Asurvey released this weekhas reconfirmed that theperforming arts are a

major economic driver forToronto.

“This builds the case thatshow business is big business inthis city,” says Jacoba Knaapen,executive director of the Toronto

Alliance for the PerformingArts. “The numbers areirrefutable. They make a strongargument that culture is a drivingforce in the City of Toronto.”

The TAPA survey, four yearsin the making, shows that thecity’s 186 theatre, dance andopera companies are thrivingdespite the economic slowdown.The TAPA study is especiallysignificant because it includesboth commercial and non-profittheatres and arts companies.

“Our TAPA member organi-zations are very optimisticregarding their companies’future,” says Knaapen. She ishopeful, she adds, that the find-ings will boost corporate andfoundation sponsorship, allow-ing performing arts companiesto continue and expand theirofferings.

Continued on PageP6

The new Koerner Hall atthe TELUS Centre forPerformance and

Learning opens its doors for agala concert tomorrow night.The event will mark the start ofa 10-day Grand OpeningFestival for the new 1,100-seatconcert venue at the venerableRoyal Conservatory of Music –and much more.

For Toronto music lovers,there will finally be an acousti-cally superb, mid-sized, down-town space to take in a widerange of concerts and otherevents. Music students and fac-ulty will have the opportunity tolearn and perform in a qualityvenue, as well as to interact withand be taught by the majorartists who come to its stage.These musicians and singers,including international stars,will perform in a space withvariable acoustics appropriatefor their talents. And theConservatory will vastlyincrease its impact.“The institution is poised toexpand its reach even further,”says Conservatory president Dr.

Peter Simon, a retired pianistwho has seen a tremendous evo-lution in the institution sincecoming there in 1991. “It has

been so important all across thecountry in shaping creative livesand shaping the nature ofCanadian society.”

Founded in 1886, The RoyalConservatory is the largest andoldest independent arts educatorin Canada. More than 500,000Canadians take part in its pro-grams, exams and public schoolinitiatives each year. While theConservatory and its role inshaping innovation and creativi-ty in the country are littleknown, one in three Canadianshave studied through its pro-grams and curriculum, taken itsexaminations or used its pub-lished materials

Notable alumni and studentsinclude giants of music such as

Glenn Gould, Diana Krall,Isabel Bayrakdarian, OscarPeterson, Paul Shaffer andDavid Foster as well as others

such as Supreme Court JusticeRosalie Abella, filmmakerNorman Jewison and evenPrime Minister Stephen Harper.“The impact is absolutely stag-

gering,” Simon says. “Millionsof people…have beeninformed by this creative expe-rience.”

The concert to open KoernerHall on Sept. 25, Gould’s 77thbirthday, will include the RoyalConservatory Orchestra, fea-turing pianist Anton Kuerti andled by young French-Canadianconductor Jean-PhilippeTremblay, as well as theToronto Mendelssohn Choir, anumber of alumni soloists anda video tribute to Gould.

Continued on Page P11

‘Toronto needed a hall of this size with spectacu-lar acoustics, great sightlines, extraordinary inti-macy and beauty as well as a perfect location.’

–Royal Conservatory of Music president Dr. Peter Simon

Celebrating thecreative spiritMusic lovers, musicians hail Royal Conservatory’s new Koerner Hall

T H E G L O B E A N D M A I L • A S P E C I A L I N T E R E S T S U P P L E M E N T • T H U R S D AY, S E P T E M B E R 2 4 , 2 0 0 9

World premieres, big-name stars and excit-ing new venues high-

light Ontario’s 2009-2010 sea-son of theatre, opera, music anddance.

In a sign that the performingarts are alive and flourishing,Toronto’s array of state-of-the-art theatres and performancehalls continues to expand. Muchof the buzz this fall will centreon the Royal Conservatory ofMusic's new Koerner Hall.Advance reviews say the stylishconcert hall will offer superbacoustics and great sightlines.

Also boasting a new space isthe Famous People Players.Dinner shows for the world-renowned company of black-light performers are now pre-sented in a wheelchair-accessi-ble facility at 343 Evans Avenue.

Meanwhile renovations havebrought new excitement to twoexisting venues. DancapProductions (whose smash hitJersey Boys is now in its secondyear at the Toronto Centre forthe Arts) has leased and refur-bished the more intimate Music

Hall on Danforth Avenue. OnHalloween night, Dancap willrelaunch the theatre with theCanadian premiere of The ToxicAvenger Musical. Based on the1984 classic cult film about aneco-monster, the all-Canadiancast includes Louise Pitre,whose starring role in MammaMia! took her to Broadway fortwo years.

Also bursting with new life isthe Queen Elizabeth Theatre onthe grounds of the CanadianNational Exhibition. Refittedwith a lobby bar and new light-ing and sound systems, the 51-year-old theatre promises a line-up of concerts by such perform-ers as Echo & the Bunnymen,Lucinda Williams and StraightNo Chaser.

Toronto audiences will alsoget first crack at dozens ofnever-seen-before productionsthis season. That’s becauseeveryone from small non-profitsto the Canadian OperaCompany has scheduled a stun-ning lineup of Canadian andworld premieres.

Continued on Page P9

Survey confirmskey role of show bizin Toronto economyCity’s 186 theatre, dance and operacompanies are thriving despite theeconomic slowdown, study shows

Season ofpremieresin TorontoTheatrical, musical companies largeand small promise innovative series

KPMB Architects/Norm Li & Q Studio

Koerner Hall finally will give Toronto music lovers an acoustically superb, mid-sized, downtown space.

IndexTriple treat .....................................................Page P3Boys in the Photograph .................................Page P3Soulpepper’s community ...............................Page P3Classical to edgy ...........................................Page P4New ground...................................................Page P6Afterwork works ............................................Page P8Superfans......................................................Page P9Gags for all ....................................................Page P10Niagara beckons............................................Page P10Amanda Martinez ..........................................Page P11New Madama Butterfly Page P4

Choose any 5 concerts for as little as $27/tickettso.ca/cyo 416.598.3375TIPPET-RICHARDSON

CONCERT SEASON Conductors’ Podium Sponsor

PPPPlaying three differentlaying three differentlaying three differentlaying three differentcharacters in three diversecharacters in three diversecharacters in three diversecharacters in three diverseplays at the same time is aplays at the same time is aplays at the same time is aplays at the same time is a

challenge for most actors. Butchallenge for most actors. Butchallenge for most actors. Butchallenge for most actors. Butfor Geraint Wyn Davies, it’s onefor Geraint Wyn Davies, it’s onefor Geraint Wyn Davies, it’s onefor Geraint Wyn Davies, it’s oneof the greatest things aboutof the greatest things aboutof the greatest things aboutof the greatest things aboutbeing part of an ensemble reper-being part of an ensemble reper-being part of an ensemble reper-being part of an ensemble reper-tory theatre company like thetory theatre company like thetory theatre company like thetory theatre company like theStratford Shakespeare Festival.Stratford Shakespeare Festival.Stratford Shakespeare Festival.Stratford Shakespeare Festival.

Wyn Davies, who is perform-Wyn Davies, who is perform-Wyn Davies, who is perform-Wyn Davies, who is perform-ing in three late-season plays bying in three late-season plays bying in three late-season plays bying in three late-season plays byShakespeare at the festival thisShakespeare at the festival thisShakespeare at the festival thisShakespeare at the festival thisyear, says he is alert and stimu-year, says he is alert and stimu-year, says he is alert and stimu-year, says he is alert and stimu-lated with the variety of roles helated with the variety of roles helated with the variety of roles helated with the variety of roles heplays.plays.plays.plays.

“There’s completely different“There’s completely different“There’s completely different“There’s completely differentsides of your brain that you’resides of your brain that you’resides of your brain that you’resides of your brain that you’rewhacking at every day,” he says.whacking at every day,” he says.whacking at every day,” he says.whacking at every day,” he says.“It saves money on therapy.”“It saves money on therapy.”“It saves money on therapy.”“It saves money on therapy.”

Wyn Davies, 52, was born inWyn Davies, 52, was born inWyn Davies, 52, was born inWyn Davies, 52, was born inWales and moved to CanadaWales and moved to CanadaWales and moved to CanadaWales and moved to Canadawhen he was 7. As the son of awhen he was 7. As the son of awhen he was 7. As the son of awhen he was 7. As the son of aUnited Church minister, he wasUnited Church minister, he wasUnited Church minister, he wasUnited Church minister, he wasdrawn to the pomp of hisdrawn to the pomp of hisdrawn to the pomp of hisdrawn to the pomp of hisfather’s preaching yet did notfather’s preaching yet did notfather’s preaching yet did notfather’s preaching yet did notwant to join the clergy. “Thewant to join the clergy. “Thewant to join the clergy. “Thewant to join the clergy. “Theother pulpit was in the theatre,”other pulpit was in the theatre,”other pulpit was in the theatre,”other pulpit was in the theatre,”he says.he says.he says.he says.

