Total Pageviews

Tuesday, April 30, 2013

Come hear three new plays at Walterdale on Monday! APN Edmonton Playwright's Circle Readings

May 6, 2013 7:30PM
Walterdale Theatre Admission by donation

An evening of readings of segments from brand-new plays written by the participants of our 2013 Playwrights’ Circle, facilitated by Conni Massing. 

Always an entertaining evening, please join us in helping these writers take their plays from page to stage for the first time.

The Writers:
Liane Faulder
Alexis Hillier
Gilbert da Silva

The Acting Ensemble:
Amber Bissonnette
Julie Golosky
Richard Lee
Michael Peng

Hope to see you all there!

For more information about any of our programs, please go to our website at:

Saturday, April 27, 2013

The Magic is in the Unwrapping... Let the Light of Day Through at Theatre Network

I saw a play last night I wish I had written.  This happens every once in a while when I go see a new work.  I marvel at the work the playwright did.  I wonder, "How will I ever know how to do that?" That's how I feel about Collin Doyle's new play Let the Light of Day Through now playing at Theatre Network.  The script is so elegant and tight and funny and honest and it feels effortless as we experience it.  I don't want to say too much, because much of it's brilliance comes in the way the story is unwrapped.

We start in the now of Chris (Lora Brovold) and Rob (Jesse Gervais), a couple in their thirties and then swoop along with them as they portray each other's parents and co-workers and themselves when they were younger.  We experience their growing relationship thinking we know how it will go because we have already met them in an older form.  It begins with a lot of laughter. A LOT of laughter.  Brovold and Gervais have great chemistry and play off each other so well, always staying real as they take us from hilarity to sadness. Each of them shows a flexibility that is impressive as they veer from point to point in time and space and character.  In one night of theatre I had some of my biggest laughs and destroyed a myriad of tissues with my crying. Now that's a play.  The set (Cory Sincennes) and lighting (Scott Peters) seem simple at first, but there is much more there than first appears.  For the lighting, it is about what is hidden in the shadows and what is shown in the light and for the set, it is about what is hidden behind those walls. Director Bradley Moss has worked well with all these brilliant components creating a piece that will make you laugh and break your heart and finally give you peace.

Friday, April 26, 2013

A Steal of a Deal or Two... Catalyst Theatre - The Soul Collector

I've been thinking about doing a series about how to see more theatre even if you can't afford it so when I got information about the newest Catalyst Theatre show, The Soul Collector, and what they are doing to help those with smaller pocketbooks see the show I figured I would start with it!  Stay tuned for other tips as I hear about them!

Here are some of the ways you can see the show at a rate reduced from the regular $36.75 - $42 ticket prices. 

10 tickets at $10 each will be available at the door for each performance for youth up to the age of 21. 1 per person, proof of age required. Available 1 hour prior to show time.

Secondly they are currently releasing 100 tickets for $20! These tickets are for ANY show during the run - with the exception of opening (May 3). You got to get them fast though! Deadline is Saturday at 4pm. Get them through Tix On the Square (phone only 780.420.1757). Use the code GIDEON. Two per person.

Lastly their Preview Shows (May 1 & 2) tickets are only $16.88!

This show has been hotly anticipated, so if you want to use the $20 ticket deal, I would jump on it fast!

Meet The Cast of The 25th Annual Putnam Country Spelling Bee - Joe and Alyssa

Joe Garreck
What is your role in this show? Doug Panch. He's strung a bit tight but enamoured with Rona Peretti
What is your background in theatre? Acting for 29 years - trained at the U of A. Third show with ELOPE (previous ELOPE shows - Into the Woods and I Love you You're Perfect, Now Change)
What is your favourite word to spell, and why? Ossuary - great sentence for teachers (you'll have to see the show to find out why!)

