Michelle Dias, Edmonton

Glug Glug Glug

While doing Agatha Christie’s The Mousetrap, Iwas supposed to drink a glass of sherry after anangry outburst. However, I filled the small glasswas too full. I tried to take a drink, but ended upsucking in too fast, made a loud slurp and spilledhalf of the “sherry” onto myself and the notebookprop I carried. It was a huge mess, and I still had

to look enraged when all I wanted to do wascrawl into a corner and cry. The cast kept theircomposure even though one or two had to turnaway pretending to do something or cover theirface with a book.

Mathew Hulshof, Calgary

In 1971 or ’72, as part of a newly-formedprofessional theatre training class started by JimBeck, stage manager of the old 210-seat Citadeltheatre, I ran crew for the show Plaza Suite,starring Susan Wright and Joe Vassos. This wasbefore IATSE, of course. Sean Mulcahy, the slightbut fiery Irish Artistic Director, was director of theshow.

Act I of the play called for a bed centre stage. Thebed came too far downstage and each night, justbefore curtain, I took my place by the bed toguide the curtain past it as the play began. TheASM and curtain puller was Jamie, a small, butpowerful young man who had so much energyhe usually ran crew with his shirt off. He couldopen the curtain in about three pulls. It was goldseat night. With honoured patrons in their seats,Jamie, the others and I took our places. The houselights dimmed, and Jamie pulled.

Now, we had obviously rehearsed this countlesstimes, but somehow my attention was deflectedand suddenly I found myself wrenched violentlyto my left, twirling and twirling in a black void,round and round, seemingly forever. I came to astop eventually, but I couldn’t see. Actually, Icouldn’t move. My arms were pinned to my sidesand the only thing functioning on my body weremy feet, on which I wore sneakers dyed brightfluorescent orange from the “Where’s Charlie?”show I had been in the year before in MedicineHat.

So, I was pinned inside a curtain just exactlywhere? I could hear Susan and Joe right by myear, so obviously I was - Omigod! Onstage??? Ihad to get off, if only for the fact that whenJamie closed the curtain at the end of the act I’dlikely be flung unceremoniously into the first row.More than that, of course, I had duties off stage.

I began to inch my way left, gently see-sawing

on my feet like a dancer doing the hootchie-cootchie. Left .... something hard, a wall maybe... Right ... no, that’s onstage ... left again. I haveno idea how long I sidled bolt upright, wrappedin a curtain, trying to get off, but eventually I juststood there. Suddenly a pair of the most powerfularms grabbed my knees and calves and forciblypushed me right - RIGHT??? WHAT ARE YOUDOING???- right some more, right again, and thenback and a big shove left - hard! It got even darker,if that’s possible, and then I found myself beingunwrapped in the other direction, Jamie clawingat the folds.

“Where have you been?!” he whispered hoarsely.“They’ve been looking all over for you!” Evidently,the cry went out shortly after curtain opened thatI had gone missing. They looked for me backstage,but nothing. No one had seen me come off , soJamie peered under the bed from offstage, butstill nothing. Finally, Rick Schick, the lighting tech,spotted two bright orange sneakers sidling leftand right in front of the proscenium, stage left.Over the headset, he exclaimed, “I see her!” She’swrapped in the curtain in front of the proscenium.”The director, Sean, who was sitting in the balcony,saw me at about the same time. He marched downthe long aisle, grabbed my legs, and shoved mearound behind the proscenium.

Well, as gold seat night was the day beforeopening night, the cast and crew still had notesafter the performance. I crewed the showhauling the pit of dread in my stomach. I hadseen Sean in rehearsals. I had seen the veins popout on his neck when something wasn’t right.What would he do to me?

Notes went on forever. It felt like hours. Finally,at the end, Sean said with a most bemusedlook, “And who was the dear soul who wasprepared to stand in front of the prosceniumfor the entire show?”I raised my hand, fearing the worst, but thatwas all. He laughed, I drew breath again, and tothis day I hold within me the dearest memoryof a man with a temper who showed me mercy.

Rhonda Day, Edmonton

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Public ServiceAnnouncementsSamuel French (Canada) Ltd., play publishersand authors’ representatives, is sponsoring aplaywrighting competition open to allCanadian playwrights. Writers from acrossCanada are invited to submit their best full-length stage plays that are original and havenever been published. The winning play willreceive publication and representation fromSamuel French. Deadline for submissions isSeptember 30, 2004. Winners will beannounced in the February 2005 issue ofCanPlay magazine. Completed applicationsand manuscripts should be sent to:Andrew ShaverSAMUEL FRENCH (CANADA), LTD.100 Lombard Street, lower levelToronto, Ontario M5C 1M3416-363-3536

