Wednesday, August 26, 2009

Umbrella Talk with playwright Lindsay Price

In this week's Umbrella Talk, Lindsay Price talks about the joy of writing for teenage audiences, the challenge of making science theatrical, and what inspires her to keep going.

A Little More About Lindsay Price

Lindsay is the resident writer for Theatrefolk, an independent publisher of original and adapted scripts for student performers. Her plays are regularly performed in schools across Canada and the United States with upcoming productions in Nebraska, Lethbridge, Georgia, California, New Hampshire and Florida.

Outside the high school arena, Lindsay most recently worked as dramaturg on Stand Up Eight, a circus show produced by the Aerial Angels. Upcoming, her play The Flying Bandit will be performed at the Sudbury Theatre Centre and she's thrilled to act as a playwright facilitator for the 2009/2010 Uth Ink program.

Her most exciting project to date is the publication of her a cappella musical Shout. It has always been her dream to write a musical and being able to provide such a challenging, rewarding piece for high school students is amazing.

You can find Lindsay's plays at:

What do you drink on opening night?
I write plays for high schools and student performers so there's really nothing stronger than Diet Coke at opening.

Who would direct the coolest production of one of your plays?

I saw a production of 'The Misanthrope' directed by Ivo van Hove at New York Theatre Workshop where mayonnaise landed on my leg. What he would do with a teen issue play I can only imagine.

What scares you? What can't you write about?
Causing a car accident. Oh, you probably mean in writing. Nothing. I adore writing in all genres, all subject matters comedic, bizarre or other wise out of my depth. I'm in the middle of trying to write a science play about nanotechnology which is so far out of my depth I take one step forward and seventy back. But that's fun too.

There are a number of things I can't write about given the age range of my market - which I find frustrating. I don't agree with the school of thought that says teenagers should be shielded from life (and swearing, apparently no teenager ever swears) as opposed to exposure and discussion. I certainly don't feel that they should be dropped in the deep end of the pool but why show them a whitewashed world, when it doesn't exist?

What do you want to write about that you haven't yet?
Nanotechnology. Trying to theatricalize science is a huge challenge which I have not yet been able to solve. The thing is, I think I will solve it because I can see the characters and I can see their struggle. Once I can figure out the humanity of a subject, the rest is just fitting together the puzzle pieces.

If someone was to write a play about your life, what genre would it be? (eg. comedy, tragedy, melodrama, horror)
Is pastoral goofy a genre?

How do you deal with praise? With criticism?
If you believe the good stuff, you have to believe the bad stuff, so I try for a happy medium. I appreciate it so much when someone has a positive experience with one of my plays and that's what I take away from any praise.

As for the criticism, I listen to those I trust to be constructive. It's essential to hear constructive criticism so that the work moves forward. I also go by the rule of three. If three people tell me the same thing separately then I have to look at it.

Where would you like your work to be produced?
Every high school in North America would be a nice start.

Where do you write? Pen or keyboard?
I create with pen and paper and rewrite on the keyboard. I adore the computer but there's nothing like the act of sitting down with a notebook and just the right pen and having the words flow out your brain, down your arm and on to the page.

What would you like academics to write about your work in 50 years?
Hmm. I think I would rather my work still being performed in 50 years rather than being talked about.

What inspires you?
My audience. There is no group more enthusiastic, more energetic, more optimistic, more loving of theatre than a high school drama group. I love writing for teenagers because I see the power of theatre up close in every production. It can be as simple as overcoming stage fright, or as huge as someone realizing they are not alone in their particular struggle. I have had teenagers tell me being in a play saved their life and if that's not inspiration to keep writing, to keep striving to create good work, I don't know what is.

Tuesday, August 25, 2009

Great collection of links

Philip at Nsaa has done it again. Check out all the great links he has in this post.

Saturday, August 22, 2009


One of the great things about writing this blog has been the people I've met through it. It's been a special treat being exposed to the various playwrights featured in Umbrella Talk.

Last night I had the pleasure of meeting Dianna Fuemana and seeing her newest work, Falemalama, as part of the Planet IndigenUs festival. In the past, I wouldn't have taken the night off work to go, but I wanted to meet Dianna.

The show is lovely. It talks about her mother's journey from the Polynesian islands to New Zealand. The show has a mix of languages and switches from text to movement and back again frequently. It's a great window into a culture that is part of the fabric of New Zealand but one that we in Canada are not exposed to often.