Alyssa Lightfoot
Role: Brooke Coneybear, one of Leaf's many siblings
Background in theatre: This is my first ELOPE show but I have always had a passion for theatre! When I was in high school I was in a theatre intensive program! I was also in Young Frankenstein at the University of Alberta and in high school I did Pippin, Urinetown, and Babes in Arms!
Favourite word to spell: Apoop because it always makes me laugh!

Top - Joe Garreck as Panch, "That is Correct!"
Bottom - Angela Tran and Alyssa Lightfoot as two of the Coneybear siblings waiting for Leaf to spell his word
Photo credit: Janine Hodder

Tuesday, April 23, 2013

What Has Been Keeping Me Busy - #1 - Spelling Bee!

So, I have mentioned that I have been very busy lately.  This is because I have a couple of projects on the go.  The biggest one is that I am directing The 25th Annual Putnam County Spelling Bee for ELOPE Theatre.  I am working with Sally Hunt as Music Director and Jake Hastey as Choreographer and it is coming along wonderfully!  Last week I had my good friend Janine Hodder come in and take some photos of rehearsal and I thought I would share a few of them with you so you can see some of the terrific images I get to see at each rehearsal.

There are many more photos and as we enter this last couple of weeks of rehearsal, I might be regaling you with a few more stories about the process and I will share some of the others shots then! But enjoy these for now!

Monday, April 22, 2013

Sifting Through the Rubble - (un)earthed presented by Undercurrent Theatre - A Theatre Preview

This week Undercurrent Theatre presents (un)earthed, premiering at the Arts-Based Research Studio (4-104 Education North, University of Alberta) on April 25, 26, and 27 at 7:30 PM. Undercurrent Theatre is an artist-run company dedicated to the critical exploration of society through the development of new theatrical works and community-engaged artistic projects. Tickets are by donation, and a talk-back follows each presentation. 

About the Piece:

Sifting, digging, burying; planting, seeding, uprooting. A group of five women from various pockets of time and space are brought together. In defying materiality and temporality, they uncover a sense of place. (un)earthed investigates the nature of agency, power, and (second) chances.

Facilitated and Directed by Nikki Shaffeeullah 
Stage Management by Emily St Aubin 
Featuring Saima Butt, Neelam Chattoo, Aliya Jamal, Rebecca John, and Natalia Knowlton

The play (un)earthed is the final installment of the Staging Diversity project, a year-long series of theatre-based workshops and performances that explore themes of gender and race, and the practical component of Director Nikki Shaffeeullah's MFA Theatre Practice thesis.  Excessively current, it stems from research into questions about internal and external racism, Islamophobia, patriarch, xenoracist pseudo-feminism and the decolonizing of public cultural space.

About the development and creation of the piece:

"We worked on our feet, in conversation, and on paper. We found that we wanted to tell typically untold stories in ways that were accessible and dialogic. We want to tell stories that have universal resonance, without universalizing or appropriating the social particularities in which these stories originate. The result is (un)earthed: a play that collapses time and space to explore agency, opportunity, community, and what it means to be at “home” in a post colonial world."
                                                 - Nikki Shaffeeullah, Director

Spam and Legs! I Saw Two Very Different Shows This Weekend and Laughed A Lot at Both!

As is my way, I had a very busy calendar this weekend.  I had my sister in town from Toronto, a Theatre Alberta Board Meeting, Rehearsals and TWO SHOWS to see!  It all worked out well for me as I had it all carefully scheduled, but I must say, the shows offset the busy because they were a delightful release of laughter!

On Saturday Night, my sister and I had a fabulous dinner at Normand's Bistro in the Citadel before catching the first Preview of Spamalot.  The dinner was wonderful and a nice prelude to the show.  I had seen the show a few years back when it came through with Broadway Across Canada and the cool thing is that the Citadel Production was clearly it's own interpretation as I could not really remember much about the other production. So, it is worth it to see this production if you were hesitating.  The choices are their own, but they still give proper homage to the Monty Python aesthetic.  This is the show for the Monty Python fan or fanatic.  I think you'd also enjoy it if you weren't really up on the genre, but it is doubly entertaining for those who are in on the jokes. There are a few jokes that don't quite sell because the show was written specifically for Broadway, but this is not the fault of the production.  The transplanting means some Broadway in-jokes are lost on all but musical theatre fanatics.  There aren't that many of those references and overall it's still terrifically funny.

