Oldies, But Goodies... A Little Shakespeare and a Little Noel Coward!

I have somehow managed to squeeze in two shows already this week and it's not even Friday!  On Monday, I had a props pull at Walterdale so seeing as how I was already on the South side of the river, I decided to catch the Studio Theatre production of Love's Labour's Lost at the Timm's Centre. The day before I had attended Freewill Shakespeare's Brunch of Love so I was in a Shakespeare kind of mood.  The show was very fun and over the top ridiculous.  It's one of the earlier Shakespeare plays so it's not the best written, but this class made the most of any opportunity for ribaldry and silliness.  I particularly loved Oscar Deryx as Don Adriano de Armado.  He was like some fantastic hybrid of Inigo Montoya, Captain Jack Sparrow and Russell Brand.  The pants and wig alone are worth the price of admission!  But it's not just that, it's that he really sold it.  The rest of the cast is up to the challenge, as well, he was just my favorite.  But this is a very physical and exuberant production.  It's got modern touches and tweaks, so if you're a purist you might not be as happy with it, but it is definitely a lot of fun. Love's Labour's Lost runs to this Saturday (Feb 15th). 

On Tuesday, I put in my habitual Coffee Bar Shift for Walterdale's Blithe Spirit by Noel Coward.  Now, I'll be honest, I am not a huge Noel Coward fan so I had to work a bit to get into it, but this production has good acting all around from the cast and they all seem to manage the verbose Coward handily and with the right spirit for the script.  There are some stellar special effects and a terrific séance scene (after it closes I am asking how they did the doors - I think I know how they did the table - they rest I will leave not knowing because I like a little mystery) and I really liked how they handled creating the ghostliness of Elvira.  I'm glad I went in not having read the script, because some key moments in the second act totally caught me off guard. I think if you are a Noel Coward fan you will totally love this production.  The audience I was with were certainly laughing a lot.  I think I just have a hard time with the casualness of the script with regards to spousal abuse and the general unkindness hidden in the clever language. My problem, not anyone else's. Blithe Spirit runs until February 15th (Saturday).

Both are suitable for a Valentine's Day date - lots of laughs and lots of love!

So, it has already been a theatre filled week.  This Saturday I will be taking in Catalyst Theatre's Nevermore, and I think there is another lobby photo taking area! Yippee!

My First Sterlings!

This Monday night I attended the 26th Annual Elizabeth Sterling Haynes Awards which celebrate professional theatre in Edmonton.  I have never gone before, but have known many who do and who have been nominated but I never quite felt that it was something I would feel at home at.  Boy, was I wrong! I was delighted to know at least half of the people in the room, if not more, and to regard those people as friends. That was a delightful surprise.  So why go this year? I went this year because I have seen so many shows this year that I actually felt invested in them. Doesn't that sound weird?  But it's true, having sat in those audiences watching those performances and seeing those effects and production elements, I wanted to celebrate the nominees and the winners.

Everyone looked fabulous.  I am not just saying that.  Edmonton's theatre community is phenomenally good looking.  It is hard to pick a best dressed, but there were some amazingly gorgeous women there.  I wish I had pictures (and if I find some I will post), but my favourites for most stunning include Kristi Hansen, Lora Brovold, host Amy Shostak, Melissa Thingelstad, Shannon Blanchet, Erika Noot, Sarah Van Tassel, Jessica Peverett, and Liz Nicholls.  There were many, many more, but those ones stand out for me.  It was a a beautiful night all around!  The men looked good too, but it's harder for me to list those.  Not only good looking, this is also a community of truly nice people.  I was sitting with my friend, Catherine, and as we would see someone go up or walk by, we would comment on how nice they were.  Either she or I would lean in, "She's such a lovely person", or "He's a sweetheart."  It shouldn't be surprising to me that these talented people are also so generous of spirit, but it was something I noticed when we were all in the room.

I am not going to list all the nominees and winners. You can find that here. I'd rather talk about the evening as a whole!

