Katie Housley Winner of the 2014 Toronto Fringe 24-Hour Playwriting Competition
WINNER OF THE 24 HOUR PLAYWRITING CONTEST, PRESENTED BY THE PLAYWRIGHTS GUILD OF CANADA:
Midnight on a Monday by Katie Housley
After an emotional day at work, an aspiring sitcom writer finds an unlikely ally in a subway station kiosk owner.
The play show will receive a staged reading to be directed by Praxis Theatre Artistic Director Michael Wheeler, performed by Kat Letwin and Susan Q Wilson.
Location: Tarragon Theatre Solo Room
Date: Sunday July 13th
Time: 9:30pm.
Katie is a recent graduate of the University College Drama Program at the University of Toronto. She was a member of the Paprika Festival’s New Writers Series this past Spring under the mentorship of Convergence Theatre’s Julie Tepperman. Selected acting credits include Teatron Theatre’s Seven Days, Toronto Fringe Festival’s Genesis and Other Stories by Rosamund Small, and Docket Theatre’s Performing Occupy Toronto. She has studied improvisation with the Second City Training Centre and classical acting with the American Conservatory Theater. Katie will be attending the Stella Adler Acting Conservatory in New York this coming Fall. Upcoming: She Kills Monsters at the Red Sandcastle Theatre.
2014 Jury:
Denise Norman, Graham Isador, Donna-Michelle St. Bernard, Barbara Fingerote, Renna Reddie, Jon Michaelson, Indrit Kasapi, Laura Anne Harris, Maya Rabinovitch, Merle Garbe.
Cast:
Kat Letwin
Favourite stage roles include Acaste in The Misanthrope (Mirvish/the red light district), Mrs. Griggs in Sockdolager (The Templeton Philharmonic), Noaman in A Funeral For Clowns (Toronto Fringe 2012 Patron’s Pick), Princess/Michelle in Scheherazade (Next Stage Festival 2014), and Evelyn Marlow in Dark Matter (Circlesnake Productions). Kat has been featured on MTV’s Losing It, currently voices Dr. Ashfaq (Tall, Dark & Handsy) and Waggles Billingsworth (Money Dog) for Bite TV, and just finished her run of Rulers of the Universe: A Love Story at this year’s Toronto Fringe. She can be seen every month at Comedy Bar as co-host of Solo Combo, an experimental variety show for sketch comedians and improvisers.
Susan Q Wilson
Since returning to acting in January 2010, Susan has demonstrated her versatility on stage and on camera. Selected theatre: Helen, Radical (Toronto Fringe 2014), Dahlia Day, I’m Still Here! (New Ideas Festival), Dowager Countess, Uptown Abbey (Mysteriously Yours), First Witch, Macbeth (Hart House Theatre), Jean Rhys, After Mrs. Rochester (Alumnae Theatre). Selected film/web: Esther, Senior Drivers (Dir: Gary Hayes), Maddy Miller, Out With Dad (Dir: Jason Leaver). Website
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.
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.
Greta gets some Fringe Tips from Johnny Walker, the Co-Artistic Producer of Nobody’s Business Theatre (not the cheap whiskey):
JOHNNY WALKER’S 5 TIPS FOR PEOPLE DOING THEIR 1ST FRINGE SHOW:
1. Find people you trust and like to working with, even if they have little to no experience.
2. Befriend an amazing photographer. This is how you get press-awesome photos.
3. Fundraise, fundraise, fundraise! Do not go into a show with zero capital and expect to recoup all you expenses from your box office.
4. If you write your own work and you have limited resources, write to your resources. Don’t write set pieces you can’t afford or characters you will never be able to cast.
5. Sell your work. A catchy title, pithy synopsis, memorable poster and aggressive web presence go a long way.
Nobody’s Business theatre company has two shows going on during the 2012 Fringe Festivals: The Other Three Sisters will be playing at the Toronto Fringe and then the company leaves for a cross Canada Fringe Tour of their 2010 Summerworks hit – Redheaded Stepchild read the review here.
Greta Papageorgiu is an actor, writer, teacher and director. She performs and teaches throughout Ontario and Quebec. Greta loves the theatre and hopes to share some of her love with you through 2 Minutes With Greta Papageorgiu.