At Stratford this season heAt Stratford this season heAt Stratford this season heAt Stratford this season heplays Duncan in Macbeth,plays Duncan in Macbeth,plays Duncan in Macbeth,plays Duncan in Macbeth,which runs to October 31 in thewhich runs to October 31 in thewhich runs to October 31 in thewhich runs to October 31 in theFestival Theatre, Julius CaesarFestival Theatre, Julius CaesarFestival Theatre, Julius CaesarFestival Theatre, Julius Caesarin Julius Caesar, at the Avonin Julius Caesar, at the Avonin Julius Caesar, at the Avonin Julius Caesar, at the AvonTheatre to October 17, andTheatre to October 17, andTheatre to October 17, andTheatre to October 17, andBottom in A MidsummerBottom in A MidsummerBottom in A MidsummerBottom in A Midsummer

Night’s Dream, which plays atNight’s Dream, which plays atNight’s Dream, which plays atNight’s Dream, which plays atthe Festival Theatre to Octoberthe Festival Theatre to Octoberthe Festival Theatre to Octoberthe Festival Theatre to October30. One curious happenstance,30. One curious happenstance,30. One curious happenstance,30. One curious happenstance,Wyn Davies says, is that “I playWyn Davies says, is that “I playWyn Davies says, is that “I playWyn Davies says, is that “I playguys who die this year,” with theguys who die this year,” with theguys who die this year,” with theguys who die this year,” with theregal Duncan and Caesar meet-regal Duncan and Caesar meet-regal Duncan and Caesar meet-regal Duncan and Caesar meet-ing untimely fates and evening untimely fates and evening untimely fates and evening untimely fates and evenBottom killing himself in aBottom killing himself in aBottom killing himself in aBottom killing himself in aplay-within-a-play.play-within-a-play.play-within-a-play.play-within-a-play.

On some days Wyn DaviesOn some days Wyn DaviesOn some days Wyn DaviesOn some days Wyn Daviesperforms in two of the threeperforms in two of the threeperforms in two of the threeperforms in two of the threeplays back-to-back, one in theplays back-to-back, one in theplays back-to-back, one in theplays back-to-back, one in thematinee and one in the eveningmatinee and one in the eveningmatinee and one in the eveningmatinee and one in the eveningshow, which can sometimesshow, which can sometimesshow, which can sometimesshow, which can sometimeshave an impact on his perform-have an impact on his perform-have an impact on his perform-have an impact on his perform-ance. Particularly when he playsance. Particularly when he playsance. Particularly when he playsance. Particularly when he playsBottom in Dream in the after-Bottom in Dream in the after-Bottom in Dream in the after-Bottom in Dream in the after-noon he finds he “clears out allnoon he finds he “clears out allnoon he finds he “clears out allnoon he finds he “clears out allthe gaskets” and builds a lot ofthe gaskets” and builds a lot ofthe gaskets” and builds a lot ofthe gaskets” and builds a lot ofenergy. If he plays Julius Caesarenergy. If he plays Julius Caesarenergy. If he plays Julius Caesarenergy. If he plays Julius Caesarthat night he can’t help butthat night he can’t help butthat night he can’t help butthat night he can’t help but“juice up” his performance.“juice up” his performance.“juice up” his performance.“juice up” his performance.“You’re going out there with a“You’re going out there with a“You’re going out there with a“You’re going out there with a

different set of colours in yourdifferent set of colours in yourdifferent set of colours in yourdifferent set of colours in yourpalette.”palette.”palette.”palette.”

With the challenges of sched-With the challenges of sched-With the challenges of sched-With the challenges of sched-uling, many of the same actorsuling, many of the same actorsuling, many of the same actorsuling, many of the same actorsappear in the same plays, whichappear in the same plays, whichappear in the same plays, whichappear in the same plays, whichmeans seeing a lot of certainmeans seeing a lot of certainmeans seeing a lot of certainmeans seeing a lot of certainpeople in the company when thepeople in the company when thepeople in the company when thepeople in the company when theseason stretches for a total ofseason stretches for a total ofseason stretches for a total ofseason stretches for a total ofeight months of rehearsals andeight months of rehearsals andeight months of rehearsals andeight months of rehearsals andperformances.performances.performances.performances.

“When you do three shows“When you do three shows“When you do three shows“When you do three showswith someone you feel you’rewith someone you feel you’rewith someone you feel you’rewith someone you feel you’rejoined at the hip,” he says,joined at the hip,” he says,joined at the hip,” he says,joined at the hip,” he says,though adding that the closenessthough adding that the closenessthough adding that the closenessthough adding that the closenessand support of his fellow actorsand support of his fellow actorsand support of his fellow actorsand support of his fellow actorsis helpful in the long season.is helpful in the long season.is helpful in the long season.is helpful in the long season.“We all feed off of each other.”“We all feed off of each other.”“We all feed off of each other.”“We all feed off of each other.”

This is Wyn Davies’ sixthThis is Wyn Davies’ sixthThis is Wyn Davies’ sixthThis is Wyn Davies’ sixthseason with Stratford, havingseason with Stratford, havingseason with Stratford, havingseason with Stratford, havingworked there for three years inworked there for three years inworked there for three years inworked there for three years inthe 1980s, again in 2002 andthe 1980s, again in 2002 andthe 1980s, again in 2002 andthe 1980s, again in 2002 andover the past two years. He pre-over the past two years. He pre-over the past two years. He pre-over the past two years. He pre-viously played in productionsviously played in productionsviously played in productionsviously played in productionsincluding Hamlet, My Fairincluding Hamlet, My Fairincluding Hamlet, My Fairincluding Hamlet, My FairLady, Henry V, The Merchant ofLady, Henry V, The Merchant ofLady, Henry V, The Merchant ofLady, Henry V, The Merchant ofVenice and The Taming of theVenice and The Taming of theVenice and The Taming of theVenice and The Taming of theShrew.Shrew.Shrew.Shrew.

For audiences the beauty of aFor audiences the beauty of aFor audiences the beauty of aFor audiences the beauty of arepertory company, he says, isrepertory company, he says, isrepertory company, he says, isrepertory company, he says, isthat “you get a chance to see athat “you get a chance to see athat “you get a chance to see athat “you get a chance to see avariety of different charactersvariety of different charactersvariety of different charactersvariety of different charactersand styles.” In recent years, heand styles.” In recent years, heand styles.” In recent years, heand styles.” In recent years, hesays, the festival usually usedsays, the festival usually usedsays, the festival usually usedsays, the festival usually usedactors in just two shows eachactors in just two shows eachactors in just two shows eachactors in just two shows eachseason. Putting actors such asseason. Putting actors such asseason. Putting actors such asseason. Putting actors such as

him in three productions is ahim in three productions is ahim in three productions is ahim in three productions is acost-effective way of “using ourcost-effective way of “using ourcost-effective way of “using ourcost-effective way of “using ourcompany to its fullest extent,”company to its fullest extent,”company to its fullest extent,”company to its fullest extent,”he says, which is important at ahe says, which is important at ahe says, which is important at ahe says, which is important at atime of economic uncertainty.time of economic uncertainty.time of economic uncertainty.time of economic uncertainty.

Indeed, after a slow start,Indeed, after a slow start,Indeed, after a slow start,Indeed, after a slow start,Stratford’s season has largelyStratford’s season has largelyStratford’s season has largelyStratford’s season has largelyturned around. With goodturned around. With goodturned around. With goodturned around. With good

reviews and word-of-mouth asreviews and word-of-mouth asreviews and word-of-mouth asreviews and word-of-mouth aswell as an injection of market-well as an injection of market-well as an injection of market-well as an injection of market-ing funds from the federal anding funds from the federal anding funds from the federal anding funds from the federal andprovincial governments, all ofprovincial governments, all ofprovincial governments, all ofprovincial governments, all ofthe performances that had beenthe performances that had beenthe performances that had beenthe performances that had beenput on hold have been reinstat-put on hold have been reinstat-put on hold have been reinstat-put on hold have been reinstat-ed, says media manager Anned, says media manager Anned, says media manager Anned, says media manager AnnSwerdfager.Swerdfager.Swerdfager.Swerdfager.

“We’ve had such great“We’ve had such great“We’ve had such great“We’ve had such greatshows,” she explains. “We haveshows,” she explains. “We haveshows,” she explains. “We haveshows,” she explains. “We haveone of the finest acting compa-one of the finest acting compa-one of the finest acting compa-one of the finest acting compa-nies we’ve ever put together.”nies we’ve ever put together.”nies we’ve ever put together.”nies we’ve ever put together.”

The festival’s two musicals,The festival’s two musicals,The festival’s two musicals,The festival’s two musicals,West Side Story and A FunnyWest Side Story and A FunnyWest Side Story and A FunnyWest Side Story and A FunnyThing Happened on the Way toThing Happened on the Way toThing Happened on the Way toThing Happened on the Way tothe Forum – the latter with athe Forum – the latter with athe Forum – the latter with athe Forum – the latter with anew actor, Seán Cullen, in thenew actor, Seán Cullen, in thenew actor, Seán Cullen, in thenew actor, Seán Cullen, in therole of Pseudolus, in place ofrole of Pseudolus, in place ofrole of Pseudolus, in place ofrole of Pseudolus, in place ofthe injured Bruce Dow – havethe injured Bruce Dow – havethe injured Bruce Dow – havethe injured Bruce Dow – havebeen extended for a week tobeen extended for a week tobeen extended for a week tobeen extended for a week toNovember 8 as a result of highNovember 8 as a result of highNovember 8 as a result of highNovember 8 as a result of highdemand.demand.demand.demand.

“It was so difficult to get“It was so difficult to get“It was so difficult to get“It was so difficult to gettickets for these shows we prettytickets for these shows we prettytickets for these shows we prettytickets for these shows we prettymuch had to do more,”much had to do more,”much had to do more,”much had to do more,”Swerdfager says. She adds thatSwerdfager says. She adds thatSwerdfager says. She adds thatSwerdfager says. She adds thatthe fall is a good time to visitthe fall is a good time to visitthe fall is a good time to visitthe fall is a good time to visitthe area, with its restaurants andthe area, with its restaurants andthe area, with its restaurants andthe area, with its restaurants andother attractions, and the festi-other attractions, and the festi-other attractions, and the festi-other attractions, and the festi-val, which is offering ticketval, which is offering ticketval, which is offering ticketval, which is offering ticketdeals targeting returningdeals targeting returningdeals targeting returningdeals targeting returningpatrons.patrons.patrons.patrons.