I loved the authenticity of the winners in their responses to their wins.  Melissa Thingelstad's acceptance speech touched me deeply.  She carried this joy about what she does and that poured from her with good humour and honesty.  I want to feel the way she does about what I do. I will be striving for that this year.  I also loved Ellen Chorley's tickled pink gushing about her wins.  It was lovely to see her celebrating with a spirit of immense gratitude and surprise. Kudos to her, the hardest working person I know out there! Matthew Hulshof was a delight and his speech was a wonderful tribute to the joys of TYA.  Jesse Gervais was just ridiculously funny.  There were jokes about puppies in commercials, Baby Jesse, and fathers who'd disown daughters if they forgot to thank them.  We were treated to fantastic musical performances by Julian Arnold, Kendra Connor, Jason Hardwick, Eric Wigston, Garrett Ross, Maddie Knight and John Ullyatt. There were a lot of wonderful authentic moments.

It's interesting, because although I might have voted for different winners in certain categories, it hit home for me the whole 'it's an honour to by nominated' because as I looked at the nominees for all the categories I could see why each one of them was up there on the list.  Initially I thought there were some curious omissions (e.g. Michael Peng in An Accident, Lorne Cardinal in Where the Blood Mixes) but then I thought, "But who would they replace?" The lists overall were strong and it is a testament to the depth of Edmonton's theatre community that we have this kind of playing field. So I could celebrate those who won, knowing that there was a level of excellence and while I might have chosen differently, comparing theatre is always going to be apples to oranges so it's best to let the accountants do their work and leave it at that.

That said, I was overjoyed at Theatre Network's Let The Light of Day Through winning Best Play and best New Work.  How wonderful to have a New Alberta Work win best play.  As those of you who read my blog know, this was the show that blew me away this season, so it was my emotional favourite.  It was also the winner of the APC last year so we at APN are extremely proud of how well it's done.  It's nice to have something you champion do so well! A wonderful end to a wonderful evening!

I hope to see as much theatre this season so that I can go as informed next year!

Of Souls and Spelling Bees...

I have been so knee deep in Spelling Bee this last little while that I feel bad that I haven't taken a moment until now to write about Catalyst Theatre's production of The Soul Collector.  As it was, I was very fortunate to find a night when I could actually take in the show.  I actually booked the tickets over a month prior as I missed Frankenstein due to it's being Sold Out and I vowed that would not happen this time (especially after I heard so much about what I had missed from all my friends!).  So, on Friday night I met up with AM and we took in a bite and a show.  We had great fun at the lobby Photo Booth. Very cool to try on the show inspired costume pieces and since we are both theatre performers we could not resist the tickle trunk! It is good to be able to just be silly! It was also cool to run into a few people from Spelling Bee there that night.  I guess we all had the night off!

The show, the show, the show... First I have to talk about the design and concept.  It was a visually stunning piece.  From the costumes, to the alley set, with everything labelled and outlined very intentionally, to the toboggan race, to the accountants, to the ballroom dance, to the many incarnations of snow it was one of the most conceptually complete pieces I have ever seen.  It is not so much that it was all black and white and grey, but more that everything had the right off-kilter feel and Tim Burton/Gothic kind of aesthetic.  It's not just a black coat - it's the 'perfect' black coat with the 'perfect' detailing.  This show is why I think Scenographer Brette Gerecke is a genius.  It's absolute proof of it.  This was matched with the choreography and the tone of the script.  So complete.  Watching this show is like taking a masterclass in design.  The cast itself was outstanding.  It's hard to single people out since they worked so well as an ensemble, however, I felt Karyn Mott was lovely in the lead as Memory McQuaid.  Her bright hair and textured voice made her very compelling. Opposite her, Benjamin Wardle as Gideon Glumb was delightful.  Because the stage was in an alley arrangement, it created a bit of a detachment effect for me, however, Wardle seemed to easily reach beyond that wall.  Similarly did Garett Ross as Popcorn Pete. Ross was fun to watch in his many incarnations - always drawings us in.  It is hard, though, to single people out - From Elinor Holt as the Icy Soul Collector whose vocal range was truly impressive, to Nancy McAlear as Anemone Knight whose dance was as elegant as her sadness. I thought Eric Wigston as tortured, love-struck, composer Thorvald Jesperson was note perfect, his record-skipping solo amazing.  I saw no flaws from anyone as they were all committed and strong in their performances. The script... hmmm... I am a bit torn on this.  I left the play really liking it, however, for the first 1/3 of the show I found it hard to get into.  I struggle with heavily-narrated shows and I think the narration off the top combined with the alley stage made it difficult for me to immerse myself right away.  There were also some balance issues with the sound so I couldn't really make out many of the lyrics of the first song the ensemble sang.  It was tightly and terrifically choreographed, but without knowing what they were saying I felt like I was reaching to understand what it was about.  Solos were always clear and those are what brought me into the show.  So, like I said, the first third I was disconnected, the last 2/3 thirds I was there and really captivated. It may also be that this is more of a show that is about the concept and style.  The narration automatically removes the audience so that you know it is in the realm of story-telling.  It is not until we start to hear the characters own voices that we start to care about them.  I am still pondering the message of the show.  I think this would have been a good one to see more than once and from different vantage points.  If they remount it, I would definitely try to catch it again.

