Seeing As Much As I Can... Missing too many, still...

Tonight I am heading out to Spruce Grove to catch Horizon Player's Ordinary People. The other half of FinallySauces is in this one and I am excited to see her work. I like to see what other directors get out of the actors I work with because then it pushes me to get more out of them (since I see what they can do!).

Last week I caught two very different shows, This is What Happens Next (Citadel) and Howl! (ABBEDAM). Both were very well done and very different. I loved the MacIvor show. The first 10 minutes I wasn't sure what it was going to be but then all of a sudden BAM! I was in. The last 10 minutes were so beautiful I got all teary eyed. Lovely, lovely performance and script. It runs for another week so I would highly advise catching it if you can! Howl! was a dramatization of Alan Ginsburg's poem. It was very well done, with phenomenal movement and attack. It is over now - it was the ABBEDAM show at the University and only had 4 shows. I saw both shows in the same day. They were very, very different from each other. I must admit I connected much more with the MacIvor show, but while This is What Happens Next was a carefully crafted piece written for the stage by one of Canada's foremost playwrights, Howl! was adapted from a poem. A poem and a play do not have the same type of arc, so while it was well done and true to it's source, I am clearly not an angel-headed hipster and I did not relate to much of the material. I can, however, respect the work done.

I feel like I am seeing a lot of theatre, however, there is so much I am missing. I would love to see them all... basketball and my own commitments make that impossible.

Dear Parents and Care-Givers of Dunluce School

Re: Traffic Issues – Dunluce School

2011-2012 School Year

I have been growing more and more upset by the way parents and caregivers have been behaving when they come to pick up their children after school this year. I have never seen it this bad and I have been picking my kids up after school for the last 4 ½ years (I did take one year off where they rode the bus – so 3 ½ of the last 4 ½ years).

I have observed rampant jaywalking, with and without children, often done by darting out between parked cars (when visibility is poor) or by making oncoming traffic stop. Remember, because of where the crosswalks are located this means people had less than ½ a block to walk to a marked crosswalk no matter where they were. So not only are these people acting unsafe and illegal, but they are also lazy.

The driving and parking habits that I have observed also concern me. Every single day there are people parking in the no parking areas surrounding the crosswalk. I fear for the crossing guards and pedestrians as your car being in those non-parking spots means that you have greatly reduced their visibility to oncoming traffic. Your being there means they have to step out further into the road to stop the traffic. You put them at higher risk. You endanger the life of those children. I have seen reckless u-turns, high speed pulling out of parking spots, lack of signaling, pulling out into the crosswalk (because, of course, that’s where you were parked). All of those things are unsafe for our children. Yesterday, I saw one van driven by a school parent that thought to go around the line of vehicles stopped at the crosswalk. Why were they stopped? They were stopped BECAUSE THERE WERE PEOPLE CROSSING THE ROAD. She (the driver) looked puzzled that I would honk frantically at her to stop (at this point she was driving on the wrong side of the road in order to get around those pesky stopped cars).

I wrote to Mrs. Busby (our School Principal) about these issues. She informed me that the school is very concerned but unless there are police out there ticketing people will say to the staff members who tell those of you who break theses rules that they could get a ticket that “They will take their chances.” I wonder, are you going to take your chances with a child’s life? Because that’s what it’s about – those children’s lives. It is not about whether you get ‘caught’ and get a ticket, it is about the message you send to our children. The message you send is that it is okay to break rules as long as you don’t get caught. The message you send is that safety is second to convenience. The message you send is that what they are taught in school does not matter. You send a terrible, terrible example to your children and to mine. My fear is that one day one of our children is going to pay for it.

Please stop taking chances.

And then the snow came...

Funny how the weather can change your perspective on the week. It looked busy on the page but then the snow came and made everything more challenging! It's swirling around out there and that's what the week felt like!

Sunday Night I started off the week with a bang! Caught The Rocky Horror Show at the Citadel and had a BLAST! It's not my favorite show, because it's hard to do 'right', but they certainly did it up proper! I love Camp when it's done well and everyone was on top of their Camp Game! To do the show you can't show fear, you can't apologize for it's ridiculous, you just go for it and they certainly did. It was enhanced with the controlled audience participation. Just enough to keep us all in the game but not too much that it got annoying. We could get up and Time Warp and sit back down for the show (everyone was so well behaved - but having fun!). There were a few people who really know the shout-outs and they kept it up in just the right amount. Special kudos to John Ullyat as Frank-n-Furter (is there anything he can't do?!?!?!?) and Julian Arnold as the Narrator (his interaction with the audience was inspired!). All the voices were fantastic (how does Robert Markus do that with his voice?!?!?) and the whole thing was fabulous!