Wyn Davies says the fall isWyn Davies says the fall isWyn Davies says the fall isWyn Davies says the fall isespecially a suitable time to takeespecially a suitable time to takeespecially a suitable time to takeespecially a suitable time to takein Shakespeare.in Shakespeare.in Shakespeare.in Shakespeare.

“The summer is about holi-“The summer is about holi-“The summer is about holi-“The summer is about holi-days and t-shirts, while the falldays and t-shirts, while the falldays and t-shirts, while the falldays and t-shirts, while the falltakes a more serious, consideredtakes a more serious, consideredtakes a more serious, consideredtakes a more serious, consideredturn,” he says. “It’s a good timeturn,” he says. “It’s a good timeturn,” he says. “It’s a good timeturn,” he says. “It’s a good timefor classical drama.”for classical drama.”for classical drama.”for classical drama.”

Essential informationEssential informationEssential informationEssential informationFor show details and ticketsFor show details and ticketsFor show details and ticketsFor show details and ticketsto the Stratford Shakespeareto the Stratford Shakespeareto the Stratford Shakespeareto the Stratford ShakespeareFestival go to www.strat-Festival go to www.strat-Festival go to www.strat-Festival go to www.strat-fordfestival.ca or call 1-800-fordfestival.ca or call 1-800-fordfestival.ca or call 1-800-fordfestival.ca or call 1-800-567-1600.567-1600.567-1600.567-1600.

THE GLOBE AND MAILTHE GLOBE AND MAILTHE GLOBE AND MAILTHE GLOBE AND MAILThursday, September 24, 2009Thursday, September 24, 2009Thursday, September 24, 2009Thursday, September 24, 2009 PERFORMING ARTSPERFORMING ARTSPERFORMING ARTSPERFORMING ARTS IIII A Special Interest SupplementA Special Interest SupplementA Special Interest SupplementA Special Interest Supplement IIII PPPP3333

‘There’s completely‘There’s completely‘There’s completely‘There’s completelydifferent sides of yourdifferent sides of yourdifferent sides of yourdifferent sides of your

brain that you’rebrain that you’rebrain that you’rebrain that you’rewhacking at every day.whacking at every day.whacking at every day.whacking at every day.

It saves money onIt saves money onIt saves money onIt saves money ontherapy.’therapy.’therapy.’therapy.’

– Actor– Actor– Actor– Actor Geraint Wyn DaviesGeraint Wyn DaviesGeraint Wyn DaviesGeraint Wyn Davies

Multiple roles add zest for Stratford veteranMultiple roles add zest for Stratford veteranMultiple roles add zest for Stratford veteranMultiple roles add zest for Stratford veteranGeraint Wyn Davies thrives on the demands of shifting dailyGeraint Wyn Davies thrives on the demands of shifting dailyGeraint Wyn Davies thrives on the demands of shifting dailyGeraint Wyn Davies thrives on the demands of shifting dailyfrom Macbeth to Julius Caesar to Midsummer Night’s Dreamfrom Macbeth to Julius Caesar to Midsummer Night’s Dreamfrom Macbeth to Julius Caesar to Midsummer Night’s Dreamfrom Macbeth to Julius Caesar to Midsummer Night’s Dream

–Photo by David Hou–Photo by David Hou–Photo by David Hou–Photo by David Hou

Yanna McIntosh as Titania ad Geraint Wyn Davies as Bottom inYanna McIntosh as Titania ad Geraint Wyn Davies as Bottom inYanna McIntosh as Titania ad Geraint Wyn Davies as Bottom inYanna McIntosh as Titania ad Geraint Wyn Davies as Bottom inA Midsummer Night’s Dream.A Midsummer Night’s Dream.A Midsummer Night’s Dream.A Midsummer Night’s Dream.

MMMMost actors would giveost actors would giveost actors would giveost actors would giveanything to workanything to workanything to workanything to workclosely with the cre-closely with the cre-closely with the cre-closely with the cre-

ative team behind a play. Whenative team behind a play. Whenative team behind a play. Whenative team behind a play. Whenthat team includes superstarsthat team includes superstarsthat team includes superstarsthat team includes superstarsof musical theatre remaking aof musical theatre remaking aof musical theatre remaking aof musical theatre remaking ashow performed to critical suc-show performed to critical suc-show performed to critical suc-show performed to critical suc-cess in London’s West End, thecess in London’s West End, thecess in London’s West End, thecess in London’s West End, theexperience is all the more sig-experience is all the more sig-experience is all the more sig-experience is all the more sig-nificant. For Toronto actornificant. For Toronto actornificant. For Toronto actornificant. For Toronto actorTony LePage, playing a leadTony LePage, playing a leadTony LePage, playing a leadTony LePage, playing a leadrole inrole inrole inrole in The Boys in theThe Boys in theThe Boys in theThe Boys in thePhotographPhotographPhotographPhotograph under writer-direc-under writer-direc-under writer-direc-under writer-direc-tor Ben Elton and composertor Ben Elton and composertor Ben Elton and composertor Ben Elton and composerAndrew Lloyd Webber hasAndrew Lloyd Webber hasAndrew Lloyd Webber hasAndrew Lloyd Webber hasbeen nothing less than excep-been nothing less than excep-been nothing less than excep-been nothing less than excep-tional.tional.tional.tional.

LePage and an all-CanadianLePage and an all-CanadianLePage and an all-CanadianLePage and an all-Canadiancast have worked for months tocast have worked for months tocast have worked for months tocast have worked for months tohelp transform the play, a pow-help transform the play, a pow-help transform the play, a pow-help transform the play, a pow-erful and passionate musicalerful and passionate musicalerful and passionate musicalerful and passionate musicalthat deals with a group ofthat deals with a group ofthat deals with a group ofthat deals with a group ofyoung people coming of ageyoung people coming of ageyoung people coming of ageyoung people coming of ageamid the “troubles” ofamid the “troubles” ofamid the “troubles” ofamid the “troubles” ofNorthern Ireland. TorontoNorthern Ireland. TorontoNorthern Ireland. TorontoNorthern Ireland. Torontoaudiences will see the result ofaudiences will see the result ofaudiences will see the result ofaudiences will see the result oftheir efforts astheir efforts astheir efforts astheir efforts as The Boys in theThe Boys in theThe Boys in theThe Boys in thePhotographPhotographPhotographPhotograph opens tomorrowopens tomorrowopens tomorrowopens tomorrownight at the Royal Alexandranight at the Royal Alexandranight at the Royal Alexandranight at the Royal AlexandraTheatre.Theatre.Theatre.Theatre.

“This is a dream come true,”“This is a dream come true,”“This is a dream come true,”“This is a dream come true,”says LePage, 34. “To be able tosays LePage, 34. “To be able tosays LePage, 34. “To be able tosays LePage, 34. “To be able tohave an all-Canadian cast per-have an all-Canadian cast per-have an all-Canadian cast per-have an all-Canadian cast per-forming the world premiere offorming the world premiere offorming the world premiere offorming the world premiere ofan Andrew Lloyd Webber/Benan Andrew Lloyd Webber/Benan Andrew Lloyd Webber/Benan Andrew Lloyd Webber/BenElton production, that’s major.”Elton production, that’s major.”Elton production, that’s major.”Elton production, that’s major.”

The show originally pre-The show originally pre-The show originally pre-The show originally pre-miered in London inmiered in London inmiered in London inmiered in London inSeptember 2000 asSeptember 2000 asSeptember 2000 asSeptember 2000 as TheTheTheTheBeautiful GameBeautiful GameBeautiful GameBeautiful Game. It played for a. It played for a. It played for a. It played for ayear to favourable reviews andyear to favourable reviews andyear to favourable reviews andyear to favourable reviews andreceived the prestigious Bestreceived the prestigious Bestreceived the prestigious Bestreceived the prestigious BestMusical Award in the Critics'Musical Award in the Critics'Musical Award in the Critics'Musical Award in the Critics'Circle Theatre Awards.Circle Theatre Awards.Circle Theatre Awards.Circle Theatre Awards.However, after its relativelyHowever, after its relativelyHowever, after its relativelyHowever, after its relativelyshort run, the creators saidshort run, the creators saidshort run, the creators saidshort run, the creators saidthey wanted an opportunity tothey wanted an opportunity tothey wanted an opportunity tothey wanted an opportunity torework the play. That chancerework the play. That chancerework the play. That chancerework the play. That chancehas finally come with a co-has finally come with a co-has finally come with a co-has finally come with a co-production between Mirvishproduction between Mirvishproduction between Mirvishproduction between MirvishProductions and the ManitobaProductions and the ManitobaProductions and the ManitobaProductions and the Manitoba

Theatre Centre in Winnipeg.Theatre Centre in Winnipeg.Theatre Centre in Winnipeg.Theatre Centre in Winnipeg.Beginning in April the teamBeginning in April the teamBeginning in April the teamBeginning in April the team

worked on the musical at theworked on the musical at theworked on the musical at theworked on the musical at theManitoba Theatre Centre. ItManitoba Theatre Centre. ItManitoba Theatre Centre. ItManitoba Theatre Centre. Itchanged day by day, LePagechanged day by day, LePagechanged day by day, LePagechanged day by day, LePagesays, especially under Elton’ssays, especially under Elton’ssays, especially under Elton’ssays, especially under Elton’sconstant guidance and with theconstant guidance and with theconstant guidance and with theconstant guidance and with theinput of Lloyd Webber, musicinput of Lloyd Webber, musicinput of Lloyd Webber, musicinput of Lloyd Webber, musicdirector Bob Foster, choreogra-director Bob Foster, choreogra-director Bob Foster, choreogra-director Bob Foster, choreogra-pher Tracey Flye and of coursepher Tracey Flye and of coursepher Tracey Flye and of coursepher Tracey Flye and of coursethe actors themselves, whothe actors themselves, whothe actors themselves, whothe actors themselves, whopresented the play to audiencespresented the play to audiencespresented the play to audiencespresented the play to audiencesafter at the centre after someafter at the centre after someafter at the centre after someafter at the centre after someseven weeks of work. “We feelseven weeks of work. “We feelseven weeks of work. “We feelseven weeks of work. “We feellike we’re at the start of some-like we’re at the start of some-like we’re at the start of some-like we’re at the start of some-thing big,” he says. “Everyonething big,” he says. “Everyonething big,” he says. “Everyonething big,” he says. “Everyonewas so invested in it.”was so invested in it.”was so invested in it.”was so invested in it.”