And so, I was glad for the night out in my busy week! This weekend after Spelling Bee opens I will be catching The Flight of the Viscount at Shadow Theatre. Wish me luck for a good opening on Thursday night!  I was very excited to see our huge photo in the Edmonton Journal this week and to hear that tickets have been moving fast at Tix on the Square.  I am so pleased with the show.  I'm tickled because our SM frequently says to me following a run,  "This is NOT a Community Theatre show..." I think so too, but it is nice to hear it from someone else!

Meet Matt Graham - Carl Dad in The 25th Annual Putnam County Spelling Bee

Matt Graham - Carl Dad


What role do you play in the show?

I play Carl Dad- one of Schwartzy's two fathers. He is an extremely competitive coach, and will stop at nothing to see his daughter take the Putnam Bee!

What is your background in theatre? 

I did a few shows for my high schools drama club, but some recent highlights include playing Horton in festival place's "Seussical the Musical" as well as getting the chance to work as assistant music director on the Walterdale Playhouse's production of "Nine" last summer!
This is my first production with ELOPE, and I'm SO excited to be involved in this show!

What is your favourite word to spell?

Mamihlapinatapai- "a look shared by two people, each wishing that the other will offer something that they both desire but are unwilling to suggest or offer themselves". So wonderfully succinct!

Matt Graham and Dean McQuay as Carl Dad and Dan Dad in The 25th Annual Putnam County Spelling Bee
Photo Credit: Janine Hodder

International Women's Day - I think Edmonton Holds it's Own!

Thinking about International Women's Day - mostly because Facebook and Twitter have it plastered all over the place - and realized that I feel Edmonton really holds it's own at least in theatre.  With Skirts AFire holding it's first ever herArts Festival this weekend and the Expanse Movement Arts Festival - both with exceptional involvement from women in the performance and organization (read: behind the scenes) areas - I think we are in a good place.  Would I like more female ADs of the principal theatre companies?  Probably, but I also think that we have some great movers and shakers who are women in the field and I think we have some great male ADs that recognize the talent that lives here and they do not let gender make their decisions for them.  I could be wrong in that, but I seem to see a lot of women in arts management in the city.  These are smart, sharp and invested women who know how to get things done. What makes me feel we have the right attitude it is that I'd like to think that people here in Edmonton want to work people who are good, not just people who fit a certain set of arbitrary requirements.  I am excited to see what Amy DeFelice, Tracy Carroll, Ellen Chorley, Marianne Copithorne, Maralyn Ryan, Belinda Cornish, Coralie Cairns,  Brette Gereke, Beth Graham, Mieko Ouchi, Annette Loiselle, Nicole Moeller, Nadien Chu, Joan Hawkins, Elena Porter, Rebecca Merkley, Kayla Gorman, Amanda Neufeld, Andrea Beca, Erika Noot, Barb Mah, Karen Mott, Lora Brovold, Amanda Bergen, Michelle Kennedy and many, many other great women create for Edmonton audiences. And I am excited to see what the boys do, too! It's a good place to be in.

Two Evenings of Spectacle and Shakespeare!

I bought my Festival Pass for Freewill Players over a month ago, however I was unable to use it until this week.  On Wednesday I bundled up and watched Julius Caesar and last night I took in The Tempest.  I don't always make it to both shows of the Festival, but I had never seen (or read) either of the shows this year so I really wanted to.  The focus this year seemed to be on spectacle and that choice served both pieces well.  I loved discovering the plays onstage and live and this was a true test for myself and for the productions.  I enjoyed both, but was a bit distanced from each for different reasons.

