Ruff volunteers (l-r) Georgina Beaty, Molly Gardener, and Elizabeth McManus
by Brendan Howlett
I grew up in the Riverdale neighbourhood on the east side of the Don Valley River. Back when I was a kid, Riverdale and Leslieville were not the burgeoning hot spots they are today. In fact it was a bit of a cultural void. Even today you’ll be hard pressed to get anyone to cross the unaccountably ominous Don Valley in either direction.
A rare source of local high art was a humble little outfit called Shakespeare in the Rough. An outdoor theatre company started under a pair of hundred-year-old trees in the heart of the Riverdale neighbourhood – Withrow Park. At their inception they took the name “ROUGH” to heart – no lights, no microphones, and a bare minimum of costumes. With little more than Shakespeare’s powerful language, they transformed that park into kingdoms and courts, battlefields and deserts, the worlds they created, uncontained by the walls of a theatre spilling out on all sides of the audience making you feel dangerously engulfed in Roman politics or English rebellions.
It was these productions of Shakespeare that I was weaned on. The productions in Withrow Park became a yearly tradition for my mother and I – making the 5 min hike up the hill with our raggedy, thread-bare lawn chairs, watching a particularly violent yet bloodless production of Titus Andronicus… heading to the Danforth for a mint chocolate-chip ice cream.
First day
Under the Artistic Direction of Kevin Hammond and Sanjay Talwar who took the helm for what turned out to be its final 5 years, the company blossomed into a widely respected Shakespeare company renowned for their lively productions and bare bones aesthetic. It became the unofficial training grounds for young actors, directors, and designers to cut their teeth on the complex world of Shakespeare.
Many of the artists who worked for that original company quickly ended up at the festivals of Shaw and Stratford – including Stratford Associate Artistic Director Dean Gabourie (Interview with Dean Gabourie about Two Gents – ) who took some of the ideas he developed while directing The Two Gentlemen of Verona for Shakespeare in the Rough to his Stratford production in 2010.
Unfortunately, in 2006, that original company gave its last performance – a production of Antony and Cleopatra. For any theatre company in Toronto that’s been built on blood sweat and tears, one poorly timed bump in the road can spell the collapse of a seemingly well-established company; as was the case with Shakespeare in the Rough. During their process of handing over the reins to a new artistic director, the delicate ecosystem of board members, artists, and fundraising, hit one of those little bumps, and before anyone knew what was happening, the organization evaporated. And this was not an isolated incident for Shakespeare companies at that time – in the span of one year, the GTA area lost not only the original Rough company, but also ShakespeareWorks and The Oakville Festival of Classics.
Thirteen years of hard work and development disappeared over night. I believe the biggest loss was suffered by those of us in the surrounding neighbourhoods of Riverdale and Leslieville, who had come to rely on Shakespeare in the Rough not only as a staple of our summer traditions, but also as the most accessible, welcoming, yet high-quality theatre available to us. Seeing the shows every summer as I became more and more involved in theatre as a pimply highschool kid and bourgeoning Shakespeare geek, I always had the fantasy of performing with this company in my own backyard. But the company closed down a just before I finally graduated theatre school and moved back home.
Eventually I sat down with a bunch of young theatre artist friends and pitched them the idea – resurrect an old company, away from the hip downtown theatre scene, with a stripped-down aesthetic and a focus on serving the community where we were putting down roots. A very personal project on my part, we would be performing 100 meters from where I had my first kiss. A fact that, much to my humiliation, made it into our promotional video, which I still can’t watch without blushing. We put a twist on the name – Shakespeare in the RUFF – and set about building the new company on the foundations left by the old.
It’s no secret that across the national theatre community the major topic of conversation is how do we get new audiences to see theatre. This issue bubbled up with the closing of the Vancouver Playhouse, and I believe that it’s also at the core of the livelydebate on praxistheatre.com regarding the fate of Factory Theatre. A younger generation is looking at the theatre scene and seeing that there isn’t necessarily a place for them in the older institutions (I can’t believe that I’m considering companies founded in the 70’s as ‘older institutions’), nor do the younger generation necessarily want that place along with the millstones of full season programming, competitive and unending cycles of grant writing, increasing debt, and fickle audience numbers.
We speak of new models for theatre creation, but perhaps we don’t really need new models but rather simpler models that are able to adjust to an ever-changing cultural and financial landscape in this city.