Free hands-on training in thetheatre arts! Apply for AlbertaTheatre Projects Junior ApprenticeProgramPositions are available for graduating grade12 students for a 8-9 month full-time JuniorApprenticeship with Alberta Theatre Projects.Concentrations are in all of the followingareas: Technical/ production, StageManagement, Resource Development/Fundraising, Marketing and Communications.Junior apprentices (J.A.s) are not paid anywages. They are paid a weekly allowance of$75 a week to help pay for travel and foodcosts they incur. ATP provides all J.A.s with abus pass. There is generally a six-dayworkweek at ATP, an average of 44 hours perweek. Apprenticeship term runs fromSeptember 2004-end of April 2005. Formore information contact Natasha NadirAlberta Theatre Projects 220-9th Ave S.E.Calgary, Alberta T2G 5C4 Tel: 294-7475 Fax:294-7493 email: nnadir@atplive.ca

Quest Theatre in Calgary is celebrating its20th season in June 2004 and would like toinvite all of its alumni to the celebrations. Ifyou would like more information or if youhave any great stories of your time at Quest

that you would like to share, please contactquestanniversary@yahoo.ca or Quest Theatre,Attention: Anniversary #310, 815 - 1st StreetSW, Calgary, AB T2P 1N3

Alberta Anthology- CBC RadioCompetitionA Destination for Writers — A Destination forListenersClosing date for submissions June 30, 200412 Professional Winners * 12 AmateurWinners * 4 Youth WinnersLiterary Categories: Dramatic Monologue (aself-contained speech given by a singlecharacter in 1250 words or less.) Short Short-Story (A work of narrative fiction in 1250words or less.) Poetry & Prose Poem (up to 5poems unrelated or in series or a lyric poemwritten as a proseparagraph in 1250 words or less.) CreativeNon-fiction (a non-fiction creative prosepiece in 1250 words or less, including TravelWriting)For Entry Form & Rules, visit: http://calgary.cbc.ca/anthology/Send entries to:Alberta Anthology1724 Westmount Blvd. N.W.P.O. Box 2640Calgary, AB T2P2M7

The Town of Drumheller is one of fivecommunities who were named as a CulturalCapital of Canada by Heritage Canada. Thedesignation came as a result of a submissionto celebrate 2004 as The Year of the CoalMiner. The Town desires to enter anagreement with a Theatre/ProductionCompany to: Perform a full length originalplay during the summer of 2004; Write aseries of historically accurate vignettes whichdepict the history of coal mining in theDrumheller Valley; Perform the vignettes in avariety of street settings throughout theValley during the summer of 2004 – Maythrough September. Invitations to submitwill be limited to those Theatre/ProductionCompanies who operate within the Region.For more information contact: Linda Digby,Executive Director Box 521 East Coulee,

Alberta TOJ 1B0Phone: 822:2220Email: hacm@telusplanet.net.

New Magazine for PlaywrightsThe Playwright’s Guild of Canada hasrevamped their newsletter CanPlay as aquarterly magazine available to members andnon-members alike. This glossy periodical isfull of useful information for emergingplaywrights. For subscription information,contact Playwright’s Guild of Canada at (416)703-0201 or visit www.playwrightsguild.ca

Upcoming Grant DeadlinesFor more information on these grants please contact the funding agenciesdirectly.

Canada Council Grant Deadlineshttp://www.canadacouncil.ca/grants/dates-e.asp#theatre

April 1 Flying Squad Program (for specialist consultationand mentorships)

April 15 Grants to Theatre Artists (including playwritingresidencies)

May 1 Theatre Touring Program (in Canada)May 1 Theatre Presenting Program (Festival Co-

productions and Hosting)May 1 Theatre International Program (Co-production,

Touring Export and Import Components)June 1 Visiting Foreign Artists Program (for foreign individual

artists coming to Canada)September 15 Developmental Support to Aboriginal Theatre

OrganizationsArtist and Community Collaborations FundGrants to Theatre Artists (including playwritingresidencies)

October 1 Flying Squad Program (for specialist consultationand mentorships)

December 1 Theatre Touring Program (in Canada)Theatre Presenting Program (Festival Co-productions and Hosting)Theatre International Program (Co-production,Touring Export and Import Components)

AFA Grant Deadlineshttp://www.cd.gov.ab.ca/all_about_us/commissions/arts/grants/index.asp

April 1 Program: Artists And EducationJuly 15 Program: Community PresentingSeptember 1 Community Support Organizations - Projects

Program: ProjectsOctober 1 Program: Community Performing Arts OrganizationsNovember 15 Community Support Organizations - Operating

Edmonton Arts Councilhttp://www.edmontonarts.ab.ca/grants.html

April 30 Lee Fund for the ArtsMay 31 Edmonton Artists’ Trust FundJune 1 andOctober 1 Community Investment Program Travel Grant (applications

will be considered 3 times per year)June 12 Community Investment Program Project Grant

Calgary Region Arts Foundationhttp://www.craf.org/impresario.html

May 1 Impresario Program: Special Project FundingSeptember 1 Impresario Program: Special Project Funding