Julius Caesar was wrapped up in it's struggle with ambition vs. ideals and the world of politics. It felt like more of an idea play than an action play (even though there is action).  This is not a criticism, merely an observation.  It was and is interesting to think about whether you can do something wrong for the right reasons.  I was surprised to discover that Brutus is really the central character (I didn't know! I told you I went in totally unprepared beyond knowing about the ides of March and the stabbing.) and as always Chris Bullough was excellent.  I did find it hard to identify a villain because of the humanizing approach the production took with regards to Cassius (Kevin Corey), but discussions with others afterwards led me to believe that ambition was the villain. Although the spectacle did occasionally remove me emotionally from the play it did help to provide one of the best battle scenes I have ever seen on a stage.

The Tempest was delightful and playful.  It was not as dark as I was expecting (I think I was influenced by Julie Taymor's trailers for her film) and I laughed quite a bit, particularly at the clownish servants - Troy O'Donnell, Kevin Corey, and Nathan Cuckow.  Mat Simpson and Cayley Thomas-Haug were also quite fun as the young lovers.  I enjoyed the spectacle as it served the piece (so full of magic). I think my challenge was in finding a villain - but it is once again a character trait that plays that role - vengeance.  John Wright, perfect as Prospero, anchored the piece magnificently and Ariel (Amber Borotsik), along with her fellow island spirits, created a magical world.

* Julius Caesar and The Tempest mark #27 & #28 of my 2012 Theatre Goal

New Work at Walterdale - From Cradle to Stage 2012...

This past Saturday and Sunday I checked out the work being presented at Walterdale Theatre for their annual new One Act Festival, From Cradle to Stage.  It is the first year in a while that I have not been involved in the Festival as I had hoped to submit and then didn't and then with Nine on my plate on one end and my University work on my plate on the other end I didn't have time to contribute in another way.  The Festival holds a special place in my heart, as it is one of the few ways that 'late emerging' playwrights can get their work produced.  The formalized system in place to work with dramaturges (Tracy Carroll and Brian Dooley) has also meant that those playwrights selected for production can get real, concrete help with developing their work. It's a fabulous experience (I went through it a few years ago when I submitted Pieces in 2007) and for someone over 30 who doesn't qualify for Nextfest or who might not be ready to self-produce at Fringe, it fills a gap in the development process.

The two produced shows were quite different from each other, as is often the case. The first, Apocalypse, Saskatchewan by Dion Huel, was a funny piece about three elderly men in a small Saskatchewan town who get carried away with the idea that Zombies are attacking. There were many laughs, and although I feel the piece as written was actually a two-act play (it ran at about 95 minutes) it was well-received.  The second, The Carrying by Jennifer Robinson, was a fascinating pieces about two women carrying mysterious bags to an unknown location.  An somewhat abstract piece with movement and intentional repetition, it was well-directed and performed and it was one of those plays that you think a lot about afterwards. I quite liked it.

On the Sunday afternoon, the festival wrapped up with readings of the four other finalists.  There were 6 finalists selected from a pool of 37 entries.  The afternoon demonstrated the wide variety of the submitted plays.  Ostensibly staged readings there was also a wide range in the degree of the staged component.  The four plays ranged from being pieces about relationships (The Loneliest Number and Magpies) to a  modern fable about abuse begetting abuse (Poor Defenseless Creatures) to an historical piece (Mary!).  All in all, they were four works in development that will be interesting to watch for in the future.

* These two events mark #21 and #22 in my theatrical goal for the year 2012

More Daniel MacIvor for a Certified Fan - In On It at Theatre Network!

I caught Opening Night of In On It at Theatre Network on Thursday night.  I am a true MacIvor fan so this is written with prejudice.  I really, really, really, really liked this play and production.  A deftly written and well-performed two hander, directed by Bradley Moss and starring Frank Zotter and Nathan Cuckow, it was full on laughs and little magic moments and sadness.  As a playwright, I came away with so many ideas about how to put together a narrative which features many more than two characters but is performed by only two.  As a director, I saw possibility for shifting staging out of realism using lighting and sound and only 2 chairs in a simple black box. I was impressed by it's fluidity and it's humour and the way these two guys switched from character to character, from now to 'the play', to the past, to the present.  It wasn't easy to follow all the time.  I don't think it's supposed to be.  You get the information in non-sequential bits and pieces, so you have to put it together.  My friend who was with me said that she sometimes had trouble figuring out where and when and who they were, however, based on her follow-up statement, I don't think that's a bad thing, because she said she wanted to go see it again to figure it out.  She wanted to be 'in on it' from the beginning.  Can't be a bad thing if you want to go see it again, can it?