My sister and I had a great time laughing at the show and we were both very impressed by Laura Krewski's outstanding choreography. It's sharp and clever and in top form and thoroughly entertaining. In terms of the cast, they work best as a an ensemble.  There were solid performances from John Ullyat as Lancelot and Julian Arnold as Sir Robin and we both loved the long locked and oh-so-handsome Kevin Aichele as Sir Galahad.  I particularly liked Cliff Saunders as the dutiful and over-looked Patsy.  The show stealer for both of us, however, was Farren Timoteo as the Not Dead Yet and Prince Herbert.  I had never seen Timoteo in a musical before and he lights up the stage every time he's on.  His dancing and singing is outstanding and he hits every comic moment perfectly.

It was the first preview so I think that they do have a few tweaks to be made before opening.  Some of the actors need to relax a bit as they come off stiff in comparison to the others and some fine tuning of the mics needs to happen.  It was the first preview so I am sure that they will get that all sorted out and they will all fell more comfortable as they run it more and more. Even with these few small challenges the show is great fun and I cannot see anyone not enjoying it.  It is the kind of show that you leave happy and singing...


On Sunday afternoon, I checked out Rabid Marmot's  All The Devils, a new drag/horror show by Zachary Parsons-Lozinski and Jenna Greig playing at Azimuth Theatre. I wasn't sure what to expect, because it's that kind of show. It was irreverent, campy, totally out there and hysterical (particularly if you have a very twisted sense of humour - which I do).  Parsons-Lozinski is someone who will do anything onstage.  He has a good sense of showmanship, but in terms of taboo subjects, I do not believe those exist for him.  It makes for an adventure.  Now, this show is not for everyone, and it is the kind of show that you either love or hate, but I had a blast. It's fascinating to watch Lozinski-Parsons as Lilith Fair, bad actress on the downward slide holed up in an apparently haunted and remote cabin.  This is not your typical drag queen - she is a veritable mess at the beginning and it's all downhill from there.  It's rude and raunchy and made me wish I knew a little bit more about H.P. Lovecraft for the horror aspects. I knew enough to keep up so that's alright. Now, this is new work and the script probably needs a bit of tightening.  There are some very well-executed lip-syncs that could afford to be shorter and which probably would work better in a bigger theatre and the script overall could be tighter, but all in all, I was entertained. If you appreciate irreverence and shows that cross the line (multiple times), this is the show for you.

Thursday, April 18, 2013

The Best Romances are Tragic... Eugene Onegin presented by Edmonton Opera at the Jubilee

Yesterday I took in Tchaikovsky's Eugene Onegin presented by Edmonton Opera at the Jubilee Auditorium.  It was beautiful to watch and hear. The production captured all the expectations of a Russian story.  I am currently reading Anna Karenina and in watching this opera I felt transported.  Everything looked and sounded and felt just right.  The costumes are delightful.  The opera moves from the rustic country outdoors, to a country ball and then finally to a more formal ball.  As it progresses, the costumes get more and more opulent, reminding us where we are and who these people are. I must comment on the Lighting by Designer Geoff George. It is some of the best lighting I have ever seen and I see a lot of theatre.  Act II, Scene 2 in the woods is absolutely breath-taking.  I actually gasped out the words "how gorgeous" at one point. The sets are simple but at the same time lush and atmospheric.  Kudos to the cast for managing the rake of the deck so well.  I hope they know how beautiful it looks, giving the stage the appearance of being even bigger than it already is. 