There's one more performance tonight (Saturday) at the Enwave Theatre at Harbourfront Centre and if you can, please try and see it.

Thursday, August 20, 2009

Dido and Aeneas review

When I posted about the ticket offer, I said I'd post any feedback here. baritone said "it was an amazing performance!!!!!" Did anyone else see it? Can baritone go into some detail about the performances? I'd love to hear.

Wednesday, August 19, 2009

Umbrella Talk with playwright Lucia Frangione

In this week's Umbrella Talk, Lucia Frangione talks about opening nights, her inability to write tragic endings, and the sensuality of her work.

A little More About Lucia Frangione

Lucia is an internationally produced and published playwright and award winning actor, best known for performing in her own works: Paradise Garden, Espresso, MMM, Cariboo Magi, Chickens, and Holy Mo. She is the recipient of the Gordon Armstrong and Sydney Risk playwright awards. Espresso was nominated for seven Jessie awards and toured Western Canada in 2004, and has been running for a year at the Jelenia Gorski theatre in Poland. She is currently a commissioned writer for The Arts Club and is developing a new play, Sanctuary, with singer songwriter Aaron Krogman. Her eighteen plays have been produced by theatres such as The Belfry, Ruby Slippers, Solo Collective, Chemainus Theatre and Prairie Theatre Exchange. Lucia will world premier her new play Leave Of Absence with Pacific Theatre in the fall of 2010. Her debut short film, Pop Switch, is currently screening at film festivals internationally.

What do you drink on opening night?
One glass of pinot noir makes me charming. Two glasses and my clothes come off. Three glasses and I am dead asleep under the table. How many glasses I drink depends on how good or bad the show is.

Who would direct the coolest production of one of your plays?
I have a wishlist of directors. They include Vanessa Porteous, Kim Collier and Danny Brooks to name a few. The top of my list is still Morris Ertman. He has directed several of my plays now. He understands my rhythm, he understands my spiritual sensual exploration, he knows how to stage my swirling feminine epic stories. He is deft and visually brilliant. He knows how to speak to actors and designers. A rare combo.

What scares you? What can't you write about?
Though I write with tragic events in my plays and am no stranger to pain and despair, I can't seem to write a tragic ending. My upcoming play for Pacific Theatre is Leave Of Absence and though it involves the death of a child, I just had to find some hope for the parent in the second act. I had to find her a reason to live. I wrote it before my nightmare came true and my own baby died. And I think of friends who recently lost their only child....I have a desperate double reason for wanting that second act.

I don't like the absurd very much either. It's important for me to find the thinnest thread of hope and beauty. In fact, the thinner the better. (the hope that is, the beauty can be absolutely full figured) A well earned happy ending? Gold. One night I decided to not believe in the Divine for about ten whole minutes. It was so depressing I wanted to shoot myself. I think atheists are brave and amazing. I admire that resolve. That ability to find joy under those circumstances? Wow. Truly. I can learn from that. Sometimes I challenge myself and ask, "Lucia, do you just believe in God because you can't handle the idea of your own mortality?" You know, maybe. I don't like death one bit. Feeling trapped is frightening to me. To think I am trapped into a time frame like mortality pisses me off. The Divine gives me endless mystery and possibility. It gives continuation to the souls I love and have lost. And yes, this gives me comfort and it makes me courageous. I'll take my chances with believing. It just makes sense to me spiritually and scientifically.

What do you want to write about that you haven't yet?
The title is Psychobilly Cleopatra. The undead spirit of Cleopatra emerges in the tattooed greaser hot rod world of psychobilly. For some reason, these things go together for me and it delights my brain. My sister fronts the Calgary based band Eve Hell and the Razors and I want to have her compose all the music. She is so cool. Truly. Pink hair, big orange double bass, smoky sassy vocals. She rocks.

If someone was to write a play about your life, what genre would it be? (eg. comedy, tragedy, melodrama, horror)
Soap Opera. I got everything going on except for the evil twin.