By the way, the theatre was absolutely packed - I would suggest getting your tickets earlier rather than later.  It's one to see!

* In On It marks #20 in my 2012 theatre goal - halfway there and it's only May!

Midsummer Night's Dream: Watching with Oliver...

Last night I took my 10 year old son, Oliver, to see A Midsummer Night's Dream at The Citadel Theatre. He's almost 11 and is getting more mature and I felt that he was at a good age to expose him to Shakespeare.  I knew that he wasn't going to 'get it all' but hopefully he would 'get' some of it and from what I heard about this production it would be a great first exposure. 

The show was lovely, the actors were quite comfortable in dealing with the language and Tom Wood's production wisely approaches the play in a very physical way.  Everything looks beautiful and there is a bit of real magic evoked with the fairies.  Oliver loved Puck (Jonathan Purvis) for his leaping and tumbling and flying around the space.  He also loved the gorgeous swing that Titania and Bottom sail over the audience on. With the lovers in the woods, Oliver was a little bored by the kissing and arguing, however he was totally invested in the fight scene (which was excellently executed) and he loved the mischievous Puck's replacing and magicking swords as he led Lysander (Eric Morin) and Demetrius (Partick Lundeen) about the woods. Oliver's favorite part, however, was hands-down the Pyramus and Thisbe play within a play performed by the Mechanicals for the royal court.  On the ride home he recounted much of the silliness that ensued, listing Thisbe's butt, Thisbe's screaming, the missing sword and the Moon's dog as his favorite parts.  As a mother it is simply fabulous to sit next to your child hearing them laugh as they are truly engaged with something you love.  I was worried, because a 2 1/2 hour long Shakespearean piece is tough to sit through, and at the end of the first act I don't think he was convinced that this was for him.  However, the second act was full of physical comedy and that's what you need when you are 10.

For me, the stand out performances were Shannon Taylor as Helena (who was fiery and funny and who possesses an amazing physicality) and the Mechanicals as a group.  I thought the show, as a whole, was well-executed and in particular the second act. This production was especially strong with the physical aspects, but engagement dropped a bit whenever the language was not supported by action. Personally I would have cut the dancing at the end and shorted the dancing fairies bit, as the show is long enough without that and although fun and/or pretty, those bits did nothing to move it along.  Overall I enjoyed myself, but I was not blown out of the water.  It is a challenge to sell Shakespeare at Citadel prices when we in Edmonton have Freewill Players doing such high quality productions every summer.  With ticket prices 2-3 times higher at The Citadel I wanted the experience to be that much more incredible. It's hard to reach that when the bar is set so high already.

Those Darn Cute Kids! Sound of Music at The Citadel...

Last night I saw a Preview performance of The Sound of Music at the Citadel.  I saw the show the last time they did it and loved it.  I have to admit, I am a bit of a fan of the show - having watched the movie over 30 times I am sure. I restrained myself, and although I mouthed the words to the well-known songs, I did not make any sound.  They really should do a sing-a-long night though...

Anyhow, I digress...

The show was lovely.  There are two things you have to do well to get Sound of Music right - get the iconography correct and get all the 'kid-stuff' right.  This production does well on both those fronts.  With such a well-known show, the fans demand certain standards for the stage production.  They do not want a re-invention of it.  It's historical and since so many are familiar with the movie, they do not want shows to steer too far from what they already know.  This production wisely included I Have Confidence and Something Good (two songs not in the original stage production, but well known from the movie) - it is always jarring when they are omitted and both actually serve a purpose in the show that I was glad to see them. The children are also quite strong. They sing and act well and stay in the scene always.  In fact, when they are on stage they usually steal the show from anyone else onstage with them.  The entire family unit of Maria, Captain Von Trapp and the children feels cohesive and I think Director Bob Baker did well to use the creation of the family as the focus of his production.  You can see why this might be a terrifying show for professional companies to attempt, as there are no guarantees when it comes to children who can act, sing and dance, but there are no worries with this production in that regard. As Maria, Josee Boudreau is in fine voice and full of enthusiasm.  She deals well with the somewhat dated script, infusing it with the conviction and spunk that Maria needs.  Rejean Cournoyer is also quite good as Captain Von Trapp.  You wish he had more to sing, but the script does not provide for that, but it was quite nice to watch his journey, as he changes more throughout the play than Maria does and he manages to play it all with a nice subtly.