I really appreciated the incorporating of the Shumka dancers to the piece - the chorus dances too, but Director Tom Diamond and Choreographer Brian Webb have used the skills appropriately to build the sequences so that the moments of dance and celebration contrast the impending tragedy of the story arc.  Diamond's direction suited the piece well.  There is a simplicity and minimalism to some scenes that heightened the emotions and holding those against those moments where the stage is full seemed to underscore the doomed trajectory.  

The tragic love story would not be so wonderfully told if it weren't for the outstanding performances by Aleksey Bogdanov as Onegin and Dina Kuznetsova as Tatiana.  A strong and dashing figure onstage, I was reminded of Mr. Darcy from Pride and Prejudice, but this is no Austen novel.  This is a Russian love story where no one gets a happy ending.  Bogdanov has a rich full voice that makes you understand why Tatiana loves him and Olga loves to flirt with him.  He plays his moments of bravado just as well as and as convincingly as those of sorrow and loss.  Kuznetsova is a performer with great depth and layers.  She  makes her transformation from shyness to passion to sadness with her whole being.  Even when she just sits, listening to Triquet (the french fop played with great humour by James McLennan),  her emotions are raw and revealed.  Her voice is gorgeous - I could listen to her sing all night long.  Andrej Dunnaev as Lenski and Maria Kateava as Olga each bring excellent characterization to their roles.  She is bright and flirtatious and charming and his anger is palpable. A smart choice was made to cast Russian singers - they are all so wonderfully connected to their text.  It is not difficult to ascertain the intrinsic emotions of any of the scenes. 
Like everything Russian, it has a feeling of being epic, even though it is just a story of 4 people who lose at love and friendship where they might have won everything if they had made different choices.  Perhaps that is why it works so well as an opera. 

Tuesday, April 16, 2013

Prepping for Onegin...

Tomorrow I will be seeing a Preview of Edmonton Opera's Eugene Onegin.  Since it is in Russian I will definitely want to do a little prep today.  I can follow the sur-titles, but I prefer to keep my eyes on the stage as much as possible. I did the prep work for the last opera I saw and it really paid off.  When I go to theatre, I like a little mystery so that I can be surprised and invest myself more in what's happening onstage, but with foreign language Opera it is a different thing for me.  I feel that maybe someday I will be able to go in a little more blind, but for now, I find the prep work pays off.  In addition to my research, I have been following the twitter feeds of many of the people involved and it has been fun to get caught up in their excitement.  Opera and Theatre are events and I like the build up to opening.  Twitter has been fun in that I feel involved in the journey to the stage even though I am not in the show.

So today, before I head off to my rehearsal, I will be reading the material supplied on the fabulous Edmonton Opera website, as well as a few other sources on the internet (just to be safe).  It will be interesting to go from the Operatic Onegin to the Broadway Spelling Bee, but those kind of quick shifts are what keep your brain on it's toes!

Monday, April 15, 2013

All the Devils? Well, at least one that I know of!

My good friend Zachary Parsons-Lozinski, who I worked with in The Misanthrope at Walterdale this past winter, has a new show opening this week. I am very excited for him and looking forward to seeing it. I always enjoy seeing him onstage and this sounds like something he will be hysterical in! I am expecting major camp! Which I love! The show, All the Devils, opens Wednesday, April 17th at Azimuth Theatre.

Here's the description:

Hollywood socialite, Lilith Fair, is a highly paid actress…just not a very good one. After her most recent screen disaster, she travels to the secluded county of Dunwich, Massachusetts to prepare for her next performance: Lavinia Whateley in All the Devils. Unbeknownst to her, Dunwich is a place full of dark magic, sinister cults, and ancient Gods. If only she had done her research…

Zachary Parsons-Lozinski stars in this modern take on H.P. Lovecraft’s The Dunwich Horror while Rabid Marmot Productions’ Jenna Greig (Dog Sees God, Far From Crazy) returns to the directorial reigns. This dynamic pair is sure to bring forth new style and stylishness to this origin re-telling of The Cthulhu Mythos.