The musical “came to life”The musical “came to life”The musical “came to life”The musical “came to life”LePage recalls, as they addedLePage recalls, as they addedLePage recalls, as they addedLePage recalls, as they added

new songs and differentnew songs and differentnew songs and differentnew songs and differentarrangements, changed aroundarrangements, changed aroundarrangements, changed aroundarrangements, changed aroundscenes and revised its ending,scenes and revised its ending,scenes and revised its ending,scenes and revised its ending,which had been criticized forwhich had been criticized forwhich had been criticized forwhich had been criticized forbeing somewhat brooding andbeing somewhat brooding andbeing somewhat brooding andbeing somewhat brooding andominous, to be more upliftingominous, to be more upliftingominous, to be more upliftingominous, to be more upliftingand hopeful. “Now everybodyand hopeful. “Now everybodyand hopeful. “Now everybodyand hopeful. “Now everybodyleaves the theatre feelingleaves the theatre feelingleaves the theatre feelingleaves the theatre feelingempowered,” he says.empowered,” he says.empowered,” he says.empowered,” he says.

LePage, who comes fromLePage, who comes fromLePage, who comes fromLePage, who comes fromFredericton and lives inFredericton and lives inFredericton and lives inFredericton and lives inToronto, had a previous role inToronto, had a previous role inToronto, had a previous role inToronto, had a previous role inLloyd Webber’sLloyd Webber’sLloyd Webber’sLloyd Webber’s Joseph and theJoseph and theJoseph and theJoseph and theAmazing TechnicolorAmazing TechnicolorAmazing TechnicolorAmazing TechnicolorDreamcoat.Dreamcoat.Dreamcoat.Dreamcoat. But he saysBut he saysBut he saysBut he says TheTheTheTheBoys in the PhotographBoys in the PhotographBoys in the PhotographBoys in the Photograph “isn’t“isn’t“isn’t“isn’trecognizably Andrew Lloydrecognizably Andrew Lloydrecognizably Andrew Lloydrecognizably Andrew LloydWebber at all,” with its grittyWebber at all,” with its grittyWebber at all,” with its grittyWebber at all,” with its grittyIrish feel, instrumentation andIrish feel, instrumentation andIrish feel, instrumentation andIrish feel, instrumentation andmelodies.melodies.melodies.melodies.

Set in Belfast in the lateSet in Belfast in the lateSet in Belfast in the lateSet in Belfast in the late1960s and early 1970s, the1960s and early 1970s, the1960s and early 1970s, the1960s and early 1970s, theplay follows a group of youngplay follows a group of youngplay follows a group of youngplay follows a group of youngmen and women involved withmen and women involved withmen and women involved withmen and women involved with

a local Northern Irish footballa local Northern Irish footballa local Northern Irish footballa local Northern Irish footballteam at the start of the 30-yearteam at the start of the 30-yearteam at the start of the 30-yearteam at the start of the 30-yearcivil war. LePage plays risingcivil war. LePage plays risingcivil war. LePage plays risingcivil war. LePage plays risingfootball star John Kelly, whofootball star John Kelly, whofootball star John Kelly, whofootball star John Kelly, whofalls in love with the pacifistfalls in love with the pacifistfalls in love with the pacifistfalls in love with the pacifistMary Maguire. “It’s about loveMary Maguire. “It’s about loveMary Maguire. “It’s about loveMary Maguire. “It’s about loveconquering adversity,” he saysconquering adversity,” he saysconquering adversity,” he saysconquering adversity,” he saysof the play. “It’s a very heart-of the play. “It’s a very heart-of the play. “It’s a very heart-of the play. “It’s a very heart-felt story, for sure, with somefelt story, for sure, with somefelt story, for sure, with somefelt story, for sure, with somereally exciting choreographyreally exciting choreographyreally exciting choreographyreally exciting choreographyand music and a cast of peopleand music and a cast of peopleand music and a cast of peopleand music and a cast of peoplethat are giving 125 per cent.”that are giving 125 per cent.”that are giving 125 per cent.”that are giving 125 per cent.”

He says the story is all theHe says the story is all theHe says the story is all theHe says the story is all themore powerful as it is based onmore powerful as it is based onmore powerful as it is based onmore powerful as it is based onthe true situation at the timethe true situation at the timethe true situation at the timethe true situation at the timeand follows characters whoand follows characters whoand follows characters whoand follows characters whowere just 17 or 18 yet had towere just 17 or 18 yet had towere just 17 or 18 yet had towere just 17 or 18 yet had tocope with so much. “Peoplecope with so much. “Peoplecope with so much. “Peoplecope with so much. “Peoplewill get at least a sense of thewill get at least a sense of thewill get at least a sense of thewill get at least a sense of the

kind of decisions and issueskind of decisions and issueskind of decisions and issueskind of decisions and issuesthey were facing,” he adds.they were facing,” he adds.they were facing,” he adds.they were facing,” he adds.“This show has something to“This show has something to“This show has something to“This show has something tosay.”say.”say.”say.”

Elton, a well-known BritishElton, a well-known BritishElton, a well-known BritishElton, a well-known Britishcomedic performer who wrotecomedic performer who wrotecomedic performer who wrotecomedic performer who wrotethe musicalthe musicalthe musicalthe musical We Will Rock YouWe Will Rock YouWe Will Rock YouWe Will Rock You,,,,has made the show both lighthas made the show both lighthas made the show both lighthas made the show both lightand dramatic.and dramatic.and dramatic.and dramatic.

“You don’t feel like you’re“You don’t feel like you’re“You don’t feel like you’re“You don’t feel like you’rein this heavy night at the the-in this heavy night at the the-in this heavy night at the the-in this heavy night at the the-atre,” LePage says. “You’ll findatre,” LePage says. “You’ll findatre,” LePage says. “You’ll findatre,” LePage says. “You’ll findyourself laughing and crying –yourself laughing and crying –yourself laughing and crying –yourself laughing and crying –often in the same scene.”often in the same scene.”often in the same scene.”often in the same scene.”

Other plays offered byOther plays offered byOther plays offered byOther plays offered byMirvish this season include theMirvish this season include theMirvish this season include theMirvish this season include theongoing performance of Tongoing performance of Tongoing performance of Tongoing performance of TheheheheSound of MusicSound of MusicSound of MusicSound of Music at the Princessat the Princessat the Princessat the Princessof Wales Theatre,of Wales Theatre,of Wales Theatre,of Wales Theatre, StuffStuffStuffStuffHappensHappensHappensHappens at the Royalat the Royalat the Royalat the RoyalAlexandra Theatre,Alexandra Theatre,Alexandra Theatre,Alexandra Theatre, Stomp,Stomp,Stomp,Stomp,August: Osage CountyAugust: Osage CountyAugust: Osage CountyAugust: Osage County andandandandFiddler on the RoofFiddler on the RoofFiddler on the RoofFiddler on the Roof at theat theat theat theCanon Theatre andCanon Theatre andCanon Theatre andCanon Theatre and MyMyMyMy

Mother’s Lesbian JewishMother’s Lesbian JewishMother’s Lesbian JewishMother’s Lesbian JewishWiccan WeddingWiccan WeddingWiccan WeddingWiccan Wedding at theat theat theat thePanasonic Theatre.Panasonic Theatre.Panasonic Theatre.Panasonic Theatre.

The toast of the 2009 FringeThe toast of the 2009 FringeThe toast of the 2009 FringeThe toast of the 2009 Fringeof Toronto Theatre Festival,of Toronto Theatre Festival,of Toronto Theatre Festival,of Toronto Theatre Festival, MyMyMyMyMother’s Lesbian JewishMother’s Lesbian JewishMother’s Lesbian JewishMother’s Lesbian JewishWiccan WeddingWiccan WeddingWiccan WeddingWiccan Wedding has beenhas beenhas beenhas beenexpanded and reworked into aexpanded and reworked into aexpanded and reworked into aexpanded and reworked into anew commercial production.new commercial production.new commercial production.new commercial production.Written by David Hein andWritten by David Hein andWritten by David Hein andWritten by David Hein andIrene Carl Sankoff, the originalIrene Carl Sankoff, the originalIrene Carl Sankoff, the originalIrene Carl Sankoff, the originalCanadian musical had crowdsCanadian musical had crowdsCanadian musical had crowdsCanadian musical had crowdslining up for hours to securelining up for hours to securelining up for hours to securelining up for hours to securetickets to its performances attickets to its performances attickets to its performances attickets to its performances atthe Fringe.the Fringe.the Fringe.the Fringe.