The week continued with basketball, a snow storm or two (((we were right behind a very scary accident on Monday night))), a workshop reading of the script I am directing for New Works (auditions in two weeks!), and a skipped painting session for Wyrd Sisters (the snow and my back made me stay home!). I also had a major assignment due and spent 11-15 hours working on that. That got handed in this morning so I can relax!

This weekend I am off to see Daniel MacIvor's This is What Happens Next at the Citadel Theatre and ABBEDAM's Howl at the University of Alberta. I hope the roads are sanded!

This is What Happens Next... I spend a day with Daniel MacIvor...

Last weekend I journeyed south to Calgary for Playworks Ink (you can read about that weekend in my previous post). The whole weekend was wonderful, but Saturday I got to spend the day with Daniel MacIvor and that was indeed a great day for me. There were a lot of other people there, but still, it was good.

Who is Daniel MacIvor? Well, if you know anything about Canadian Theatre - you know. He is one of the most prolific and most successful Canadian theatre playwrights we have. "We" - it's nice to have ownership of him, isn't it? His plays vary from multi-cast pieces like Marion Bridge, A Beautiful View and This is a Play to his solo-shows like Monster, Cul-de-sac and his upcoming This is What Happens Next.

The day played out as follows:

The Session - Play Finding
Eleven of us were lucky enough to take this session with Daniel. We walk into the room and meet Daniel and Buddy, Daniel's incredibly well-behaved and occasionally focus-stealing dog. First, each of us has a getting-to-know you conversation with Daniel. He talks to us about our goals, our past projects and then he reads our writing - aloud. Then he deals with us, one by one, talking about what is in our writing, where it could go, he ask questions, he makes statements, he makes us each think about what we want to do with it. Then Homework - over lunch we each get an individualized assignment to complete. The task is daunting, impossible, challenging and thrilling - "Yes! That is exactly what I need to do! How come I didn't know?!" - is what goes through my brain. We come back and share what we have done. For some of us it is a monologue or a scene. Others are tasked with writing a synopsis, character list & a scene. Each gets what they need. He does not leave it there. After he hears our homework he gives further questions for us to think about where to go next and then he has us set a deadline for the completion of a first draft. All in one day. I leave with the beginning of a play I didn't even know I needed to write. It might not sound like much, but there is something compelling in what he talks to each of us about. We all talk about wanting to go to Banff in February to complete the 3 day workshop with Daniel.

The Keynote - The Artificial Authentic
Please note - Theatre Alberta or APN will often publish the Playworks Ink Keynote in it's entirety - herein I just scratch the surface.

What I take away from this keynote is summed up as follows:
- Theatre is bigger than us - We are not the theatre. Ego = Death of the Authentic.
- Theatre is context for being - it is a place for communion and transformation (we should be seeking to connect as theatre artists - to allow the audience true moments of communion and transformation). This is opposed to observation and appreciation. We should be aiming for connection - not just entertainment.
- There is a difference between criticism and judgement. Trust instinct not taste. Enough is not enough - the audience is enough.
- And the most important Questions are: Why Bother? and Who cares?



The Upcoming Show - This is What Happens Next


MacIvor speaks to the production upcoming. He talks about his vowing not to do another solo show and then needing to do the show after coming through the challenging events of his life. He sought to leave theatre for a while, feeling that all he was doing was making things up and pretending and then discovering that once he left, got married and tried to live a 'normal' life - that everyone was pretending but they were just not being honest about it. So he reversed his earlier decision and worked once again with his long time collaborator Daniel Brooks. Brooks helped him take something that was very dark in his life and lift it into lightness. I ask about being authentic when everyone is pretending. How is that possible? He says it is the attempt to be authentic on stage that what counts. To find that moment of communion or at least to seek it.