This company is our attempt at exploring a more basic model for our work. At the very core of this company’s ideals is the idea that we as artists must serve and be nourished by a specific community. We receive no government funding, but we reached our modest budget goals through micro-fundraisers we’ve been calling “Serving Shakespeare”. These salon type events are our attempt at avoiding the dreaded “pass the $20 bill” fundraisers where our theatre community shuffles around our resources from one project to the next without bringing any new money into the picture.
Doggie auditions!
Help came from the neighbourhood through community organizations like Friends of Withrow Park and the local Farmer’s Market, through local businesses that provided space or food like Broadview Espresso and Combine Eatery. We’re also sourcing our canine performer (yes there is a real dog in Two Gents!) from the local dog walking association of neighbourhood owners.
We perform and rehearse in the park, which without fail attracts a small gathering of people who watch us building our work right out in the open. Rooted in this one area, we’ve been able to maintain a presence in the community in the months and weeks leading up to our performances.
Concurrent with the show, we are running two community-based initiatives: The Guerilla Ruffians, a marauding band of amazingly talented current students or recent grads of theatre programs that have been attending workshops with established professionals to create a mobile performance troupe that appears at local events. Our other initiative is an Intensive Youth Apprenticeship Program offered free to neighbourhood high school students. Over six weeks the students sit in on rehearsals, take part in workshops led by members of the company, and create their own short play to be performed as an opening act on our closing weekend of performances.
There is a pervasive sense of recklessness that we’ve cultivated among our company – a sense that nothing is sacred or precious. For our inaugural production we’ve taken Shakespeare’s least produced play, The Two Gentlemen of Verona and re-wrote the ending. Albeit using all of Shakespeare’s text, stealing sections from all of his other plays and sonnets. I expect that we’ll offend some Shakespeare purists out there, and we’re looking forward to any debate we can spark about the sacredness of a text vs. responding to our current surroundings. There are already some passionate views out there against mucking about with the classics.
Our challenge moving forward will be to constantly renew what it means to be artistically reckless; to follow our curiosity when it comes to looking forward to another season, rather than to try to give the audience more of the same each year, even if what we do is a raging success. I believe our hope for any kind of ‘success’ will lie in our investment in the youth apprenticeship program as well as the young emerging professional artists that are hungry for challenging work in this beautiful city. I hope that we can build this company into something the entire theatre community can take ownership over, invest in and benefit from in addition to empowering own artistic development.
Trailer for His Girl Friday the 1940s film. Directed by Howard Hawks, starring Cary Grant
by Krista Jackson
It’s hard to believe it is the middle of July and in less than a month we begin rehearsals for our own Directors Projects. Despite the long hours in the rehearsal hall, being in all three theatres tech-ing, production meetings, teaching academy sessions and joining the audiences of Present Laughter and His Girl Friday on the terrace for my pre-show chats, this internship has felt like a sabbatical. I have had the time to read novels and plays from the mandate.
I am learning phonetics from the amazing voice and dialect coach Laurann Brown. (we are using the IPA while working on an American Southern dialect). I have regular Alexander sessions with the Victoria Heart; a technique I have not explored since theatre school. I have also had a Manners of The Mandate tutorial from Sharry Flett and look forward to a more intensive workshop with Guy Bannerman and Sharry before the season ends to incorporate these details into my project.
My first choice for the project was approved! I I will be doing two shorter American one acts with the same set. George S. Kaufman’s If Men Played Cards As Women Do will transition into Alice Gerstenberg’s Overtones. Kaufman has four men meeting to play cards and Gerstenberg has two childhood friends – with a history – meeting for tea. She gives each woman “a primitive self” who speaks what she is really thinking and feeling. The shows compliment each other even though they are very different in style.
Trailer for His Girl Friday by John Guare. Directed by Jim Mezon, assistant directed by Krista Jackson
I submitted Tina Howe’s translation of The Bald Soprano by Ionesco as my third choice and a John Galsworthy’s short Punch and Go. It turns out it was also Associate Director Eda Holmes’ second choice when she was did this internship in 2001. I am in the process of casting and have lined up some fantastic ensemble members so far, but i’ll let you know the full cast in the next post and let you in on some design ideas as well. It is a very small budget but we have the furniture, props and costume warehouses to pull from. This past winter, all the costumes at the warehouse were barcoded and ensemble members who have been here for many seasons have their own closets.