David Mirvish says theDavid Mirvish says theDavid Mirvish says theDavid Mirvish says themusical is both hilarious andmusical is both hilarious andmusical is both hilarious andmusical is both hilarious andtouching. “There is no doubttouching. “There is no doubttouching. “There is no doubttouching. “There is no doubtthis is a special work fromthis is a special work fromthis is a special work fromthis is a special work fromexciting, new musical theatreexciting, new musical theatreexciting, new musical theatreexciting, new musical theatrevoices,” he says. “We feel priv-voices,” he says. “We feel priv-voices,” he says. “We feel priv-voices,” he says. “We feel priv-ileged to play a part in bring-ileged to play a part in bring-ileged to play a part in bring-ileged to play a part in bring-ing the work to a bigger audi-ing the work to a bigger audi-ing the work to a bigger audi-ing the work to a bigger audi-ence.”ence.”ence.”ence.”

Essential informationEssential informationEssential informationEssential informationFor information aboutFor information aboutFor information aboutFor information aboutMirvish Productions and toMirvish Productions and toMirvish Productions and toMirvish Productions and topurchase subscriptions visitpurchase subscriptions visitpurchase subscriptions visitpurchase subscriptions visitwww.mirvish.com. Orderwww.mirvish.com. Orderwww.mirvish.com. Orderwww.mirvish.com. Ordertickets through www.tick-tickets through www.tick-tickets through www.tick-tickets through www.tick-etking.com or by callingetking.com or by callingetking.com or by callingetking.com or by calling416-872-1212 or 1-800-416-872-1212 or 1-800-416-872-1212 or 1-800-416-872-1212 or 1-800-461-3333.461-3333.461-3333.461-3333.

The Sound of MusicThe Sound of MusicThe Sound of MusicThe Sound of Music nownownownowplaying, The Princess ofplaying, The Princess ofplaying, The Princess ofplaying, The Princess ofWales TheatreWales TheatreWales TheatreWales TheatreBoys in the PhotographBoys in the PhotographBoys in the PhotographBoys in the PhotographSept. 22-Nov. 1, RoyalSept. 22-Nov. 1, RoyalSept. 22-Nov. 1, RoyalSept. 22-Nov. 1, RoyalAlexandra TheatreAlexandra TheatreAlexandra TheatreAlexandra TheatreStompStompStompStomp Oct. 20-25,Oct. 20-25,Oct. 20-25,Oct. 20-25,Canon TheatreCanon TheatreCanon TheatreCanon TheatreAugust: Osage CountyAugust: Osage CountyAugust: Osage CountyAugust: Osage CountyNov. 5-15, Canon TheatreNov. 5-15, Canon TheatreNov. 5-15, Canon TheatreNov. 5-15, Canon TheatreMy Mother’s LesbianMy Mother’s LesbianMy Mother’s LesbianMy Mother’s LesbianJewish Wiccan WeddingJewish Wiccan WeddingJewish Wiccan WeddingJewish Wiccan WeddingNov. 7-29, PanasonicNov. 7-29, PanasonicNov. 7-29, PanasonicNov. 7-29, PanasonicTheatreTheatreTheatreTheatreStuff HappensStuff HappensStuff HappensStuff Happens Nov. 14-Nov. 14-Nov. 14-Nov. 14-Dec. 23, Royal AlexandraDec. 23, Royal AlexandraDec. 23, Royal AlexandraDec. 23, Royal AlexandraTheatreTheatreTheatreTheatreFiddler on the RoofFiddler on the RoofFiddler on the RoofFiddler on the Roof Dec.Dec.Dec.Dec.8-Jan. 10, 2010, Canon8-Jan. 10, 2010, Canon8-Jan. 10, 2010, Canon8-Jan. 10, 2010, CanonTheatreTheatreTheatreTheatre

‘You don’t feel like you’re in this heavy night‘You don’t feel like you’re in this heavy night‘You don’t feel like you’re in this heavy night‘You don’t feel like you’re in this heavy nightat the theatre. You’ll find yourself laughingat the theatre. You’ll find yourself laughingat the theatre. You’ll find yourself laughingat the theatre. You’ll find yourself laughing

and crying – often in the same scene.’and crying – often in the same scene.’and crying – often in the same scene.’and crying – often in the same scene.’–Actor–Actor–Actor–Actor Tony LePageTony LePageTony LePageTony LePage

KKKKristen Thomson hasristen Thomson hasristen Thomson hasristen Thomson haswon some of Canada’swon some of Canada’swon some of Canada’swon some of Canada’stop acting awards – attop acting awards – attop acting awards – attop acting awards – at

last count two ACTRAs, threelast count two ACTRAs, threelast count two ACTRAs, threelast count two ACTRAs, threeDoras, one Genie and oneDoras, one Genie and oneDoras, one Genie and oneDoras, one Genie and oneGemini. But it is the sense ofGemini. But it is the sense ofGemini. But it is the sense ofGemini. But it is the sense ofbelonging to an artistic com-belonging to an artistic com-belonging to an artistic com-belonging to an artistic com-munity that keeps drawingmunity that keeps drawingmunity that keeps drawingmunity that keeps drawingher back to Soulpepper.her back to Soulpepper.her back to Soulpepper.her back to Soulpepper.

She will be on stage withShe will be on stage withShe will be on stage withShe will be on stage withthe company until Oct. 24,the company until Oct. 24,the company until Oct. 24,the company until Oct. 24,starring in The Guardsman, astarring in The Guardsman, astarring in The Guardsman, astarring in The Guardsman, acomedy written in Hungary incomedy written in Hungary incomedy written in Hungary incomedy written in Hungary in1910. Thomson plays the wife1910. Thomson plays the wife1910. Thomson plays the wife1910. Thomson plays the wifeof a suspicious actor whoof a suspicious actor whoof a suspicious actor whoof a suspicious actor whotries to test her faithfulnesstries to test her faithfulnesstries to test her faithfulnesstries to test her faithfulnessby disguising himself as aby disguising himself as aby disguising himself as aby disguising himself as asuitor. Playing the husband issuitor. Playing the husband issuitor. Playing the husband issuitor. Playing the husband isAlbert Schultz, Soulpepper’sAlbert Schultz, Soulpepper’sAlbert Schultz, Soulpepper’sAlbert Schultz, Soulpepper’sfounding artistic director. Thefounding artistic director. Thefounding artistic director. Thefounding artistic director. Thedirector, Laszlo Marton fromdirector, Laszlo Marton fromdirector, Laszlo Marton fromdirector, Laszlo Marton fromHungary, is also a SoulpepperHungary, is also a SoulpepperHungary, is also a SoulpepperHungary, is also a Soulpepperregular as are many castregular as are many castregular as are many castregular as are many castmembers, including Diegomembers, including Diegomembers, including Diegomembers, including DiegoMatamoros, a SoulpepperMatamoros, a SoulpepperMatamoros, a SoulpepperMatamoros, a Soulpepperfounding member.founding member.founding member.founding member.

“At Soulpepper there is a“At Soulpepper there is a“At Soulpepper there is a“At Soulpepper there is alot of continuity of perform-lot of continuity of perform-lot of continuity of perform-lot of continuity of perform-ers and designers,” saysers and designers,” saysers and designers,” saysers and designers,” saysThomson. “It’s really rare inThomson. “It’s really rare inThomson. “It’s really rare inThomson. “It’s really rare intheatre to find these littletheatre to find these littletheatre to find these littletheatre to find these littlethreads of community. Ourthreads of community. Ourthreads of community. Ourthreads of community. Ourrelationships are alreadyrelationships are alreadyrelationships are alreadyrelationships are alreadybuilt, so the performance isbuilt, so the performance isbuilt, so the performance isbuilt, so the performance isbuilt on top of that.”built on top of that.”built on top of that.”built on top of that.”

Thomson says she can’tThomson says she can’tThomson says she can’tThomson says she can’tunderstand why the play is sounderstand why the play is sounderstand why the play is sounderstand why the play is sorarely performed in Canada.rarely performed in Canada.rarely performed in Canada.rarely performed in Canada.“It’s a sensational play. I was“It’s a sensational play. I was“It’s a sensational play. I was“It’s a sensational play. I wasblown away when I read it.”blown away when I read it.”blown away when I read it.”blown away when I read it.”

The story is compelling,The story is compelling,The story is compelling,The story is compelling,and Ferenc Molnár’s scriptand Ferenc Molnár’s scriptand Ferenc Molnár’s scriptand Ferenc Molnár’s scriptdeals with questions of illu-deals with questions of illu-deals with questions of illu-deals with questions of illu-sion and reality and is filledsion and reality and is filledsion and reality and is filledsion and reality and is filledwith references to the theatre,with references to the theatre,with references to the theatre,with references to the theatre,she says. “Every line could beshe says. “Every line could beshe says. “Every line could beshe says. “Every line could beread two or three ways.”read two or three ways.”read two or three ways.”read two or three ways.”