How do you deal with praise? With criticism?
When teaching (I teach an internet playwriting course through Rosebud School Of The Arts in Alberta) I am careful to give specific praise as well as specific constructive feedback. It's more important to be told what "is working", especially in the early development stages.Then a writer can focus on that and build on it. The dross will fall away. I always work with a dramaturge and have readings after my significant drafts. It's important to find a dramaturge you trust who "gets" what you're on about. There are some great dramaturges in Vancouver I've been lucky enough to work with: DD Kugler and Rachel Ditor regularly. I avoid sharing ideas and drafts with friends and family. I wait for them to attend opening night. I handle constructive criticism really well and am thankful for it. How else am I going to improve? Usually if someone has an overwhelmingly negative response to my work I say to myself, "oh too bad, they just don't get it yet." I find excessively negative people tiresome and self centred. They're usually envious.

Where would you like your work to be produced?
I think the NAC in Ottawa would be very exciting as well as ATP in Calgary. I've never had a play go to Montreal either and it's high time I came to Toronto again. Other cities I'm going to hit up are: Chicago, London, Berlin, New York, Prague, Hong Kong.

Where do you write? Pen or keyboard?
Keyboard. Though my first play was written on an electric typewriter. Yes, I am that old.

What would you like academics to write about your work in 50 years?
I dream of being part of an artistic sexual spiritual revolution where the major religions (Christianity and Islam in particular) further explore or return to their mystical feminist inclusive compassionate passivist sensual roots. How's that for lofty?

I am an avid supporter of the gay community.

I think mentorship is vitally important. I have personally committed myself to three emerging artists right now in an "unofficial" mentorship for the next five years. I feel it is my responsibility as an established artist to do so.

I'd like to be remembered as one of the citizens who rallied the Canadian government to value and support arts and culture which in turn, created an explosion of work on the world stage, firmly establishing Canada as a hotbed for theatre talent.

Geesh that's a long list. I better get to work.

What inspires you?
What I see, what I hear, what I touch, what I taste, what I smell. My plays are very sensual, in particular my latest two: Paradise Garden (world premiering at the Arts Club April 2010) and Sanctuary co-written with composer Aaron Krogman. I understand the world through my body. I guess that is why I am a playwright, not a novelist. My story must live within the blood, within a heartbeat, it must drip with sweat, laugh, cry, stumble, shake, dance, kiss, breathe. I write my nightmares and I also write my dreams. I have written the same man into my plays for twenty two years. I call him my beloved. I haven't found him. But my writing is my search for him. At least I have that.

Tuesday, August 18, 2009

L'Affair Drabinsky

There was a fantastic piece written in the Sun over the weekend outlining the extent of Garth Drabinsky's avoidance tactics in his recent fraud trial.

This is very personal for me. I worked for Cineplex Odeon in the late 80s when Garth was still running things. I started off working box office at the Pantages when it was a single-screen movie theatre, encompassing the original balcony. People forget how Garth got control of the Pantages. At the time, it had been Famous Players' most successful theatre, the Imperial Six, which was the original theatre divided into 6 screens. The theatre was built the way all the original vaudeville houses were built, with an entrance off Yonge St (which was more expensive) and the body of the theatre on Victoria St.

The property was under two separate ownership. One encompassed the Yonge St passageway and the floor of the original theatre, the other the Victoria St frontage and the balcony. For years, Famous Players held both leases. But in a play to strike a blow to their major competitor, Garth negotiated a deal with the owners of the Victoria St side and took over that lease, effectively rendering Famous Player's lease for the other half useless. He then renovated just enough to open the theatre that I worked at.

Shrewd business move? Perhaps. Always struck me as underhanded. In any case, Famous had no choice but to give up the other half of the lease. They added in the proviso that it could only be used as a live theatre, thus giving birth to Garth's theatre aspirations.

There was a lot of stuff written about how wonderful Garth is. That wasn't the Garth I saw. The man I saw was a bully. He blamed front-line staff when sales didn't meet his expectations. I saw him reem out two of my bosses on separate occasions when they weren't there at his beck and call. They had been helping staff clean theatres so that we could get the next show in.

I remember once I became assistant manager (and sexism was alive and well then, as there were few women in management positions and we were paid less than our male counterparts) one weekend when Garth called in for numbers two minutes before that film was due to start and ranted because we didn't have figures at his beck and call. The info was in the office and at that point I was running a box office register, the other assistant was helping out behind the candy bar, and the manager was dealing with a patron issue in the lobby. Garth didn't care. He was furious. For the rest of that weekend, one of us had to go to the office every five minutes to get numbers in case he called again. Of course, he didn't.