The Festival celebrated a second round of openings the first week of July which included His Girl Friday! Tonight is our first dress rehearsal for Hedda Gabler. Bill Schmuck’s set and costumes, Kevin Lamotte’s lights and Todd Charlton’s sound design are gorgeous and I can’t wait to see everyone in their costumes. Investigating Ibsen again (I played Regina in aproduction of Ghosts) from the other side of the table with Martha Henry has been a masterclass. Martha has put me to work staging the two transitions and I have been soaking up her vocabulary of over fifty years in the theatre.
A few of her insights from my notes…
“Props have a life of their own – once they expose themselves. Don’t put them away until they have finished accomplishing their purpose.”
“All the motivations come from the other person.”
“Actors’ technique is knowing how to arrange your being so that you are emotionally availablein the moment.”
I have also learned that the key to a characters’ journey can lie in a single word and thatsometimes the pronoun as the operative word is your friend!
I have been following with interest the events and actions surrounding the recent firing of Ken Gass at Factory Theatre.
I have seen several letters from some extraordinary artists that offer actions or pathways forward in response to the Board of Factory actions, and have contributed my own modest thoughts to the debate.
One of the things that alarms me is the relative absence of voices from the younger generation of theatre artists…ADs of project centric companies, authors, actors, dramaturgs, designers,producers.
Not to generalize too much, but I have seen very few signatures on the various letters seeking either extreme, moderate or conciliatory activity…in fact very little commentary at all from the majority of Toronto theatre artists under the age of, say, 35. Perhaps many signed the initial petition that garnered 3000+ signatures, but where are the voices NOW?
I am not suggesting that the younger voices need to agree with Mr. Healey, Mr Walker, Mr. Moodie, Ms Stolk or Ms Gibson MacDonald and their various suggestions for action..but I am suggesting that perhaps more than any other group, you have a vital stake in what is happening and you need to express your opinions.
I ask myself a few questions here:
Why is there such relative silence from your generations of theatre artists?
How have I and my contemporaries failed in setting an example for you, so that you do not feel compelled to speak up in such a time?
Why do we as a community of artists have so little to say politically about our own institutions in comparison to similar communities from other cultures..USA, Britain, France, Germany as well as the non-Eurocentric communities of theatre artists in the world?
Others of my generation of Canadian theatre artists have suggested that you are simply waiting, like Prince Charles for the old guard to slip away so you can take over the institutions that have been built.
Some have suggested that you live in fear of rocking the boat and so not getting hired by whoever does take over theatres such as Factory.
Some say you are just rigid with apathy about the issues that have challenged Canadian theatre artists from the beginning of our short professional theatre history. We are after-all, for all practical purposes, just 70 years old as a theatre culture.
But I have worked with many of you, and I have sensed a fierce intelligence and passion inside you. So your silence I know is not simply due to the above.
Ken Gass
Is it that you don’t feel these issues are YOUR issues?
Because, I believe they are. The real issues at hand here are the issues of artist voice and artists’ moral rights to have a say in how the theatres that live or die by our work as artists are run. The issue of Board control over artists and their institutions has been a challenge to our Theatre since the first professional regional theatres were born out of the ashes of amateur theatre and throughout the evolution of large regionals, the alternative movements of the 70s and early 80s and the new wave theatres of the 90s and beyond. T
The issue is far larger than the firing of one AD (one, I might add, that has had a major impact on many of your careers…it was not after all the board of Factory that gave you a break when you needed it was it?) The issue is one of ownership of voice through the determination of how our institutions are run. If you do not speak out on this issue (and again, I care not what side you may come from, I ask only that you speak) you are in danger of backing yourselves into a corner of irrelevance.
When Sara Kane’s play “Blasted” was first produced in England, it received some pretty vicious press. The major artists of various ages in England were quick to respond through a very vocal and activist series of letters to editors, op-ed articles and broadcast debates. Many of the senior “established” artists such as Carol Churchill, Harold Pinter and many more went to the barricades to fight for creative voice. This has happened in England, the US, France, Germany (as I mentioned earlier) again and again when artists and their institutions are attacked.
Why are we so complacent here?
Why are you being so silent?
The blogs and papers and theatre lobbies should be abuzz with thoughts, opinions, letters from YOU (DOB 1977 and beyond)..yet I sense in sad recognition that the issue is slipping so quickly to just another Facebook entry-du-jour.
Please do not let that happen. Please do not be silent. Theatres like Factory were built with the blood, sweat and tears (and physical/mental/spiritual currency) of your predecessors in our community. They were not built to be passed on to board membership after board membership for patriarchal stewardship. They were built to be passed on to you! And when I see with wonder the explosion of new babies in your circles, it bears remarking that what you inherit, you will too pass on to them.