Thomson, who is also aThomson, who is also aThomson, who is also aThomson, who is also aplaywright, won criticalplaywright, won criticalplaywright, won criticalplaywright, won criticalacclaim for her one-womanacclaim for her one-womanacclaim for her one-womanacclaim for her one-womanplay I Claudia, which wasplay I Claudia, which wasplay I Claudia, which wasplay I Claudia, which waslater made into a movie. Herlater made into a movie. Herlater made into a movie. Herlater made into a movie. Herpast Soulpepper productionspast Soulpepper productionspast Soulpepper productionspast Soulpepper productionsinclude Uncle Vanya and sheinclude Uncle Vanya and sheinclude Uncle Vanya and sheinclude Uncle Vanya and shehas appeared on the screen inhas appeared on the screen inhas appeared on the screen inhas appeared on the screen inAway from Her.Away from Her.Away from Her.Away from Her.

The Guardsman is one ofThe Guardsman is one ofThe Guardsman is one ofThe Guardsman is one of

five final plays infive final plays infive final plays infive final plays inSoulpepper’s 2009 season.Soulpepper’s 2009 season.Soulpepper’s 2009 season.Soulpepper’s 2009 season.Antigone, currently on stage,Antigone, currently on stage,Antigone, currently on stage,Antigone, currently on stage,is Jean Anouilh's adaptationis Jean Anouilh's adaptationis Jean Anouilh's adaptationis Jean Anouilh's adaptationof the original Greek tragedyof the original Greek tragedyof the original Greek tragedyof the original Greek tragedyby Sophocles. Chris Abrahamby Sophocles. Chris Abrahamby Sophocles. Chris Abrahamby Sophocles. Chris Abrahamdirects Liisa Repo-Martell asdirects Liisa Repo-Martell asdirects Liisa Repo-Martell asdirects Liisa Repo-Martell asAntigone, a woman standingAntigone, a woman standingAntigone, a woman standingAntigone, a woman standingalone against the state toalone against the state toalone against the state toalone against the state todefend the honour of her slaindefend the honour of her slaindefend the honour of her slaindefend the honour of her slainbrother. R.H. Thomson playsbrother. R.H. Thomson playsbrother. R.H. Thomson playsbrother. R.H. Thomson playsthe king, Creon. The play wasthe king, Creon. The play wasthe king, Creon. The play wasthe king, Creon. The play waspremiered in Paris in 1944,premiered in Paris in 1944,premiered in Paris in 1944,premiered in Paris in 1944,during the Nazi occupation.during the Nazi occupation.during the Nazi occupation.during the Nazi occupation.

Also continuing is Who’sAlso continuing is Who’sAlso continuing is Who’sAlso continuing is Who’sAfraid of Virgina Woolf?Afraid of Virgina Woolf?Afraid of Virgina Woolf?Afraid of Virgina Woolf?Diego Matamoros and NancyDiego Matamoros and NancyDiego Matamoros and NancyDiego Matamoros and NancyPalk star as George andPalk star as George andPalk star as George andPalk star as George andMartha in Edward Albee’sMartha in Edward Albee’sMartha in Edward Albee’sMartha in Edward Albee’ssavage play about a late nightsavage play about a late nightsavage play about a late nightsavage play about a late nightdrinking session among uni-drinking session among uni-drinking session among uni-drinking session among uni-versity intellectuals. Also inversity intellectuals. Also inversity intellectuals. Also inversity intellectuals. Also inthe cast are Tim Campbell asthe cast are Tim Campbell asthe cast are Tim Campbell asthe cast are Tim Campbell asNick and Diana Donnelly asNick and Diana Donnelly asNick and Diana Donnelly asNick and Diana Donnelly asHoney. Diana Leblanc directs.Honey. Diana Leblanc directs.Honey. Diana Leblanc directs.Honey. Diana Leblanc directs.

The play swept the 1963The play swept the 1963The play swept the 1963The play swept the 1963Tony Awards. It was alsoTony Awards. It was alsoTony Awards. It was alsoTony Awards. It was alsoselected for the 1963 Pulitzerselected for the 1963 Pulitzerselected for the 1963 Pulitzerselected for the 1963 PulitzerPrize for Drama, but thePrize for Drama, but thePrize for Drama, but thePrize for Drama, but theaward's advisory boardaward's advisory boardaward's advisory boardaward's advisory boardobjected to the play's then-objected to the play's then-objected to the play's then-objected to the play's then-controversial theme and lan-controversial theme and lan-controversial theme and lan-controversial theme and lan-guage. A film adaptation,guage. A film adaptation,guage. A film adaptation,guage. A film adaptation,starring Elizabeth Taylor andstarring Elizabeth Taylor andstarring Elizabeth Taylor andstarring Elizabeth Taylor andRichard Burton, was releasedRichard Burton, was releasedRichard Burton, was releasedRichard Burton, was releasedin 1966.in 1966.in 1966.in 1966.

Still to come areStill to come areStill to come areStill to come areParfumerie, by HungarianParfumerie, by HungarianParfumerie, by HungarianParfumerie, by Hungarianplaywright Miklos Lazslo,playwright Miklos Lazslo,playwright Miklos Lazslo,playwright Miklos Lazslo,and Civil Elegies, based onand Civil Elegies, based onand Civil Elegies, based onand Civil Elegies, based onthe work of Canadian poetthe work of Canadian poetthe work of Canadian poetthe work of Canadian poetDennis Lee.Dennis Lee.Dennis Lee.Dennis Lee.

Essential informationEssential informationEssential informationEssential informationProduction details: (416)Production details: (416)Production details: (416)Production details: (416)203-6264 or www.soulpep-203-6264 or www.soulpep-203-6264 or www.soulpep-203-6264 or www.soulpep-per.ca.per.ca.per.ca.per.ca.Tickets: (416) 866-8666.Tickets: (416) 866-8666.Tickets: (416) 866-8666.Tickets: (416) 866-8666.Young Centre:Young Centre:Young Centre:Young Centre:AntigoneAntigoneAntigoneAntigone, until Oct. 17; The, until Oct. 17; The, until Oct. 17; The, until Oct. 17; TheGuardsmanGuardsmanGuardsmanGuardsman, until Oct. 24;, until Oct. 24;, until Oct. 24;, until Oct. 24;Who’s Afraid of VirginiaWho’s Afraid of VirginiaWho’s Afraid of VirginiaWho’s Afraid of VirginiaWoolf?,Woolf?,Woolf?,Woolf?, until Oct. 24;until Oct. 24;until Oct. 24;until Oct. 24;ParfumerieParfumerieParfumerieParfumerie, Nov. 26-Dec., Nov. 26-Dec., Nov. 26-Dec., Nov. 26-Dec.24;24;24;24; Civil Elegies,Civil Elegies,Civil Elegies,Civil Elegies,Dec. 3-24.Dec. 3-24.Dec. 3-24.Dec. 3-24.

Kristen Thomson extolsKristen Thomson extolsKristen Thomson extolsKristen Thomson extolsSoulpepper ‘community’Soulpepper ‘community’Soulpepper ‘community’Soulpepper ‘community’

Boys in the Photograph a dreamBoys in the Photograph a dreamBoys in the Photograph a dreamBoys in the Photograph a dreamcome true for star Tony LePagecome true for star Tony LePagecome true for star Tony LePagecome true for star Tony LePageNew version of powerful musical ‘came to life’ underNew version of powerful musical ‘came to life’ underNew version of powerful musical ‘came to life’ underNew version of powerful musical ‘came to life’ underguidance from creators Ben Elton, Andrew Lloyd Webberguidance from creators Ben Elton, Andrew Lloyd Webberguidance from creators Ben Elton, Andrew Lloyd Webberguidance from creators Ben Elton, Andrew Lloyd Webber

2009 lead sponsors

THE GUARDSMANFERENC MOLNÁR TRANSLATED BY FRANK MARCUS production sponsor

ANTIGONEJEAN ANOUILH ADAPTED BY LEWIS GALANTIÈRE production sponsor

WHO’S AFRAID OF VIRGINIA WOOLF?EDWARD ALBEE

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“BRUTALLY FUNNY”—Globe and Mail

“CHARMING”—Globe and Mail

“THE FINEST GUARDSMANI’VE EVER SEEN”—National Post

“A BRAVURA PERFORMANCE… AMAZING”—Toronto Star

KRISTEN THOMSONALBERT SCHULTZ

NANCY PALKDIEGO MATAMOROS

LIISA REPO-MARTELLR.H. THOMSON

Brian Macdonald andSusan Benson are morethan neighbours on a

Stratford, Ont, street. They arelongtime theatre collaborators.In fact, according to Macdonald,

they are so familiar they almostfinish each other’s sentences.

Now they are workingtogether to revive their CanadianOpera Company production ofPuccini’s Madama Butterfly. It

played to critical acclaim in fourprevious seasons, beginning in1990. Macdonald, still goingstrong at 81, returns as thedirector. His career has includedstints as a ballet dancer, chore-

ographer and director of musi-cals and operas. Benson is backas set and costume designer.

Last time around in 2003,more than 1,200 tickets for theshow were sold in one day, set-ting a COC record. This season,a total of 15 performances arescheduled. That means morepeople than ever will see theshow. But it also requires doublecasting for the major roles.

Running in repertoire withMadama Butterfly this fall willbe Igor Stravinsky’s TheNightingale and Other ShortFables. It will be a world-pre-miere creation by Canadianvisionary director RobertLepage. It will be his first returnto the COC since his landmark1993 production of Bluebeard’sCastle/Erwartun .

The avant-garde productionwill feature acrobats and Asianpuppetry. The orchestra will beon stage and the singers in thepit, which will be filled withwater. The subscription seriesincludes an additional fiveoperas in 2010: Bizet’sCarmen; Verdi’s Otello;Wagner’s The Flying Dutchman;Donizetti’s Maria Stuarda; andMozart’s Idomeneo.