My boss at the Pantages stayed on to be merchandise manager when the theatre reopened. He got so many contradictory messages from management and put up with so much disrespect that he quit in frustration shortly before opening. I also saw a cavalier disregard for financial protocol on the part of upper management during my time there. This was not a healthy corporate culture and those setting that culture were the ones that were convicted of fraud. I wasn't surprised at all.

So yes, I'm one of those disgruntled ex-employees that were so dismissed by the mainstream media. I know of so many people who were yelled at by Garth because they weren't performing to his expectations, which usually boiled down to not dropping everything you were doing and grovelling at his feet when he walked in a room. The talent never saw that side of him because he was shrewd enough to realize the people he needed wouldn't put up with that treatment. But if you were support staff, he considered you his serf.

And if he did so much for Toronto theatre, how come I can't remember one Canadian director, designer, playwright, or original lead he hired? Brent Carver doesn't count because he was slated to be understudy for Kiss of the Spider Woman and only got the lead when none of the New York actors approached wanted to play an openly gay man. According to Garth, Canadians were only good enough to be assistants and understudies, allowed to take over only once the press stopped paying attention.

So to me, this is karmic justice.

Wednesday, August 12, 2009

Umbrella Talk with playwright Rex Deverell

In this week's Umbrella Talk, Rex Deverell gives us answers that are short but oh so sweet.

A Little More About Rex Deverell

Rex Deverell is an award winning playwright - a librettist, a poet, and a sometime actor, He was Regina’s Globe Theatre Resident Playwright from 1974-1990 where he wrote prolifically for both the main stage and for young audiences.

He has also held playwright residencies at The Blyth Theatre Festival and the University of Windsor, He is currently an associate artist with Mixed Company Theatre in Toronto.

His work has won the Canadian Authors Association Medal, a Chalmers Award, the Ohio State Award, and a Major Armstrong Award. He is a member of the McMaster University Honour Society, the McMaster Alumni Gallery, the Saskatchewan Theatre Hall of Fame, and he is a life member of the Guild of Canadian Playwrights.

He has also worked as a librettist with a number of Canadian composers including Elizabeth Raum, Quentin Doolittle, and Andrew Ager.

Highlights include a Japanese production of his play “Boiler Room Suite” in Tokyo, a gala performance of “Prairie Wind” before Queen Elizabeth and Prince Phillip in Regina, and the tour of the Banff production of the opera “Boiler Room Suite” in Wales and England.

What do you drink on opening night?

Who would direct the coolest production of one of your plays?
Any (or all) of the following: Cecil B. DeMille, Mother Teresa, Tim Burton, The Creator of the Universe, Samuel Becket, Djanet Sears.

What scares you? What can't you write about?
I'm too scared to answer this question.

What do you want to write about that you haven't yet?
My (now deceased) father. (Sorry, Dad)

If someone was to write a play about your life, what genre would it be? (eg. comedy, tragedy, melodrama, horror)

How do you deal with praise?
Humble gratitude.

With criticism?

Seething bitterness.

Where would you like your work to be produced?

Where do you write?

In the heat of passion, in the State of Denial, in the Country of Looming Deadlineblivion.

Pen or keyboard?

Both, although not simultaneously.

What would you like academics to write about your work in 50 years?
Whimsy did him in.

What inspires you?
A really good question! (Seriously, I'm inspired by really good questions.)

A few reviews from Rex's latest, Les Miserable Old Guys

“You'd better be sure to plan carefully to see this gem.

There was a full house of very appreciative patrons on just the second afternoon of the Fringe. Only one of these old guys is miserable; and, man, Ed has curmudgeon down to an art form! His more mellow neighbour, Charlie, tells him that Ed's late wife Alma thought him "the unhappiest man in the world!"

Charlie finds magical moments in the mundane while Ed lives "a life of pure irritation and annoyance." This contrast of temperaments between two men who have lived next door to each other almost their whole lives is absolutely hilarious! It is not a comedy throughout, as a secret emerges that causes the two old men to expose their hearts to each other in a deeply touching way. Plus a surprise ending! Superb theatre.
Lisa Campbell
(The Jenny Review)

4.5 stars from 107.1 FM.
Les Miserable Old Guys (Venue 2) by Rex Deverell

Brilliant! Admittedly I had incredibly high expectations and was concerned that because of this it would end up being like Spiderman 3.... dead to me. But Rex Deverell and Harry Nelken took the entire room (which was ironically packed with seniors) from gut-wrenching laughter to somber silent reflection and back again. It was played to perfection, and the one word review is worth repeating twice.. brilliant!