Pip's dispatches have moved from the Tarragon Theatre Booth to the Toronto Fringe Office
Dear Friends:
There is a saying in this world that “a change is a good as a rest”. Frankly, years of club-hopping has left me unconvinced of the truth of that statement. Sometimes, readers, I would have been far better served by going home to bed than by going to the Dakota. However, I have decided to take this dubious advice to heart and, finding myself tiring of the trials of being a space technician, I have flown the Tarragon coop and found a new roost here at the Toronto Fringe Festival for a brief time.
The Toronto Fringe, in what can only be a moment of near-godlike inspiration, has seen fit to hire me as their Youth Outreach Coordinator. And after reviewing the reasons you wish you were in my program I have listed below, I’m sure you will agree that clearly they could not have gone in any other direction.
5 Reasons Why You Wish You Could Be In My Youth Outreach Program
We’re talking the Fringe Festival here.
Seriously, why would you not want to be part of the best two weeks in Toronto theatre? Do you not like seeing plays for free? Do you not want to be party to some of the most interesting discussions in theatre? Do you not like hanging out with awesome people?
I’m too new to know what isn’t allowed.
If you think it is a good use of our time together to watch episodes of Gossip Girl and analyze the development and progression of Blair Waldorf, the greatest character on television, who am I to say no?
Thanks to my raging adult ADD, I have more energy than any one human being should.
Being me requires enough energy to fuel a rocket ship to the moon and back. Think you’ve got lots of drive and get-up-and-go? I wrote the book on overnighters WHILE OVERNIGHTING. This party never stops.
I’m a technician, which means we are not dilly dallying around here.
We are going way beyond theatre games, my friends. Largely because I am not too clear on the rules and motivation behind Zip Zap Zop.
You get to come hang out with me in my clubhouse
As the Youth Outreach Coordinator for the Toronto Fringe Festival, I am finally achieving a Fringe Dream five years in the making: I get to hang out at the Fringe Club all day long while people come visit me in my clubhouse, The 100 Salon. No, seriously, I have a salon. You want to come to my salon? WELL TOO BAD, because you’re not in my youth outreach program.
The program Pip is taunting you with is The 100, a new program the Fringe is developing for young artists between the ages of 17 and 24. This 12 day immersive theatre entrepreneur boot-camp allows participants to get hands-on experience developing viral and guerilla marketing techniques, learning about self-promotion and branding, and generating street theatre while acting as ambassadors for the Fringe Festival of Toronto.
Perks include an unlimited pass to the Toronto Fringe Festival, access to behind-the-scenes action at the Fringe Club, and more fun than you can shake a stick at. To learn more, you can email her at outreach@fringetoronto.com, or to apply simply click here.
Sarah ‘Pip’ Bradford is the Youth Outreach Coordinator for the Toronto Fringe Festival, the Mainspace Technician at Tarragon Theatre, and the founder of Art Is Hard, a grassroots arts philanthropy project.
If you like what you see here, she blogs (infrequently) at The Christopher Pike Project, and posts daily to Tips From Pip, an unsolicited Tumblr advice blog. She is also willing to accept Samwell Tarly on Game Of Thrones as a contender for best character on television.
Praxis Theatre is involved in two events as part of Social Media Week next week, both of which address the intersection of performance and online technologies.
Although many of these events are now “sold out” for online pre-registration, there is a waiting list available at the venues, half an hour before each event begins that you can get on in person. Because all SMW events are free, it is anticipated that most events will have some people that don’t show up for their free pre-reserved spots.
The Online Brain created by Aislinn Rose is part of Liza Balkan's Out The Window at The Theatre Centre. The Line up for Free Fall '12 will be announced at The Drake Hotel on Monday February 13th.
What are the ways that online technologies can be used in conjunction with performance? How are digital technologies expanding the potential of art forms that have initially been analog based?
Free Fall Festival Co-Curator Michael Wheeler moderates multi-platform artists involved in The Theatre Centre’sFreeFall ’12 – ‘Performance Without A Net’. Panelists will demonstrate, discuss, and debate their mid-process methods and artistic philosophies in this interactive event.
From online “brains” that supplement the material an audience engages with live, to interactive performance that encourages audiences to upload their consciousness online, to cross-city tours that keep a mobile audience connected through social media tools, the parameters and potential of storytelling has expanded in exciting and unexpected ways.
Follow along or participate via #SMWFreeFall.
Panelists:
Jonathan Goldsbie on the use of Twitter in Route 510 Revisited Aislinn Rose on an Online Brain that complements Liza Balkan’s Out The Window Andrew Templeton on online platforms and narratives intersecting with Radix Theatre’s Babylonia.