Madama Butterfly remainsone of the most popular operasof all time mainly because ofPuccini’s “heavenly score,” saysMacdonald. The romantic but

tragic story of a love affairbetween an American naval offi-cer and a young Japanese girl isalso part of the appeal, he says.

History is on the side of theplot, says Macdonald. The ideaof such a romance was shockingin Puccini’s time. Today mixedmarriages, if still not common-place, are viewed as acceptable,he says.

In designing this production,Benson stripped away theromantic veneer of apple blos-soms and a little screen housecommon in earlier productions,says Macdonald. Instead sheuses simple props to set thelocation and fire the audience’simagination. “There is a sim-plicity to the look that empha-sizes the emotions,” he says.

In choosing a mainlyCanadian cast for the produc-tion, the COC is playing animportant role in developinglocal talent, says Macdonald.“When I was director of balletat the Royal Swedish OperaHouse, most of the singers inour house were Swedish,” hesays. “That produced a systemwhere Swedes moved forward.It is kind of natural to apply thatto any country.”

Alternating the role of Cio-Cio-San (Butterfly), will beRomanian soprano AdinaNitescu, and former COCEnsemble Studio member

Yannick-Muriel Noah. Singingthe role of B. F. Pinkerton aretenors David Pomeroy andBryan Hymel.

Meanwhile, The Nightingaleand Other Short Fables willpresent a number of Stravinsky’sshort vocal and instrumentalpieces along with two shortoperas; The Nightingale and thefolk-based barnyard fable TheFox. Based on a Hans ChristianAndersen fairy tale, TheNightingale will feature Russainsoprano Olga Peretyatko,German tenor Lothar Odiniusand Russian bass Ilya Bannik.

Essential informationProduction details: (416)363-6671 or www.coc.caTickets: (416) 363-8231 or(800) 250-4653.Four Seasons Centre:Puccini’s Madama Butterfly,Sept. 26-Nov. 3Stravinsky’s The Nightingale& Other Short Fables, Oct.17-Nov. 5Bizet’s Carmen, Jan. 27-Feb.27Verdi’s Otello, Feb. 3-28Wagner’s The FlyingDutchman, April 24-May 20Donizetti’s Maria Stuarda,May 30Mozart’s Idomeneo,May 9-29

HHeather Ogden’s per-formance in the titlerole of Aurora in

Sleeping Beauty, which opensthe 2009-2010 season of theNational Ballet of Canada at theFour Seasons Centre for thePerforming Arts startingNovember 13, will epitomizethe meaning of classical ballet.With its lavish sets, opulentcostumes and the gloriousmusic of Pyotr IlyichTchaikovsky, the original 1972production by RudolphNureyev and Marius Petipa,restaged by Karen Kain, is aglittering centrepiece of thecompany’s repertoire.

Next, Ogden will perform ina rather different production.Until now titled only “WorldPremiere”, the new piece byEdmonton-born choreographerAszure Barton will show audi-ences a very different side ofballet - and the principaldancer.

“It’s a great balance,” saysOgden, 28. “The role of Aurorais your idea of what being aballerina is all about…But it’sgreat to stay edgy and keepyour creative side, with newchoreographers and new materi-al.”

Growing up in Vancouver,Ogden was fascinated with theNational Ballet’s huge classicalproductions when the companycame to town. This is her fourthtime performing in SleepingBeauty. She says the time-hon-oured production “was the faceof the National Ballet for a longtime, so it holds a special placein our company.”

The production was refur-bished to open the NationalBallet’s inaugural season at theFour Seasons Centre in 2006,although many of the costumesand sets date to when the com-pany first performed Nureyev’swork in 1972.

“Sometimes you look insidea costume and there’s KarenKain’s name,” Ogden says,adding that she feels comfort-able in the role of Aurora,which she also danced in 2006,so she can relax and “focusmore on the artistic side.”

The Barton piece in whichshe will dance from November25 to 29 will be “a great con-trast,” she allows. The work ismore contemporary and is not astory or narrative ballet likeSleeping Beauty. There will beminimal costumes. This is thefirst time Ogden has worked

with Barton. “It’s always excit-ing to work with someone new,”she says.

The renowned Barton is con-sidered one of the most excitingchoreographers working today.Her energetic and complex cho-reography explores bothtragedy and comedy, oftendramatizing inner thoughts andimpulses. She has created newworks for Mikhail Baryshnikov,Fang-Yi Sheu, the SydneyDance Company, Les BalletsJazz de Montréal, The Juilliard

School, Martha GrahamDance Company, AmericanBallet Theatre II and theHubbard Street DanceChicago.

“My choreography draws ona wide range of movementsources from classical balletand contemporary dance tomovements that surface duringthe creative process,” Bartonsays. “I am interested in bodiesthat move with clean efficiencyand an awareness of andresponsiveness to their environ-

ments.”For Ogden and her fellow

dancers, this means somewhatof a collaboration with the cho-reographer. Barton uses thedancers in the room to createthe steps, Ogden says, a some-what different process fromother choreographers, whomight start the process havingdecided each move the dancerswill make. During the summerBarton spent one month creat-ing the work on the dancers;further polishing and the nam-ing of the piece will follow.

Dancing in new creations is“an important part of a dancer’srepertoire,” Ogden says. “Itdevelops a different side ofyou.” It also is a wonderful feel-ing “to have a piece custom-made for you” and to lead theway with a work that otherswill study and perform in thefuture, much as SleepingBeauty has been time andagain.

Barton’s new work will bepart of a mixed program, whichincludes George Balanchine’sneo-classical The FourTemperaments and JeromeRobbins’ modernist GlassPieces.

For audiences “there isalways the unknown” when anew ballet is presented, Ogdensays, so including it amongbetter-known works such asBalanchine’s is helpful.“They’re usually drawn to one

name, something they’ve heardof…but they leave liking themall,” she says, or even preferringthe new piece.

While she likes the historyand majesty of classical produc-tions, it is equally important tohave the challenge and varietythat such new creations bring.

“Nobody wants to come tosee a ballet museum,” she says.“We need to keep feeding our-selves artistically…we have tokeep advancing.”

Essential informationLearn more about theNational Ballet of Canada’sdates and tickets by visitingwww.nationalballet.ca orcalling 416-345-9595 or1-866-345-9595.

The Sleeping BeautyNov. 13 - 22World Premiere by AszureBarton, The FourTemperaments, Glass PiecesNov. 25 – 29The NutcrackerDec. 12-Jan. 3, 201024 Preludes by Chopin, ASuite of Dances, The FourSeasons Mar. 3-7, 2010Swan Lake March 11-21,2010West Side Story Suite, WorldPremiere by Jorma Elo,Opus 19/The Dreamer June4-13, 2010Onegin June 19-25, 2010

P4 I PERFORMING ARTS I A Special Interest Supplement THE GLOBE AND MAILThursday, September 24, 2009

From classical to edgy for Ogden

–Photo by Sian RichardsHeather Ogden as Aurora in Sleeping Beauty.

National Ballet season featuresold favourite Sleeping Beauty,new work by Aszure Barton

COC’s new Butterfly stresses simplicity

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P6 I PERFORMING ARTS I A Special Interest Supplement THE GLOBE AND MAILThursday, September 24, 2009

World premieres domi-nate the 2009-2010seasons for many of

Toronto’s non-profit theatresand companies. Here are somehighlights:

Factory TheatreOpening the 40th anniversaryseason is the North Americanpremiere of a Canadian playfresh from winning criticalacclaim in England. True LoveLies, by Brad Fraser, begins pre-views Sept. 26. It was recently ahit at Manchester’s RoyalExchange. Originally fromAlberta, Fraser is known forplays – among themUnidentified Human Remainsand Superman – that are per-formed around the world.Factory describes True LoveLies as “witty, fast-paced andexplicit,”

November brings the world

premiere of The MadonnaPainter by Quebec playwrightMichel Marc Bouchard in atranslation by Linda Gaboriau.The plot centres on a villagepriest who commissions a frescohoping for protection from the1918 influenza pandemic.

Coming in early 2010 arenew works by Canadian play-wrights George F. Walker (AndSo It Goes), ahdri zhinamandiela (who knew grannie: adub aria), and Kevin Loring(Where the Blood Mixes, part ofPerformance Spring), as well asan additional Walker revival(Featuring Loretta).FYI: www.factorytheatre.ca.Tickets: (416) 504-9971.

Canadian Stage CompanyHe didn’t choose the shows forthe Canadian Stage Company’scoming season. But the newartistic and general director saysit will be “a super season.”

When Matthew Jocelyn tookover the reigns at Toronto’slargest non-profit theatre earlierthis year, the 2009-2010 lineuphad already been put in place bydeparting artistic producerMartin Bragg. Still, Jocelyn

endorses the choices, callingthem fundamental pieces ofcontemporary theatre that willlast beyond the next few years.

Born and raised in Toronto,Jocelyn has enjoyed an exten-sive theatre career centred main-ly in Europe. Most recently hespent 10 years as artistic andgeneral director of the Atelierdu Rhin in Alsace, France.

Canadian Stage’s BlumaAppel season kicks off Sept. 28with Rock ‘n’ Roll, a dramaJocelyn describes as “searing,intelligent and moving.” AuthorTom Stoppard sets the play inCzechoslovakia, the country ofhis birth. It examines the“dreams, Utopias and contradic-tions” of those who held on to abelief in Communist philosophyand at the realities of thosebeliefs in practice. TheCanadian premiere will bedirected by Donna Feore and

star Kenneth Welsh, Fiona Reidand Shaun Smyth.FYI: www.canstage.comTickets : (416) 368-3110,www.canstage.com or at the boxoffices of the Berkeley Street orBluma Appel theatres.2009-10 season

Tarragon TheatreTarragon kicked off its 39th sea-son with the world premiere ofMimi, billed as a darkly funnymusical about 17th-century seri-al killers. Music and lyrics areby Allen Cole, creator ofPélagie, which had its premiereat Canadian Stage in 2004.Starring Tamara Bernier Evans,Paul Braunstein, Martin Julien,Trish Lindström, Ron Pedersonand Victor A. Young, it contin-ues through Oct. 25.