There were a few things that bothered me.  I do know, however, that it was a Preview and perhaps that was the reason for some of them.  I was a bit disappointed with Climb Every Mountain as I felt it was under sung and lacked the gravitas it needed to anchor it.  The tone was lovely but Climb Every Mountain should shake everyone in the theatre a little bit and I was left wanting more.  I kept hoping the small start was leading to a big crescendo, but it never came. I would have preferred to see Susan Gilmour (Elsa) sing it as she would have knocked that song out of the park.  As it was, Gilmour was strong as Elsa, but felt a little mature in comparison to Cournoyer's Captain Von Trapp.

All in all, it was a nice night at the theatre.  It's not edgy, ground-breaking theatre, but it does wonderful service to an iconic show and is a great production for the whole family.

* Sound of Music is #18 in my 2012 Theatre Goal - almost halfway there and it's only April!

The Deep Blue Sea...

This week will be all about Titanic. I have been to about 2/3 of the rehearsals (whenever Gibson is called) and have enjoyed seeing this show come together. It's a hybrid In-Concert production with costumes and some blocking. There will not be an actual ship on stage (Gibson was wondering about that). It's been a great experience as a mother to see him integrate with the cast and the show experience and since he is the only kid it has been so good to see the cast welcome him and engage with him. I thought I would share some of my favourite moments of the show (outside the moments when my child is in scenes as those obviously are my absolute favourites!). These favourites shift from run to run, but overall, these are the ones that stand out.

#1 - Kyle Thulien singing No Moon - His voice is lovely and so suited to this mood-filled song. Every time he starts singing it I have to stop what I am doing and watch. I love the whole song as it leads into the scenes of other passengers just prior to the crash. It reminds us how human they all were.

#2 - Gerald Mason and Pat MacKeage singing Still - I think it is because they don't want the cute 7 1/2 year old to get all the awwwww moments that these two have really committed to creating the 'most heart-wrenching moment of the show', but this piece will break hearts. The two of them are beautifully committed to the song and each other and it's a gorgeous moment on the stage.

#3 - Gary Carter, Morgan Smith and Neil Johnson singing The Blame - I love this song and these three guys are so good in the singing and the acting of the piece. It also has this Sondheim-like quality to it that I like. But the three of them balance it really well, each holding their own. It's a tough song that they totally make work.

#4 - The Third Class passengers singing Lady's Maid - There's a wonderful ensemble feel to this song as they dream about their new lives in America. Joyful and fun and sad because we know they will not all make it.

There are many other wonderful moments, these are just what stand out for me today - it changes every time I see and hear it. Gibson has totally different favourites (he loves Doing the Latest Rag). Yesterday I got to hear the whole sound as they added the orchestra and the choir and I can't wait to hear it in the Winspear on Wednesday!

We caught The Blue Man Group as part of the Broadway Across Canada this weekend. A fun show, and about what expected. I don't need to see them again, but I could go if I was in Vegas and looking for a show. I did wish I had had 2 martinis at dinner because I think that would have made it even better, but like I said, I had fun. All this theatre training made me recognize it for what it was: A Clown Show. Really, that's what they are - a modern day clown show that builds their turns around technology and percussion. It's very clean, funny, silly and very, very loud. The best bits were audience participation ones (whether individual or whole audience) and it really had a slick feel to it. Fun, light, loud and commercial.

* Blue Man Group is #13 in my 2012 theatre goal

Cowardly Kiss Theatre Presents Night Time - No Cowards Here!

I took some time to chat via email with Andrea Beca about Cowardly Kiss Productions, Night Time and what is on the horizon for this company in Edmonton. I am always excited when people commit to what they believe in and take risks while enriching Edmonton's theatrical community so the announcement about an entire season from this company was welcome news for me.