Warning: This production deals with mature themes and is not recommended for young audiences.

Showtimes: 8:00 pm (Tues - Saturday), 2:00 pm (Sunday Matinee)

Tickets are $17 and can be purchased at the door or through Tix on the Square at 780-420-1757 or online at For more information, visit

Sundays are always busy...

Yesterday I had another delightfully full-of-arts Sunday.  I started the day at the boys' piano lessons, then hustled across town to Walterdale Playhouse to catch Burning Vision.  My date and I grabbed some supper and visited and then we headed off to rehearsal for Spelling Bee.  Following rehearsal i let myself be talked into ending the long day with karaoke at Rosario's. So, it was a full day full of music and theatre. The day had ups and downs.

Although I love hearing my boys play piano, it was clear that there were things they had not really spent much time practicing this week.

The play was interesting - it's a challenging piece - more of a poem onstage, than a traditional piece of theatre.  I will admit I struggled with it a bit. However, I was very impressed with the complicated sound design which gave the audience a very layered sensory experience, and there were several lovely performances. I was most impressed with Amy Chow as Tokyo Rose, as she has a true glow onstage and there always seemed to be many layers beneath what she was saying and thinking.  She was always so clearly present.

Rehearsal went well, but it was the first time we put together a large chunk of units so there was the usual crunchiness than comes with that process.  We also discovered 3 little micro-units that needed to be finished.  I feel like we can now concentrate on cleaning, cleaning, and more cleaning, and in that cleaning strengthen the arc and pace of the show.  I am blessed with actors who have thought hard about character and who know how to play and make big choices, now I just have to help them finesse their choices so that it's all the same show!

And ah, Karaoke.  It has been so long and I don't usually sing, but it was nice to end the day that way.  I went with my lovely friend Amanda and it is always terrific to hear her sing - she can wail!  A long day, but certainly not a wasted one.

Saturday, April 13, 2013

Two Very Different Dramatic Productions on a Friday...

So, yesterday afternoon my kids' school presented a very funny and wonderful production along with Trickster Theatre Company.  The company works by coming into the school for a week and working in all the classes to prepare a short (2-3 minute) play with the kids.  Each class has a theme or topic and the kids brainstorm and make up little plays.  Mid week, the school calls in parent volunteers to pull costumes from Trickster's "Bins of Costumes" to support the plays (I was there!).  They have tech rehearsals on Thursday and on Friday afternoon parents are invited to come and watch all the plays put together.  It was wonderful.  I laughed so hard due to intense cuteness as well as real funny stuff.  It was fabulous to see all the kids participating.  As a former drama educator I could see the principles applies and as a parent I was so happy to hear my kids come home all week long talking excitedly about what they were doing. I was so glad that the Parent Council at our school committed the funds to bring something like this in.  I hope that it becomes an ongoing thing as I certainly felt it was exceptionally valuable.

Last night I then returned to my old stomping grounds (and hopefully future stomping grounds) to check out the 2nd Year BFAs final year presentation of a new adaptation of The Seagull by Jason Chinn. I have been looking forward to seeing this class onstage all year.  I was in Drama 257 with Kabriel Lilly and Nikki Hulowski last year and directed Kabriel in New Works, so I was very excited for them when they got in the program and was very pleased to see them onstage. It was clear to me that the program has been good for them and it was nice to see how much they have grown over the course of the school year. I also have a fondness for The Seagull. Chinn's script managed to retain the original flavour and tone of the play while striving to bring it up to modern day.  It is one of those plays you constantly have to work at 'getting', but every time i read it or see it, I think I am closer. In any case, I enjoyed the production.  I think there are exciting things with this class and I am interested to watch them grow over the next two years.

It made for a nice afternoon and evening of theatre - even though both events were miles apart in form and content.  Who knows, maybe someday some of those elementary kids will be in a BFA program?