I know why I am going to see this show. I have spent the day with Daniel MacIvor. His charisma is undeniable. His keynote is inspirational. If he is that compelling giving a keynote speech, I can only imagine what seeing him onstage in one of his shows will be like. The session on play-finding demonstrated his generosity of spirit in art. I missed seeing him in Cul-de-Sac a few years ago at La Cite - my friends rave about it and the complexity of the performance and the sense of place and story that permeated the one man show. I too have had those moments of 'where is my life going now' and that fascinates me. I have many reasons to go. I ask MacIvor why Edmonton audiences should go - if those reasons about are not enough, and he says, "I think that the show appeals to many people on many levels. For anyone who is interested in storytelling - which seems to be most people - the show looks at the pros and cons of what it means to live in a world where our whole lives are made of stories. And for those who might have some understanding of or interest in how people survive dysfunction and addiction, there is a level they will get that others might not. And who doesn't like a hands-down, no-holds-barred happy ending? And did I mention that it's funny?" Good enough for me.



The Citadel Theatre presents Necessary Angel's production of
This is What Happens Next
A scary comic fairy tale
Created by DANIEL MacIVOR and DANIEL BROOKS
Written and Performed by DANIEL MacIVOR
Directed and Dramaturged by DANIEL BROOKS
November 12 – December 4/11
in the Rice Theatre


https://tickets.citadeltheatre.com/TheatreManager/1/online

Recharging the Creative Battery - Playworks Ink

This past weekend I had the wonderful experience of partaking in Playworks Ink, a drama conference with a particular focus on playwrighting as well as other theatre related skills. There were sessions directly related to playwrighting as well as movement, breath control, directing, and (from what I heard) a phenomenal workshop where you could learn the Catalyst Theatre process from the inside. This conference is run by Theatre Alberta and Alberta Playwright's Network and they managed to bring in world-class instructors who worked with the many participants of backgrounds ranging from enthusiasts, to drama educators, to emerging professionals to full-fledged professionals. I cannot speak to anyone else's experience but mine was fantastic and everything I needed to get me recharged.

My first session was with Karen Hines and in a jam-packed session on Friday afternoon I discovered 2 major things that will help me with my in-process script Girls in White Dresses. The activities she taught us are also ones that I can take and use again with the same script and others. Very valuable.

I spent all of Saturday with Daniel MacIvor. His session, Play Finding, was individualized. He worked with the 11 of us to pull out the best of what we had and push us on to the next step and for me, the next 2 or 3 steps. I have a new play to work on now from that. This session has me desperately trying to figure out how I can do his 3 day workshop in Banff in February. I'll be talking more about MacIvor this week. I got to interview him for this Blog about his upcoming show, This is What Happens Next, that opens at the Citadel this weekend. He also delivered a Keynote that spoke to theatre in a way that was refreshing and enlightening. A generous instructor, a charismatic speaker, and a thoughtful thinker - I cannot wait to see his show.

Sunday was the last of my three sessions. I got the low-down on how to market my work from Ken Cameron. For me this was the most scary workshop and perhaps the most valuable. I am not scared to delve deep for my work, but have me talk about it to a potential producer and I freeze up. I have a plan now and hopefully this will help me face me fears.

A wonderful weekend. It's every 2 years - which is a financial necessity for the organization, but I could go twice a year if it was possible!

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!

The Snow Globe Festival - Filling the need for Quality Children's Theatre in Edmonton in the Winter Months

Recently I noticed a lot of buzz on Twitter and Facebook about a new theatre festival for children happening this winter. The Festival was called The Snow Globe Festival and was running the week prior to the Christmas holidays in the Avenue Theatre. As a mother of 2 elementary school aged children I have long wished for more theatre programming throughout the year. I get my kids out to the Fringe and have occasionally been able to take them to productions at FTA, The Citadel and Concrete Theatre, but have always wanted more choices for them. And, as they age, I have discovered that I need more variety and options for them. This Snow Globe Festival seemed right up our alley.

I took a little time to ask the festival's creator, Ellen Chorley, some questions.

What is the Snow Globe Festival? Who does is serve and why did you think it would be a good idea for Edmonton and the 118th Avenue area? The Snow Globe Festival of Children’s Theatre is a new Edmonton Festival created and produced by Promise Productions (an independent TYA company in Edmonton). The festival will take place in Edmonton’s Avenue Theatre and will feature student matinees and evening shows of three full length plays and a musical lobby show over five days-Tuesday, December 20, 2011- Saturday, December 24, 2011.