Melissa Hood prepares her notes before a workshop presentation of Open Source Theatre Project
Yes, that’s right, it’s the romantic Valentine’s Day activity you’ve been looking for. Set the flowers and chocolates aside and come talk internet, community and theatre.
Praxis Theatre and the Toronto Fringe will co-host a case-study analysis of the work that Praxis makes in tandem with online community building activities, and how that community in turn helps build the work.
A presentation lead by the editors of praxistheatre.com and community members, this conversation aims to not only explore the notion of social media as audience development tool, but also performance development. A conversation for industry professionals, students, producers, media, PR professionals, and industry enthusiasts.
We played the second of our three games on Thursday night, and saw our players – made up of members of Toronto Area Gamers – defeat a cursed manticore by tricking it into killing his own minions. The final epic battle was against a many-eyed rubbery octopus-like creature, in the midst of which I tweeted the following:
Apparently this is the kind of thing I tweet without giving it a second thought these days.
Tonight is our final game, and we’re bringing together members of Toronto’s theatre and gaming communities in a brand new adventure, taking place in the basement of Snakes & Lattes from 5pm until 11pm. Now that we’ve resolved some of the logistical challenges of the experiment our focus tonight is audience experience. We’ve brought you closer to the action, now how do we get you involved in that action?
View of the board from our Ranger, Mike Riverso
We also want to further explore the relationship between the design elements and the players, so that sound and visuals become a genuine and integral part of the conversation happening in the room. Our friend Amy will be joining us again with her iPad and will be live-drawing throughout, with a direct feed into the projectors.
Join us tonight in the final game of this phase of our experiment. We’re always happy to provide a recap, so don’t be shy about stopping by at any time.
Around the table you’ll find theatre nerds Michael Wheeler – Praxis Theatre’s co-Artistic Director, award-winning playwright Nicolas Billon, and Dora-nominated actor Colin Doyle. Rounding out the group is hybrid theatre/gamer nerd Becca Buttigieg, along with gamer nerds Kate Bullock and Ben Santos. Playing the role of God (or Dungeon Master) is, again, the wonderful Ryan Stoughton.
You can follow and join our tweets via #DnDPT. On Thursday night, our Ranger tweeted his experience when not smoking his Ranger pipe, or being saved by a flumph. Apparently a flumph is a thing.
Dungeons & Dragons (not) The Musical– Toronto Fringe Festival, 2011 Final game:
July 16th, 5pm to 11pm Venue:
Snakes & Lattes – 600 Bloor Street West. Tickets: Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
We had our first game of Dungeons & Dragons (not) The Musical at the Toronto Fringe Festival on Sunday evening in the Snakes & Lattes basement. For our first attempt at what we’re calling a performative experiment, it was fun, it was problematic, and I learned a hell of a lot. Oh, and apparently it was really hot.
Our team of theatre-makers and improv performers set out on a quest (along with their precious donkey) to find a manticore, meeting a copper dragon and battling gargoyles along the way. We started out with a packed house, but by the end of the six hours we had a rather more intimate audience. Despite our smaller numbers there was an audible gasp across the room when our beloved donkey met a tragic demise.
One of the main things I noticed as I watched the audience watching the game, is that many people were inching to get as close to the table as they could. Some of the braver audience members simply picked their chairs up and moved them next to the gamers, which I was happy to see. As a result I have plans to significantly reconfigure the placement of the game within the room, and where the audience will be seated. The gamers will be almost entirely surrounded by onlookers.
One of Amy's live (and un re-touched) ipad drawings from Sunday. Catch more of Amy's work throughout our final presentation on Saturday night
We also discovered some unexpected sound challenges. Considering the relatively small room in which we’re playing, I didn’t think sound levels would be a problem. However, we’re battling an air conditioning unit, so sometimes the voices were lost. This also limited our ability to really build in the sound design elements, in fear of further drowning out the action.
Our Dungeon Master, Ryan Stoughton, is an important and compelling element as he plays the various goblins and gargoyles, so I want him to be heard no matter what. Tonight he’ll have his own wireless mic, with an area mic to pick up the voices of the other players. This will also allow Lyon Smith our Sound Designer to further distort and play with their sound.