Thursday, April 11, 2013

Of Women and Women - Gender Politics in The Penelopiad at The Citadel

Contrary to the title, I am not going to spend a great deal of time talking about gender politics other than to say that because of recent events in the world like this and this and this there is something so relevant and current about it.  You wouldn't necessarily think so since it tells a story that is ages old, but it tells it through the eyes of Penelope, the patient and faithful and clever wife of Odysseus.  Over the past few years, when studying drama at the University of Alberta and in working on my own plays a common question was "Why this play now?" and it makes me look at the theatre I see through that filter.  The Penelopiad has relevance now, because there are many, many situations in the world, and not just far away from us in the world, where women are relatively powerless in the world of men.  Something to think about...

And now, about the play and the production...

I read Margaret Atwood's play four years ago and loved it. It is a play that reads remarkably well on the page.  There is a reason for this - it's very much a story told through narration.  And I would say, that if you are going to have a play with this much narration, get Beth Graham to do it.  She was so strong as Penelope and she never failed to engage the audience.  You sympathize and connect to her and Graham makes Penelope likable and compelling and funny.  The world is created by the ensemble of maids who double as the many characters in Penelope's life from the arrogant and beautiful Helen of Troy (Mary Hulbert) to the clever and strong Odysseus (Lisa Norton) to the fawning and sniping nursemaid Eurycleia (Catherine McNally).  It's hard to single people out because what is truly lovely about this production is the strength and the evenness of the ensemble.  It was refreshing to see the stage filled with 13 strong women actors and see no weaknesses.  All the women, save Graham, flip effortlessly from maid to suitor to king or queen.  Some transitions taking place onstage with a simple addition of a costume piece and all of them flowed perfectly from one character to the next.  They sing and dance as a chorus carrying the story along and Don Horsburgh's music is used well to create the feelings of the moment as required. Director, Brenda Bazinet, deftly uses humour (more so in the first act) to engage us but she does so with the right amount of reserve so as to not take away from the drama of the piece. It all takes place on the gorgeous set created and lit brilliantly by designer Brette Gerecke. It is beautiful to watch and look at.

I like this idea of the modern and accessible re-telling of the old stories.  I like that you can understand every word and be drawn in and not feel like you have just read some dry and dusty book about mythology and legend.  I especially like that it re-invents the story and tells it from the point of view of a dis-empowered character and in that way empowers her. Why this play now?  Well, it's about time...

Monday, April 08, 2013

Sunday is for Musical Theatre!

Yesterday I had two events that were musical theatre based to get me through the day.  The first was a Musical Theatre Workshop with Don Horsburgh at The Citadel Theatre.  It took place in the converted Rice Theatre and he took us through a Master-class with 6 young performers.  He had each sing a piece and then he did some tweaking to it, sharing his tips with the crowd and imparting some of the behind the scenes tricks for preparing a musical theatre audition.  I found Horsburgh very personable and humble and he worked with a gentle intelligence with the singer/actors.  All six were well prepared and tuneful and for ten dollars it made for a nice little mini-concert in addition to a workshop.  I wasn't sure what to expect, but it made for a nice 2 hours of musical theatre and as a Director I can tell you he gave good tips about preparation for your audition - for example: avoid shiny plastic covers on your music, don't cut off the key signatures, and avoid Sondheim unless you bring your own accompanist.

I grabbed a bite to eat and then went to my own rehearsal for ELOPE's 25th Annual Putnam County Spelling Bee.  It was a good rehearsal and we are so close to having all the blocking completed that it feels really good.  I am chomping at the bit to get into runs and we are almost there.  Actually the next rehearsal we work a big chunk and clean it so I can get to the place I like where I am assessing where the show is at and where it needs to be tightened and clarified.  I am blessed with a fabulous cast that goes away and comes back even better than when we left so it makes my job easier, but I know there are parts that are going to look different when we put it all together.  I am also looking forward to having all of the players in the same room.  I was supposed to yesterday, but a series of unfortunate events (bad driving conditions in Saskatchewan, arising work conflict, and the stomach flu) meant that I ended up missing 3 and having another one come late.  It's hard as a director to really assess a project with missing holes, but you can't help some conflicts, I guess.  April gets much better for missing people (they are missing far less frequently) so I am looking forward to having all the bodies in the space doing their thing!  As it was, the big number at the end looks so good and it's a complicated piece with people doing different things and it makes me happy! Oh, and they sound sooooo good!