But Goddamn it, you have to stand up to be counted first. You have to get off the fence. You have to speak. All silence is the silence of complicity in your own future being determined by others.
Transmedia storytelling is becoming much more prevalent. Even if you have not heard the word you have probably experienced it, or a part of it, in some way in both popular and alternative culture. Transmedia storytelling is, essentially, a technique of telling a single story or story experience across multiple platforms and formats using current digital technologies. Audience engagement is of prime importance and a wide range of techniques are used to this end. Within each story these acts of engagement, all the platforms and actions are narratively synched to each other.
Alternate Reality Games {ARGs}, can be considered a form of transmedia storytelling. They are interactive narrative experiences that use the real world as a platform to tell stories and, generally using the internet as a hub, the audience becomes integral as they can affect the story by their ideas or actions.
Depending on your viewpoint this is either TERRIFYING! How can you control a narrative arc when everything is changing and the audience gets input! OR EXCITING! The planet as your stage, a direct connection to your audience, storytelling that is kept on its toes as it adapts to the participants.
I tend towards the second option, which is why I think that theatre creators have so much to offer and to learn from ARGs. The ‘live-ness’ of theatre, adapting to the unexpected audience reaction, the real world engagement – all of these traits that are inherent to the theatre experience are also key to making a great ARG experience. From the ARG side, I think that theatre creators can learn a lot about gaming techniques, online engagement strategies and non-linear narrative from the digital/interactive components of ARGs.
The Mission Business is a recently launched, Toronto based company that is exploring the space between the two. They describe themselves as ‘an adventure laboratory based in Toronto that designs connected live-action and online experiences to thrill you, challenge you, and make you think.’ Their expertise includes expertise in theatre, digital content creation, and game design.
Their inaugural project ZED.TO is an immersive narrative experience about the end of our world. It encourages its participants to engage with the story through various media. These include original online content, pervasive-style interactions and performance events linked to major artsfestivals across Toronto throughout 2012. By charting the rise and fall of ByoLogyc, a fictional biotech corporation, ZED.TO is an investigation into the hubris of mankind in its hurry to innovate and improve itself – regardless of the price.
This location based story stretches the boundaries of actor, audience, stage and experience. It gives an audience an immersive experience that can be accessed through a variety of outlets from online, live events, live theatre experiences and a variety of other media. This project is a great way to get immersed in the world of ARGs and experience location based storytelling first hand.
Transmedia 101 is a community building initiative that encourages collaboration between both transmedia professionals and creatives, innovators, & instigators from ancillary industries/interests who desire to learn more about how to apply transmedia strategies to their properties & projects.
Anthea Foyer is a digitnista who makes beautiful things using technology. She believes wonderful things happen when worlds collide – on and offline. She is also one of the organizers of Transmedia 101.
The Patron’s Pick (one for each official Fringe venue) is decided after every company’s 4th show. Selection is based on a combination of cash ticket sales after the first four shows coupled with media reception and overall ‘buzz’ of the production.
100% of the tickets available for Patrons’ Pick performances can be sold in advance. Get your tickets ahead of time at fringetoronto.com or 416-966-1062.
PATRON’S PICK PERFORMANCES OCCUR ON SUNDAY JULY 15TH
Tara Grammy in MAHMOUD. Photo by Dan Epstein
Rare
Tarragon Mainspace, 9:15 pm
Mahmoud
Tarragon Extra Space, 9:15 pm,
Tinfoil Dinosaur
Solo Room, 7:30 pm
One In A Million (a micromusical)
Randolph Theatre, 9:15 pm
A Funeral For Clowns
Annex Theatre, 9:45 pm
Help Yourself
George Ignatieff Theatre, 9:30 pm
Sam Mullins in Tinfoil Dinosaur
The Other Three Sisters
St. Vladimir’s Theatre, 6:45 pm
Medicine
Helen Gardiner Phelan, 9:15 pm
21 Days
Robert Gill, 6:45 pm
pomme is french for apple
Theatre Passe Muraille Mainspace, 6:45 pm
With Love And A Major Organ
Theatre Passe Muraille Backspace, 7:30 pm
It’s been interesting being involved in two separate productions that both dealt with Toronto’s G20 Summit. In You Should Have Stayed Home (Praxis Theatre and The Original Norwegian, Summerworks 2011), the production focused on the experience of the innocent victims – just some of the nearly 1000 people arrested & detained that weekend. In ANTIGONE (Soup Can Theatre, Toronto Fringe 2012), the Greek drama now set in Toronto during that summer of 2010, two sides of the conflict are explored: the authority figure trying to maintain order and civil obedience, and those who rebel for the sake of honour.