I wanted to a do a festival in the 118th Avenue area because it was really important to me to create both affecting and affordable theatre. I noticed that there a lot of awesome events that happen in Edmonton right before Christmas, but most of them seem to be pretty expensive. The Snow Globe Festival offers affordable tickets so the whole family can attend. It is also is in line with the Arts on the Ave Initiative: "We Believe in 118"- where arts and family oriented events are important. 118th Ave is a great neighbourhood full of people who believe it can be a safe, vibrant area. I wanted to give families and schools in the area a really, fun, affordable festival for the holidays!

Finally, the Snow Globe Festival allows my company Promise Productions, to branch out to producing scripts with bigger casts and production values, as well as take care of 32 artists over four different projects. It's a big challenge and I felt like I was up for it!

Tell us about yourself. Who is Ellen Chorley and what is her background in theatre? In children's theatre? My name is Ellen Elizabeth Chorley and I am a workaholic obsessed with creating theatre.

Indeed she is. Here is an excerpt from her Bio:

Ellen Chorley is the Founder and Artistic Director of Promise Productions and the Festival Producer of the Snow Globe Festival of Children's Theatre. For Promise Productions, Ellen has written, produced and performed in: Cinderella the Wizard (Edmonton/ Athabasca/ Calgary Fringe 2007), The Too Tall Princess (Edmonton Fringe 2008) , The Twelve Dancing Princesses (Edmonton Fringe 2009) and The Tortoise and the Hare (Promise Productions @ FTA 2010) and The Fairy Catcher’s Companion (Edmonton Fringe 2010) as well as writing and producing The Not Evil Stepmother (Edmonton Fringe 2011).

Ellen has written many plays for young audiences including Lost and Fever Pitch (Evergreen Theatre), Mixed Up (co-written with three other writers for Centre Stage Theatre), The Heights of Love (Calgary’s Heritage Park) and two original high school plays The Albright Pact (Central Memorial High School) and Highlands at One Hundred (Eastglen High School).

Along with her work with Promise Productions, Ellen also serves as Artistic Associate for Edmonton's Northern Light Theatre, and between 2005-2010 worked with the Calgary emerging theatre company Mob Hit Productions as Head of Research and Development/ Playwright in Residence. Ellen also is a co-founder of Edmonton’s new theatre burlesque company Send in the Girls Burlesque.

Ellen has worked for the past twelve years as a drama teacher- starting her career as a teaching assistant at Edmonton’s Stage Polaris Academy for the Arts, Foote Theatre School at the Citadel Theatre and Theatre Zocalo. Now, Ellen teaches drama to all ages as a teacher at the Foote Theatre School, as a guest artist for the City of Edmonton, the City of St. Albert, and the City of Fort Saskatchewan, and as an artistic residence leader for Centre Stage Theatre (Calgary), Alberta Opera, and her own theatre company Promise Productions. In the fall semesters of 2009 and 2010, Ellen lead long term drama residencies in high school in Calgary’s Central Memorial High School for the Performing Arts (2009) and Edmonton’s Eastglen High School (2010). In each of these residencies, Ellen wrote and directed full length and tailor made plays for the students she worked with.

Ellen was nominated for the Emerging Artist Award at the Edmonton Mayor’s Evening for the Arts in 2008 and is the recipient of the 2011 Enbridge Nextfest Emerging Artist Award and Ellen was nominated for a 2011 Elizabeth Sterling Haynes Award for Outstanding Fringe New Work (Award to Playwright) for her script The Fairy Catcher’s Companion. At the Edmonton Fringe 2011, Send in the Girls Burlesque received the first ever Staff Choice Award for their production of Tudor Queens: A Burlesque.

You've written, directed and performed in Children's theatre quite a bit. What draws you to that particular form? When I was six, I told my mother I wanted to be princess when I grew up. Then when I was twelve, I told my mother I wanted to be writer on broadway. Then when I was sixteen I told my mother I wanted to go to theatre school and become and actor. Doing children's theatre has allowed me to do all three.