Possible objectional words/phrases: 4

Who should see this show?
If you like the movie Grumpy Old Men, you'll love Les Miserable Old Guys.

Les Miserable Old Guys
Venue 2, MTC Up the Alley
By Meryl Kaye De Leon

They may be miserable, but not for long.

Charlie (Rex Deverell) and Eddie (Harry Nelken) are two lonely, aging seniors who seem to share just about everything — from shovels and coffee to Eddie’s deceased wife Elma. Separated by an incredibly short fence, eternal optimist Charlie is the only one to provide comfort and companionship to pessimist Eddie as he tries to come to terms with Elma’s death.

This wonderfully written play by Deverell explores the depth of human relationships. Directed by Stefanie Wiens, Deverell and Nelken give flawless performances that make you think about how you’re going to be at that age. But don’t worry — Les Miserable Old Guys also provides more than enough laughs to keep you from being miserable.

And who knows? Maybe you’ll even shorten your fence to talk to your neighbour afterward.

Tuesday, August 11, 2009

Sustaining a career when you're not 25

This article, courtesy of Nsaa, brings up something very close to home for me. There are so many different opportunities available for those 25 and under to develop and flourish, yet relatively little for mid-career artists or those coming to the theatre later in life.

I didn't choose to dedicate myself to theatre until I was 30, which meant there's been a lot of development doors that have been closed to me over the years. I think of my friend who is nearing 60 who has a talent for the stage but feels there's no way she can make it happen for her. And then there are so many playwrights who quit theatre in the prime of their careers (Jason Sherman immediately comes to mind) because they're not making a living at it. Amongst all the celebration of the young artist, what about support for the rest of us? I'd love to see some suggestions.

Wednesday, August 5, 2009

Umbrella Talk with playwright Catherine Banks

In this week's Umbrella Talk, Catherine Banks talks about single malt scotch, finding a lost director, and the pride of Canadian playwrights.

A Little More About Catherine Banks

Playwright, born (1957) and raised in Nova Scotia. Catherine Banks began her professional life as a Special Education teacher, and wrote plays while raising her children, Rilla and Simon, inspired by seeing a production of Les Belles-soeurs by Michel Tremblay.

Her plays include Bone Cage (Playwrights Co-op Forerunner and Ship's Company Theatre); Eula's Offer; The Summer of the Piping Plover (UpStart Theatre); Three Storey Ocean View ( Mulgrave Road Theatre , Toronto Equity Showcase); and Bitter Rose (Women's Theatre and Creativity Centre). Bitter Rose has aired on Bravo! Canada.

Her work has been performed in Manitoba, Toronto and St. John's at the LSPU Hall. Three Storey Ocean View won the Silver Medal in the 1995 du Maurier National Play Competition and was nominated for a Merrit Award for best new play in 2000. Bone Cage was awarded the Special Merit prize in the 2002 Theatre BC New Play Competition and was showcased at the National Arts Centre's On the Verge 2005. In 2008 it was awarded the Governor General’s Award for Literature (English) Drama.

Her plays are characterized by black humour, and compelling dramatic metaphor. They have been described as “Atlantic gothic,” because of their unflinching exploration of poverty, monotony and the addictions that often provide an escape from such social limitations. She has just completed writing her sixth play, Missy and Me, about a Nova Scotia housewife leaving for New York to pursue the object of her obsession Missy Elliott. She is working on her two new plays Downed Hearts, and It is Solved By Walking.

Catherine Banks currently resides in Sambro, Nova Scotia.

What do you drink on opening night?
I don’t drink before the performance but after the speeches are done I have a white wine usually. I haven’t had an opening night since I fell in love with Scotch in May so I suspect next opening it will be single malt.

Who would direct the coolest production of one of your plays?
I actually don’t know the director’s name but he or she directed an amazing production of Jacob’s Wake (Michael Cook) at the National Arts Centre in about 1986. (I don’t retain names at the best of times and I had only written one play at this point so it wasn’t like I thought Oh I must have this director direct my work.) The set I remember was stripped away to very bare essentials with strips of plastic on three sides of the stage where the cast entered and exited. The plastic was painted with icebergs and the whole concept of the production played on the emotional isolation of each family member. I loved the production and it has stayed with me for going on 25 years. I “googled” the production but alas I couldn’t find the name of the director. Anyway I would love to have that person direct one of my plays maybe Three Storey, Ocean View with its bending of time and complex story lines.