You Should Have Stayed Home gave the audience a glimpse into how those who were arrested and detained were brutally treated by the police, and how appalling the detainment centres were – unsanitary, cramped, and horribly disorganized; all of this coming from Tommy Taylor’s first hand account. Tommy had been standing near the protestors at the Novotel Hotel, and was swept up in the mass arrests and thrown into a cage overflowing with other men. While many police officers yelled at and mocked their ‘prisoners’, others were very sympathetic and knew how wrong this was, detaining people for several hours in makeshift jails with barely any food and water.
Sarah behind & left of Tommy as a G20 detainee - Photo by Will O'Hare
Soup Can’s production of ANTIGONE ties Sophocles’ tragedy with Toronto’s political climate during the G20. The story centres on Antigone, a young Theban woman determined to bury and honour her two brothers, both slain fighting on opposite sides of a senseless war. This act, in violation of an edict put forth by Creon, the iron-willed King of Thebes, forces her to both confront and defy his authority in the name of principle – a brave and noble choice with costly consequences.
Searing images of both the G20 and the Occupy movement are infused into the production, like the Chorus in combat positions, wearing gas masks and brandishing batons, and a chain link fence that serves as a place for protestors to hang their homemade signs, and also as a divide between Antigone and the outside world after she is arrested. Director Scott Dermody’s inspiration for a G20-infused production of the play came to him when he read a newspaper article about a pair of brothers, one a police officer, and the other a G20 protestor, reminding him of Antigone’s two brothers.
Being involved in both YSHSH and ANTIGONE has provided me with an opportunity to explore three different points of view: the bystander, the protestor, and the authority figure. There is still much more that needs to be explored about the G20. A recent Toronto Star article titled “The G20 Summit: Where Are We Now?” (written by staff reporters Jennifer Yang and Jayme Poisson, published June 29th 2012) states that the “Canadian Civil Liberties Association has consistently maintained that only a public inquiry can make sense of the G20 summit and its complex security operation … Instead, Canadians have been given a hodgepodge of disparate reports, reviews and inquiries … Taken as a whole, the reports provide snapshots of the G20 story, but no wide-angle view of the overall picture.”
The G20 will continue to fascinate and anger while more reports and reviews are written, and as investigations develop, I hope to see more artistic pieces develop that explore different facets of the G20 in all their complexities while we hope to eventually get “the overall picture’.
Sarah Thorpe is the Co-Producer of ANTIGONE at this year’s Toronto Fringe Festival, and the Artistic Director of Soup Can Theatre. Click here for dates & times of the final three performances of ANTIGONE.
I am horizontal
You are vertical
You are the mountain
I am the valley
I am the Earth
You are the Sun
I am the shield
You are the sword
I am the wound
You are the pain
I am the night
You are God
You are the fire
I am the water
I am naked
You are in me
I am horizontal
But not every time
You are vertical
But for the time being
I am vertical
The mountain of orgasm
You are horizontal
Near me
~ Cross, by Rafał Wojaczek
Image:
Sound:
Intersection Theatre presents S-27 at the Toronto Fringe Festival directed by Yolanda Ferrato
IRINA. [Sobbing] Where? Where has everything gone? Where is it all? Oh my God, my God! I’ve forgotten everything, everything… I don’t remember what is the Italian for window or, well, for ceiling… I forget everything, every day I forget it, and life passes and will never return, and we’ll never go away to Moscow… I see that we’ll never go….
~ The Three Sisters by Anton Chekhov
Image:
Sound:
The Other Three Sisters
Written & Directed by Johnnie Walker
Starring Morgan Norwich, Alexandra Parravano, Jamie Arfin, and Julian De Zotti
Designed by Lindsay Anne Black
Stage Managed by Jeffrey Dale
On now at the Toronto Fringe Festival
Tickets: $10
St. Vlad’s Theatre, 620 Spadina Avenue
Click here for the Fringe Festival website with all the dates & times, and click here for the company website for more information.
Photo of Morgan Norwich, Jamie Arfin and Alexandra Parravano (l-r) by Greg Wong.
That most anticipated time of year is upon us again: the Toronto Fringe Festival will once again spread across the Annex, inciting twelve wild days of drinking, debauchery, and theatre-going. As the days shift from “merely very warm” to “Dear God, why is it so sweltering everywhere?”, the pressing question upon every theatre-goer’s mind is: What should I go see at the Fringe this year?
