THE SUNSET LIMITED
|
March 2023
Theatre: Paul Philips Hall Fernwood |
THE DUCK VARIATIONS
Pulitzer Prize winning author, David Mamet's profoundly funny rumination on life, death and ducks comes to James Bay!
Ira Shorr and David Biltek play charming curmudgeons, enthusiastically sharing misinformation on a lakeside bench, in what The Guardian has called "A Brilliant Little Play". A rarely produced but treasured early play of Mamet, inspired by his listening to the conversations of his Jewish grandfather and friends. A warm, comical and philosophical take on the mysteries of the universe. David Mamet is one of the most prolific and influential playwrights of the latter-20th century, Mamet has also written a host of feature films including the screenplay adaption of his Pulitzer Prize winning play, Glengarry, Glen, Ross. Directed by: Tony Cain, Featuring: David Biltek and Ira Shorr |
APR, MAY 2022
|
BRILLIANT TRACES
OCT 29 - NOV 2 2019
There are some plays that I have seen or read that seem to haunt me like stories that I need to tell.
Cindy Lou Johnson’s Brilliant Traces had been sitting on my shelf nagging me over a decade. It is a rollercoaster of a play about a man and a woman thrown together in the confines of a cabin trapped by a raging snowstorm and having to come to terms with each other’s temperaments. I was drawn to the exploration of two strangers thrown together, both seriously flawed characters, and constantly taunting each other to openly reveal their demons. A compelling journey of conflict, love, and mutual healing between a man and a woman illuminating how we live today. I was blessed with a talented cast that always brought energy and innovative creativity to every rehearsal. Ursula Szolak as Rosannah Deluce brought a tenacity and drive that opens the play with such an explosive entrance that the audience never gets time to recover. Brian Quakenbush playing the role of Henry Harry created a tortured lost soul, a sad recluse, living a futile solitary existence desperately trying to cope with the guilt of a tragic loss. I was helped by my sound designer Mitch Barnes who created a wonderfully haunting dreamlike atmosphere. As always, Michael Gosselin, our co- founder, director/producer and you name it, was present to give support and advice to our actors when I was not available and guide the production crew. “Brilliant acting. Brilliant direction. Really great theatre.” - Penny Costen Pitcher |
SHAKESPEARE'S WILL
DEC 28,29,30,31 - 2018
I chose Vern Thiessen’s piece for many reasons. I wanted Attitude Theatre Victoria to come out of the gate with a bold, daring energy that would engage the audience full on. When I first read Shakespeare’s Will I was immediately aware that this was a play for an actor that had the stamina that could command the stage for over an hour without a break. Thiessen’s portrait of Anne Hathaway covered a whole range of emotional complexities. The actor would have to learn to dance a Galliard, sing 16th century songs, play multiple characters both male and female, and to command the attention of the audience to perform at an unrelenting pace. Rosemary Jeffery was brilliant in the role. There were some minor obstacles namely I wanted a “ theatre in the round “ style that the actor and co director were not familiar with. Very soon Rosemary learned the technique of moving around the space with grace and precision and developed the skill in using the “ Voms “ ( Vomitoriums ) to deliver the text.
Vern Thiessen wrote the whole play in “ blank verse “ and included a sonnet (145) to be recited, so we took the time to learn all about “ iambic pentameter “ and how to deliver text in verse. The Elizabethan songs chosen by Tim Watters were performed by Rosemary with such pathos and passion that every performance produced tears from our audiences. The text required the actor to interpret the voices and movements of a dozen different characters including Will Shakespeare, Anne’s son Hamnet, the two daughters, Susanah and Judith. I am full of admiration for Rosemary’s extraordinary energy and hard work and total commitment that she brought to this project. Without my co-director Michael Gosselin, his creative energy and countless hours working with Rosemary through the many demanding scenes and the knowledge, expertise, and care that Tim Watters devoted to the sound design and musical choices. Sylvia Hosie, our choreographer guided Rosemary through the blocking of the childbirth scene and coached the intricate dance steps for the Galliard. Without this kind of collaboration we would not have realised such a compelling, tour de force production. Indeed, the team work on this production made it one of the most memorable productions I have been involved in. “Fascinating story brilliantly acted” - Maureen Colgan |