Andrea, you are the Artistic Director of Cowardly Kiss Productions. I have seen a few of your shows at Fringes and last year's Bunburying in the regular theatre season. Can you give us a bit of background on yourself and the company and what you have done in the past? Sure! I've been writing my whole life, from my own "radio" show when I was in grade 1 (my mum still has the tapes I recorded - good lord!) to novels in elementary school. I started writing plays seriously when I was around 16, which was also the first year I got involved with Nextfest at Theatre Network. Everything sort of snowballed from there: I went to the University of Alberta and got my BA in English Literature and Creative Writing. I also started working at Theatre Network during my second year of uni, which really boosted my theatre education on so many levels. I founded my theatre company, Cowardly Kiss, that same year and decided to apply for the 2007 Fringe. Between 2007 and 2009, I wrote, produced, and directed four successful plays at the Edmonton Fringe: B, or, Unless You Steal Her Pen! (2007), Sylvie (2008), She Came From Planet X! (2009), and 00:00AM (Zero Ante Meridiem) (2009). In the Autumn of 2009, I moved to Glasgow, Scotland, to pursue my Master's in Playwriting and Dramaturgy at the University of Glasgow. Since returning to Edmonton, I've really expanded Cowardly Kiss: I produced my Master's thesis, BUNBURYING, this past Spring, as well as an experimental Fringe play, (Real) Gone (Girl), and now I'm embarking on producing Cowardly Kiss' inaugural season, which begins on November 4 with Night Time!

What do you see for the future for Cowardly Kiss? I have lots of plans to continue expanding Cowardly Kiss. We have our season, of course, which is comprised of four plays: Night Time (November 2011), The Maids (April 2012), A System of Pulleys (Summer 2012), and Happy Homes, Perfect Children (Summer 2012). We'll soon be branching out to include a bit of short film work - I have a couple of web series in the works, which I'm hoping to start production on soon. Cowardly Kiss will also be offering freelance dramaturgy very soon, from our two resident dramaturgs: myself and Margaret McCall. (Keep an eye on our website for further info.) In the meantime, I'm also nearly ready to introduce something that has been in the works for the last two years: the children's branch of the company. But that's all I'm going to say for now - more soon, I promise!

Which brings us to Night Time... I couldn't find any information in English on the piece - where did you come across it? Well, not much has been written about Night Time, save for a few reviews of the original production, because it's only been produced once in the past. I'm guessing that what you did find was probably written in Selma's native Croatian! Night Time premiered at the 2007 Edinburgh Fringe at the Traverse, Scotland's new work theatre. Selma (the playwright) was one my two playwriting mentors at the University of Glasgow. The other was Philip Howard, who was the AD at Traverse for over a decade, so I was extra attached to the play while I was at school. After working with Selma, I really wanted to read something she had written, and I wasn't disappointed.

Why this piece for your company? For Edmonton Audiences? Night Time is such a quiet, beautifully written script. Upon first reading, the story seems simple, almost uneventful, but with an uneasiness looming over every word. The more you read it, the more you uncover about what's really going on, the more complicated it becomes, and the more eerie and haunting the characters become. I chose to put it in the inaugural Cowardly Kiss season for a few reasons: first, it's a script I love and it's a challenge to stage; second, the core of its story is one that audiences from anywhere in the world can identify with; and third, I really wanted to bring something from Glasgow home with me, and even better that it would be a play no one has ever heard of before. I learned so much while studying in Europe, but one of the most striking things I learned was just how many incredibly talented playwrights there are whom we have never heard of in Canada (and vice versa, which is why I forced everyone I spoke to to read some Daniel MacIvor)!

Tell us about the people you are working with. Who have you cast and who rounds out your production team? I'm lucky to be working with an amazing cast and crew! The cast is comprised of Nicole Schafenacker (CHRIS), Brennan Campbell (FRANK), Patrick Errington (THOMAS), and Cody Porter (BOWMAN). Ainsley Hillyard has brought her astonishing choreography to the piece, which was not an element of the original production, but which fits so beautifully with the sparingly written script. And last, but not least, Trent Crosby is our fab stage manager.

Where can people go to get more information on the show and purchasing tickets? The Cowardly Kiss website is always up to date with the latest - www.cowardlykiss.com! You can also find information on the Catalyst Theatre website, which is where the show is being produced - www.catalysttheatre.ca - and you can purchase advance tickets through Tix on the Square - www.tixonthesquare.ca!

Is there any other things that you want people to know about the show? It's such a fascinating piece - even among our cast, we had several different interpretations of the story, so I'm very excited to see how each audience member interprets it. I'd love to warn everyone now that it's 90 minutes long without an intermission, so pee when you get there! (I want you to have the opportunity to be first in line for the bathrooms.) We're actually fully booked for volunteers (yay!), but stay tuned to our website and Facebook page - we have an IndieGoGo campaign coming up to raise funds for the next show of the season, Jean Genet's The Maids!

Thanks so much Andrea. I am looking forward to seeing this show and the other work that you will be bringing to Edmonton this season!