Well, readers, once again Pip is here to set you straight and guide you in your decisions. After careful thought and a highly scientific process of stabbing my Fringe program with a highlighter, I have determined my top picks of this year’s festival. Here are, in no particular order, the six shows you absolutely must see at the 2012 Fringe Festival.
Too Much Information You Never Wanted To Know About Me: The Solo Show
By That Guy Who’s Been Touring The Fringe Circuit Since Time Immemorial
Join me for the story of how I had sex once! And also I have problems with women, that probably stem from the fact that my father left home when I was seven! And also with my boss (same reason)! And I have a somewhat inappropriate and overindulgent relationship with my turtle (same reason)! And I’m forty-five and I can’t date anyone more than three times before I freak out. It’s probably because of my dad.
Five stars – Winnipeg Free Press/Patron’s Pick – Orlando Fringe Festival
Things That Should Never Be A Musical: The Musical
By That Group of Stoners Who Did Not Realize What They Were Getting Into
Join us for a wild, comedic romp about that thing that seemed really, really funny nine months ago when we were all on weed and then Jimmy (who had just taken ‘shrooms) said, “Hey, guys, wouldn’t it be great if this was a musical?” and then Lucas got his guitar out and Caleb’s girlfriend Kelsei started singing and man we all just laughed and laughed and laughed and then shit we’d won the Fringe lottery.
That Fight I Had With My Ex-Boyfriend That I’m Still Not Over Two Years Later: A Drama
By That Girl Who Never Stops Talking About Some Guy Named Ben Benson
Join us for the story of Ben Benson, who is a lying liar who lies and also cheats on you. DO NOT DATE HIM. Plus I saw him at The Brunny the other night and he was totally scamming on two girls at once but what they don’t know is HE HAS HERPES.
My Family Is Way Worse Than Your Family: A Comedy
By That Middle Aged Woman Who Found Theatre Late In Life
Join us for a hilarious romp through all of the funny things my kids and parents ever said! Set at a Thanksgiving dinner, this multigenerational comedy is full of the wacky hijinks of a madcap family of misfits coming together for a holiday none of them will forget!
I Have Too Many Feelings For Words: A Dance Piece
By That Young Artists’ Group
Join us for a collective creation that we made out of our youth outreach program, dealing with themes of sexuality, grief, and growing up set to the music of Lady GaGa and Nicki Minaj. Too old to be kids, too young to be adults; we’re not girls, but not yet women.
Scandalous Words Strung In A Row With Salacious Intent To Make You Think My Show Is Interesting: The Site Specific In A Wildly Inappropriate Place
By That 23 yr old University Student Who Thinks This Is A New Idea
Join us for tits tits tits tits blowjobs handjobs drugs makeouts allusions to multiple partner sex acts. A wild, sexy ride into a sexy heart of darkness filled with sex, drugs, and rock n’ roll! In the dressing room of a strip joint! Lap dances extra.
[For real advice about which of this year’s 155 amazing shows you want to see at the Toronto Fringe, please check out Derrick Chua’s picks here.]
Sarah ‘Pip’ Bradford is the Mainspace Technician of Tarragon Theatre and the Youth Outreach Coordinator of the Toronto Fringe Festival. She blogs here (tips from pip) and here (The Christopher Pike Project), and also live tweets really bad books @pipbradford #pipreads. She would like to emphasize that every one of these Fringe shows is both totally made up and something she totally saw at one point, and she really enjoyed them all. She also firmly believes that you should tip your stripper.
A couple of guests who passed out early - Image by Aislinn Rose
Recently we held a fundraiser at the home of one of our generous donors, Irfhan Rawji, and we’d like to take a moment to offer thanks. We had an amazing line-up of artists and performers from our community, and want to thank everyone who attended, volunteered, created art, played music, or sent us good tidings.
Blair Francey, Bridget MacIntosh & Gillian Hards
Ian Rennie
Hosts Irfhan Rawji & Christine Armstrong
Matthew Dixon & Charlene Heath
Nicolas Billon, Tommy Taylor & Kate Bullock
Local 164 – Image by Neil Fleming
Praxis AD Michael Wheeler & AP Aislinn Rose
A couple of guests who passed out early – Image by Aislinn Rose
When we began planning our fundraiser, we also set up an IndieGoGo page for people who wished to contribute but couldn’t attend. That campaign ends at 11:59pm on Tuesday, July 3rd.
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”
Recent Comments