What scares you?
When I get to that place in a script, where I am just now with a script, and it starts to feel that it won’t be a play after all. I have worked for 3 years (in this case) and maybe it won’t be a play.

What can't you write about?
I can’t seem to write about stuff that doesn’t really matter to me. I tried to write a play once about girls who play hockey but I couldn’t find that hook that made me want to finish it enough to dig down and do it. So far, not counting the current crisis, it is the only play that I started and haven’t finished. I think about it sometimes but now I think maybe the material is dated.

What do you want to write about that you haven't yet?
I want to write a play about mothers and daughters but I don’t think I will ever be able to do that although obviously I am a daughter AND I am the mother to a daughter.

If someone was to write a play about your life, what genre would it be? (eg. comedy, tragedy, melodrama, horror)

Like all humans there are elements of all the genres in my life.

How do you deal with praise? With criticism?
Of course I loved to be praised but then I often think well they are just saying that because (insert some absurd reason like they know my grade 5 teacher’s mother). I take all criticism to heart first but later I can look at it more objectively but it’s a long 10 years in between. I have gone back and read rejection letters and realized that I actually missed all the really good things they said and hyper-focused on something like “This play isn’t right for us.”---in my head that line has been heard as “Why do you think you can write plays worthy of our attention?” I know terrible really terrible. Plus not hearing from a Theatre that I have sent a play to after say 3 months I go straight to “Why do you think you can write plays?”

Where would you like your work to be produced?
Of course I am a Canadian playwright I would like my work to be at the National Arts Centre. In the year I lived in Ottawa back in 1986 I saw the work of Michel Tremblay and Michael Cook for the first time and I had a great sense of pride that our writers could write powerful gripping work. I would like to have my work on in NYC and in London----you know all the biggies. But ultimately what matters is that the production is done well by people who love the script----even in the smallest of theatres that is the most thrilling thing of all.

Where do you write? Pen or keyboard?

I like to write first drafts of scenes by hand and type them in the same day. I can’t leave it too long as my hand writing and spelling are such that there is definitely a best before date on stuff that I have to be able to read---which means I have to remember what I was thinking when I scribbled it down.

What would you like academics to write about your work in 50 years?

That I wrote with clarity and honesty about my time.

What inspires you?
Poetry. I read it every day. I love poems. I am not at all a scholar I am sure there are lots of things I miss when I read a poem and I could never talk to you about meter or form or the mechanics of a good poem. But poetry lights the darkness where I struggle to do my own work.

Tuesday, August 4, 2009

Tickets to Dido and Aeneas

The kind people of Underground/Opera are offering half price tickets ($19/$11 for under 30 and seniors) to readers of this blog for the August 18th performance of Dido and Aeneas. If you're interested, email with the subject heading Blog Offer (limit of 2 per person).

I'm unable to attend myself but I'd love to hear what you think of the show. Write your review in the comments section and I'll repost it on the blog.

More information about the show:

Underground /Opera is a new series of cutting edge, contemporary adaptations of classical opera brought to you by the avant-garde performance company Opera Erratica and the Classical Music Consort, Toronto’s most exciting new classical music ensemble. Together they are presenting a multi-media production of Henry Purcell’s Dido and Aeneas at the Winchester Street Theatre, from August 18 - 29, 2009. Opera Erratica and the CMC bring to this masterpiece of English opera their unique mix of old music and new media—performing on period instruments, conducted by Ashiq Aziz, with a with avant-garde video projections and staging by director and designer Patrick Eakin Young. This innovative production is sure to interest opera lovers, art fans, and downtown scenesters alike and is part of an exciting new movement in Toronto’s art scene, combining classical music with contemporary culture.

What: Opera Erratica and The Classical Music Consort’s Dido and Aeneas

Where: The Winchester Street Theatre, 80 Winchester Street

When: (all performances at 8pm, unless otherwise indicated) 18 (Press Preview), 19, 21, 22, 23 (2pm), 25, 26, 27, 28, 29 August 2009

Admission: $38/$22 for under 30 and seniors

Tickets: - 416 978 8849