What are the shows? What should audiences expect to see? Are there any specific age recommendations for the individual shows?
The Lion, the Witch and the Wardrobe by C. S. Lewis, adapted by Joseph Robinette When four children- Peter, Susan, Edmund, and Lucy are shipped off to country estate to escape wartime London, they stumble upon a magical land in a wardrobe called Narnia. Narnia is ruled by an evil white witch who makes it so it is always winter and never Christmas. What Peter, Susan, Edmund and Lucy don’t know is that their arrival in Narnia aligns with an ancient prophesy calling for the end of the White Witch’s rule and the return of the King Aslan. This story of love, faith, courage and giving, with its triumph of good over evil, is a true celebration of life. Target Age Group: 5-14 years old

The Fairy Catcher’s Companion by Ellen Chorley
Back by popular demand! After a sold out run at the Edmonton International Fringe Festival, Promise Productions remounts their 2010, Sterling award nominated hit The Fairy Catcher’s Companion. The Starling Sisters have been waiting for their father to return home from war, but after two years without a letter, they are beginning to worry. Finally, an official typewritten letter arrives imploring Charlotte and Beatrice’s mother to travel to collect their father. Beatrice and Charlotte are shipped off to live with their stern Aunt Bernadette at Prince Manor- a dark, drafty countryside manor. Charlotte and Beatrice are at their wits end waiting to leave Prince Manor, until they find a peculiar-looking book called “The Fairy Catcher’s Companion” and use it to catch a real-life fairy named Fusser. But could having a fairy friend be more trouble than it’s worth? Target Age Group: 7-12 years old

Miss Electricity by Kathryn Walat

An electrifying, educational and entertaining comedy for all ages! Violet is a normal fifth grader who would much rather be breaking a world record than studying for her geography test. But when the world record attempt goes array, Violet walks home in the rain feeling sorry for herself, only to be hit by lightning, not once but twice! Now Violet isn’t a normal fifth grader anymore, she’s Miss Electricity- a super hero who can control electricity with her thoughts. An off the wall comedy with a great anti-bullying message about finding strength in yourself!Target Age Group: 4-12 years old

The Holiday Half-Time Show Baby, it’s cold outside! So stay inside the Avenue Theatre and let Holiday Half-Time Singers keep you warm and entertained. Enjoy your favourite winter songs before and after every performance at the Snow Globe Festival of Children’s Theatre, and you’ll be back in your seat for another show in no time at all. With voices sweeter than sugar plums, tunes toastier than hot toddies, and music merrier than mistletoe, who could ask for a better way to get ready for the holidays? (Evenings only) Target Age Group: All ages

What can parents tell their children before bringing them to the shows? Are there any special etiquette that they should be aware of? I think it's so great for parents to talk to their children about theatre etiquette! I would say the things to cover are:

- there there are any scary parts, it's just an actor, so don't worry! (and in fact usually the actor on stage playing a scary character also plays a good guy too!)

- make sure you go the bathroom before hand

- unlike watching a movie, watching a play means that actors can see and hear you! so to make the play enjoyable for everyone, try to keep quiet during the show, that doesn't mean that you can react to the play, but it does mean that you probably shouldn't shout "hey look behind you" to an actor on stage

Tell us a little about how people can support the festival. Is it more than just attending? Are there volunteer opportunities? Is there a way for people who want to see a Festival like this succeed to help out?

We need any support you can offer, especially since The Snow Globe Festival is NOT being funded by grants or government funding bodies like AFA or EAC this year.

First of all, anyone can donate to the festival though out IndieGoGo fundraising campaign at http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.indiegogo.com%2FThe-Snow-Globe-Festival-of-Childrens-Theatre&h=dAQEopa5AAQHCGsr8Fz-6fmhIo0zbpejNJPB64Cuz6fIT7A any donations made through this campaign will go directly to the 32 artists working on the shows!

Secondly, you can support us by buying tickets at Tix on the Sqaure by clicking http://www.tixonthesquare.ca/event/subscription/detail/134/ You can buy passes to the festival or singular tickets.

Third, we will be needing volunteer ushers and box office people, so if you are interested in volunteering check our website at http://www.promiseproductionstheatre.com/ or our facebook page at https://www.facebook.com/ellen.chorley#!/pages/Promise-Productions/134007796617404

Finally, we still have a few student matinees left to fill, so if you think your child's school might like to see one of the shows, you can talk to you principal and have them visit my website http://www.promiseproductionstheatre.com/

Thanks so much Ellen, for answering all my questions. This sounds like a wonderful way to spend time with our kids over the holiday season. I know I am glad to have the option and will be taking my kids!