Saturday, April 06, 2013

DUST Gets in Your Eyes and Minds... NLT at the PCL

Tonight I went to Northern Light Theatre's DUST at the PCL Theatre.  It's setting is harsh - Abu Ghraib Prison - and we walk in knowing how the story ends because we have seen it play out in the media. So it is not about the typical beginning, middle and end.  It is mostly about the middle - the ugly middle of torture and abuse of prisoners and the justification and shame in committing that abuse. It's not an easy play to watch.  We see the pictures (the famous pictures), well, parts of them for a few moments here and there.  Perhaps it's better that we cannot see all of them and not for very long.  As I said, it's not an easy play to watch but it tries to give insight as to how people could do the things that were done.  We are consoled (?) that one of them clearly does not like doing what is done while the other seems to feel justified because "it is allowed". An interesting and frightening question - What will people do when they are simply allowed to do anything? Will they choose a higher moral path? Or will they descend to the levels that the pictures show?

I loved the set design - it's stunning and elegant.  Mirrors line the upstage wall wherein the audience occasionally sees themselves watching passively, much like the Army Commanders and the world did at the time. An added benefit is that you see two versions of the play - the real and the reflection and in that reflection an upstage expression cannot hide.  It was fascinating.

Both actors (Monice Peter and Paul Sutherland) are strong, playing very different characters - one awkward and unsure, the other full of confidence and bravado.  Peter, in particular, as Jenny gives one of the most natural stage performances I have ever seen.  She is magnificent even in owning the abhorrent qualities of her character.  She makes the character so likable you feel conflicted about how you feel about her.  I really hope to see her in more things.  Sutherland, as Jonathan, does a fine job contrasting her performance. You feel for him and his need to escape.

It was a thought provoking night.  I think about the ending, or the lack of one and it feels ominous.  If there is no ending, does that mean this kind of abuse will always happen? Does that mean that otherwise good people will become abusers if it is allowed? We must not let it be allowed... I guess that's it. We must be better than that.

Wednesday, April 03, 2013

A Contest? A Contest! Win Nextfest Passes!

So last August I won a fabulous prize from Vue Weekly... I wrote about it here.  It has made for one of the most fabulous years of theatre watching for me.  I am really, really, really going to miss all these free tickets next year.  I hope to still be going to see a lot of shows - I did before I had the prize, so I I don't see why I won't - I am just going to have to pay more money... That's alright.  Those artists need to eat too.

Anyhow, I only have a few things left on the docket, one of which is Two passes to Nextfest Arts Festival at Theatre Network and I discovered that I am out of town for most of the festival and I really don't want to see these passes go to waste.  So, I decided to hold my own little contest to give away those passes.

Here's how you can win my two passes - comment below and tell me why you want to go to Nextfest and why you should win.  You can relate a story about how seeing something at Nextfest affected you, or how being in Nextfest changed you, or just how theatre in general enriches you life.  As to the why you should win, that's up to you.  This is pretty much what Vue Weekly asked me to do - "Tell us why you should win." Be creative. I like that. Nextfest runs June 6th - 16th.

For those of you uncomfortable with setting up a google profile to enter, feel free to email me your responses - email to with FINSTER FINDS - NEXTFEST PASSES in the subject line and I will put you in the contest!

Deadline to respond to this contest is April 30, 2013!  I'll announce the winner by May 5th!

By the way, Nextfest currently has a call for proposals out so if you are under 30 and have a project that you think might be good, send it in!