Finally, towards the end of the game when our players were more comfortable with one another, we had some really wonderful moments where they reached out to the audience for wisdom and advice. “Let’s ask the audience.” I’m hoping that tonight’s new seating and playing arrangement will further encourage this kind if interaction. Tonight will also see serious gamers at that table, and I’m excited to see how that alters the audience/player relationship.
I’d love to have you join us for our next six-hour session. We’ll be at Snakes and Lattes from 7pm until 1am and you can drop by any time for as little or long as you like. Our live-drawer for tonight is Jody Hewston, who created our D&D Dragons, and also just took 2nd place in the Fringe’s 24-hour playwriting contest!
Given the experiment, your feedback is really important to us, and I was thrilled to receive an email from a gamer who joined us for the entire 6 hours on Sunday to let us know what he thought. I hope we get more of those.
Before the show on Sunday, someone in line outside the venue said “are we allowed to heckle the players?”. Absolutely.
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Image by Jody Hewston
Dungeons & Dragons (not) The Musical– Toronto Fringe Festival, 2011 Remaining dates:
July 14th, 7pm to 1am
July 16th, 5pm to 11pm Venue:
Snakes & Lattes – 600 Bloor Street West. Tickets: Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
This July 1st marked the first Canada Day in four years that I did not spend in a marathon rehearsal session for a Toronto Fringe production. And yet, I do have a Fringe show this year… it’s just that I can’t exactly rehearse for it.
What I can do is tell you what – and who – I will be putting in the basement of Snakes & Lattes and what they will be doing. What I can’t do is tell you what’s going to happen once everyone is there.
The premise started out simply enough: What happens when you put Dungeons & Dragons, a character-based role playing game, in front of an audience? Is it interesting? Does it become performative? How does the presence of an audience affect the playing of the game? And… how the heck do you play Dungeons & Dragons? I have no idea, and I want to find out.
Previously on this page we have described the project as “part performance experiment, part research project”. Well, as the idea developed, its inherent ‘liveness’ and unpredictability – the fact that the story is created on the spot through the collective imagination of its players – became very exciting, and I wanted to open up this experiment to other members of the theatre community.
Snakes & Lattes on Bloor (click to enlarge)
Enter Trevor Schwellnus and Lyon Smith, Dora-winning lighting and sound designers respectively. While lights and sound are usually fixed features in a theatrical presentation, with set levels and fade in and fade out times, Trevor and Lyon will be experimenting with creating live light and soundscapes for each of the stories as they develop. Trevor and Lyon are also D&D nerds from way back.
Over the course of the Fringe we’ll also get to see how different kinds of players and their different backgrounds affect the game, and what that will mean to their relationship with the audience.
Our first game on the 10th will be played by members of the theatre and improv community, all with a background in playing D&D. The team includes one of my Toronto improv favourites, Carmine Lucarelli, winner of a Canadian Comedy Award as part of the ensemble of Show Stopping Number: The Improvised Musical, as well as Scott Moyle, Artistic Director of Urban Bard Productions, and dramaturg Stephen Colella, among others.
The second game on the 14th will be made up entirely by members of Toronto’s gaming community. Big thanks go to Kate Bullock and the Toronto Area Gamers for fitting me out with players and our Dungeon Master.
Our third and final game on the 16th will see these two brands of nerd join forces for a final epic game. Don’t miss Praxis Theatre co-Artistic Director Michael Wheeler as he returns to his D&D roots, playing alongside award-winning playwright Nicholas Billon, and Dora-nominated actor (and everyone’s favourite guy) Colin Doyle. You can also catch Colin at this year’s Fringe in The Godot Cycle, and we thank them for not scheduling his performance during our game.
Finally, I’ve also invited visual artists of various aesthetic styles to join us in our adventures to live draw/sketch the scenes and characters as they develop. If you’re an artist, please don’t hesitate to bring your sketch pad with you.
Oh, and about our title? It’s possible Michael and I were being nerds of another kind that day. Hope to see you in the basement.
Dungeons & Dragons (not) The Musical– Toronto Fringe Festival, 2011 Dates:
July 10th, 4pm to 10pm
July 14th, 7pm to 1am
July 16th, 5pm to 11pm Venue:
Snakes & Lattes – 600 Bloor Street West. Tickets: Click Here to purchase, or here for more information.
*PLEASE NOTE: there is a maximum allowable attendance of 20 people at any one time; the box office will be located at the venue and will be open for the entire 6 hour performance time.
“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.”
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