If you have information regarding grant deadlines that would be of interest tofellow Theatre Alberta members, please send toprogrammer@theatrealberta.com

Theatre Alberta News 13

14

Scenes from PlayWorks Ink 2003For three days in November, Theatre Alberta and Alberta Playwrights’ Network descended onthe Epcor Centre for the Arts in Calgary to bring together writers, performers and theatrelovers from across western Canada at the first ever PlayWorks Ink. The event featuredworkshops for writers, performers and directors, and readings from plays by Linda Griffiths,Joan MacLeod, Robert Chafe and Daniel Libman as well as the winners of the 2003 AlbertaPlaywriting Competition, The Last Train by Beth Graham and Daniela Vlaskalic (Full Lengthcategory) and Dust by Mark Stubbings (Discovery Category), as well as panel discussions andsocial events. Check out the fun!

Kathleen ArnoldJoan BateSean BowieNan BruntjenBob CameronDiane ConradIam CoulterDoug CurtisStacy DowneyKathy FedoriErin FlaschLaura GiffenBeth GrahamLinda GriffithsKathleen HankinsonBen HartMarilynne HebertDebby HimmelBonnie HrynkiwLynn JenkinsAmanda JoblinskiSuzan KendranGabrielle KinasewichVivienne KirkAnna LussenburgJoan MacLeodKatie McConaghyPaul PearsonDoreen Piehl

Steve PirotIan PrinslooPaul ReichAndrea RitterLianna RyanDerek SchlerethGord SchutzEugene SticklandAllan StoskiMark StubbingsStuart SutherlandGregory TinkDaniela VlaskalicBob Young

New GroupsColumbia Valley Arts CouncilConcordia College Dept of Theatre ArtsJ.R. Robson High SchoolPrime Stock Theatre Co.

Welcome New Members!(joined November 1, 2003 - January 31, 2004)

Susan BeachStacy BergMary BlackstoneJonathan ConklinErin CrealockPatricia DarbasieTerri Devlin-ParmleyKatherine FadumDiane FalckAnne-Marie FelicitasWendy FrobergAlana GowdyAlex HawkinsMaureen HollarJanet HinkleyJulie IshidaTerri LankBrendan LaveryLarry MacKillopClem MartiniAndrea MartinukKim McCawAnita MiottiNicole MoellerKeith MunroAnnette NieukerkWolfgang NoethlichsRichard O’BrienSherry Paran

Jean ParlbyValerie PlancheSharon PollockVanessa PorteousMarilyn PottsKaren ReesLouise SeidelRobin SengerJune SerediakArt SheaMargaret ShoneJulie SinclairLinda SinclairElaine StreibelMichelle ThorneShirley TookeBarb TravisPatrick WalshTara WoodCarol Wookey

GroupsCaviar Players Drama SocietyEastglen High SchoolEcole Secondaire MargueriteD’YouvilleJ.R. Robson High SchoolRed Willow PlayersRoss Sheppard Comp. High School

Welcome Back, Renewing Members!(renewed November 1, 2003 - January 31, 2004)

Participants anticipate another exciting reading

Joan Macleod reads from her work

The Politically Incorrect panel weighs in on the question of cultural space

TheatreCalgary artistic directorIan Prinsloo shares his passion formonologue performance

Ken Cameron interviews guest artist Linda Griffiths

Anita Miotti, Ian Prinsloo, Joan Macleod and Ken Cameron gear up for busy dayof workshops

Theatre Alberta ExecutiveDirector Marie Gynane-Willislaughs with Daniel Libman afterthe reading of his play Intermission

Janice Hoover helpsChris Bulloughwith his registration

j

A Warm and Sincere Thank YouTo The Following, For TheirGenerous Contributions to

Theatre Alberta:

OMISSION

We would like to acknowledge that writerLynda Adams (Magnetic North Article -Winter 2003) is a full-time faculty memberin the Theatre Program at Red DeerCollege.

InstructorValerie Planchesmiles for thecamera

Playwright Daniela Vlaskalicpushes through the crowdafter the reading of APCwinning play The Last Train

Alana GowdyCaroline Russell-King

June SerediakJulie SinclairWade Weller

Theatre Alberta News 15

membership application■■ New Membership ■■ Membership Renewal

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Membership Classification:

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For Individual/Student memberships only: ■■ Add a general membership with Alberta Playwrights’ Network + $10

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Please send the completed form along with your payment to:Theatre Alberta3rd Floor, 11759 Groat RoadEdmonton, Alberta T5M 3K6

Phone: (780) 422-8162 (Edmonton area)Toll Free: 1-888-422-8160Fax: (780) 422-2663email: theatreab@theatrealberta.com www.theatrealberta.com

Membership information is collected by Theatre Alberta for communication and marketing purposes only. Membership information is considered confidential and is not released to third partieswithout consent, the exception being contact information for Group members that would be readily available to the public via the Internet, published telephone directores, etc.