The Drowning Girls, alreadya hit in Alberta, gets its Torontopremiere in October. The drama,

about three Victorian brides andtheir whirlwind romances withthe same man, won four BettyMitchell Awards in Calgary.FYI: www.tarragontheatre.com.Tickets: tickets.tarragonthe-atre.com or (416) 531-1827.

Theatre Passe MurailleThe spotlight this season will beon Toronto’s diversity. BASH’d!returns to the city in Octoberafter running more than twomonths Off Broadway. Writtenand performed by ChrisCraddock and Nathan Cuckow,it is a musical love story abouttwo gay hip-hop artists and avicious attack that shatters theirworld.

Letters to My Grandma, com-ing in November, is a one-woman show written and per-formed by Anusree Roy.FYI: www.passemuraille.on.ca.Tickets: (416) 504-7529.

Non-profit theatres break new groundFactory, Tarragon, Passe Muraille among companies featuring premiere performances

Ashley Wright plays Kane inBrad Fraser’s NorthAmerican premiere of TrueLove Lies at Factory Theatre.

Continued from Page P1The full results are on the TAPAwebsite at www.tapa.ca.

TAPA’s statistics reflect earlierfindings compiled by theresearch department of theOntario Arts Council. It reportsthat travellers planning a trip toToronto this summer werepolled by TNS Canadian Facts.Asked the reason for their inter-est, the most common responsewas “culture/arts.” It was givenby 18 per cent of Americans and22 per cent of Canadians.

Then there are statistics ana-lyzed by the StratfordShakespeare Festival. They indi-cate that the festival contributesmore than $145.3- million to theregion’s gross domestic producteach year. That includes spend-

ing of $8.7-million at restau-rants and more than $10.3-mil-lion on accommodation. Thefestival also generates an esti-mated $44.8-million in taxes forall levels of government.Directly and indirectly it alsoprovides 3,296 full-year jobs inthe region.

Meanwhile The Shaw Festivalin Niagara-on-the-Lake reportsthat it hires about 600 employ-ees at the height of the season.And since 40 per cent of theaudience comes from the UnitedStates, the festival also helpsbring in tourism dollars.Various surveys indicate thatevery dollar spent at the festivaltranslates into about $8 ofspending within the NiagaraRegion.

Even the much smaller BlythFestival estimates its economicimpact in 2008 at $2.5-million.Not bad for a theatre in a com-munity of 1,000 people.

In Toronto itself, theEntertainment District BusinessImprovement Area is well awareof the local importance of per-forming arts and cultural events,says Janice Solomon, executivedirector. The BIA recently drewup a master plan for the area,where restaurants, hotels andshops thrive because of proximi-ty to entertainment and culturalinstitutions. The plan calls forrecognition of John Street as acultural corridor. The street pro-vides easy pedestrian access tosuch arts centres as the FourSeasons Centre for the

Performing Arts, Roy ThomsonHall, two Mirvish Productionstheatres and the Art Gallery ofOntario.

“It speaks for itself that theperforming arts centres areimportant to us, says Solomon.

Supporting the performingarts does more than producerevenue, says Claire Hopkinson,executive director of the TorontoArts Council, a funding agency.Arts funding creates a liveablecity, attracts talent from aroundthe world and brings in tourist,she says.

In 2006, the Council forBusiness and the Arts in Canada(now Business for the Arts) esti-mated the economic return onpublic arts investment at morethan two times when direct and

indirect benefits are calculated.That investment grows to morethan eight times when the rippleeffect is felt throughout thecountry, it stated.

Nationally, research by theConference Board of Canadaindicates that the cultural sectorcontributed $85-billion to thegross domestic product in 2007.That accounts for 7.4 per centof Canada’s GDP. As well, thecultural sector employed 1.1million people, or 7.1 per centof Canada’s total employment.

And research by Kelly Hill,president of Hamilton, Ont.-based Hill Strategies, empha-sizes the social benefits of theperforming arts. The findingsindicate that 48 per cent of per-forming arts attendees also vol-

unteer for a non-profit organiza-tion compared with 28 per centfor non-attendees. As well, 88per cent of performing artsattendees donate money orgoods to a non-profit organiza-tion, compared with 71 per centfor others. As for quality of life,only 33 per cent of performingarts attendees feel trapped in adaily routine, compared with 38per cent for non-attendees.

And while it may come as asurprise to many people,Canadians spend more thantwice as much on performingarts as they do on spectatorsports. According to StatisticsCanada, the 2005 spending was$1.2-billion for live performingarts events compared with $530-million on live sporting events.

Survey confirms key role of show biz in Toronto economy

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Witness theUnveiling ofa

For a veteran classicalmusician, JoaquinValdepeñas knows how

to keep up with the times.Valdepeñas celebrates his

30th anniversary as the prin-cipal clarinetist with theToronto Symphony Orchestraon October 21 by playingMozart’s Clarinet Concertoas part of the TSO’sAfterworks series. The early-evening performances –designed to fit into busyschedules by starting at 6:30and running for 90 minuteswithout an intermission –proved popular last year andare back for a second season.

For Valdepeñas the three-concert Wednesday series andother leading-edge TSOefforts such as an extensionof the tsoundcheck programto those up to age 35 are away to reach or create newand diverse groups of classi-cal music lovers.

“Anything that makes aconnection between the audi-ence and the orchestra isalways welcome,” saysValdepeñas, 54, who was

born in Northern Mexico andgrew up in California, wherehe took up the clarinet inhigh school. “All of the boyswanted to play trumpet,” heexplains, but the clarinet wasamong the only instruments

left when his music teacherreached his name late in thealphabet. “Talk about fate.”He joined the TSO as princi-pal clarinetist in 1979 andhas won a Juno award andtwo Grammy nominations.

The elegant ClarinetConcerto is the last piece ofmusic that Mozart completedand is among the composer’s“most glorious,” Valdepeñassays. “It is one of those sub-lime things in music,” heexplains, adding that eachtime he plays the concerto “Ifind something differentabout it…Music doesn’t haveto be stagnant.”

The 2009-2010 TSO sea-son includes four visitingorchestras, a festival featur-ing the complete Sibeliussymphony cycle, five TSO-commissioned world pre-mières and a special late-night performance ofBeethoven’s NinthSymphony.

The season opens tonightwith a performance ofBrahms’ Second Symphonyand commanding ViolinConcerto, conducted byMusic Director PeterOundjian, now in his sixthseason. The concert featuresviolinist Joshua Bell playinghis legendary 1713Stradivarius violin.

Ironically Valdepeñasplays an entirely new instru-ment. As a Yamaha artist hehelped to design a new clar-inet over the past 10 years.

The instrument is a hybridbetween a German and aFrench clarinet, he says, andcontinues to be perfected.“You have to be very adapt-able.”

The TSO is expanding thetsoundcheck program, whichallows music lovers between15 and 35 to buy symphonytickets for just $12.Previously the cut-off agewas 30. As many as 20,000tickets are sold under theonline program each year.Tsoundcheck was created in2001 to encourage youngpeople to experience orches-tral music. It also gives thema place to interact and social-ize; following concerts twicea year the TSO throwstsoundcheck parties in thelobby of Roy Thomson Hall.

Essential informationFor TSO concert and sub-

scription details, tickets andinformation about thetsoundcheck program visitwww.tso.ca or call416-593-4828.

Season Opening Night:Joshua Bell Plays BrahmsSept. 24 and 26

Afterworks Series:Mozart Clarinet ConcertoOct. 21

Shostakovitch Symphony 5Nov. 25

Beethoven Symphony 9June 16

P8 I PERFORMING ARTS I A Special Interest Supplement THE GLOBE AND MAILTHURSDAY, September 24, 2009

TSO clarinetist applauds AfterworksJoaquin Valdepeñas celebrates 30th anniversarywith Mozart in popular time slot

Joaquin Valdepeñas is surrounded by prototypes of the CSGYamaha clarinet, a hybrid between a German and a Frenchclarinet that he has helped develop over the past 10 years.

Looking for a way towarm up the fall nightsor fill the weekend as

the weather turns sombre? Arange of music around Torontooffers rhythms and sounds forevery taste.

Toronto Mendelssohn ChoirThe 150-plus voices of the

Toronto Mendelssohn Choirperform some favourites thisseason, which artistic directorNoel Edison says “connectaudiences emotionally withsome of the greatest traditionaland contemporary choralrepertoire.” The choir will per-form Handel’s Israel in Egypton Oct. 24 at the new KoernerHall, play in Festival of Carolson Dec. 9 at Yorkminster ParkBaptist Church and singMessiah with the TorontoSymphony Orchestra fromDec. 16 to 21 at Roy ThomsonHall.FYI: Toronto MendelssohnChoir information and ticketsare available atwww.tmchoir.org or by calling416-598-0422.

Opera AtelierOpera Atelier begins its sea-

son with a revival of ChristophWillibald Gluck’s operaIphigénie en Tauride, whichplays from Oct. 31 to Nov. 7 atthe Elgin Theatre. The operatells the story of a Greekprincess abandoned on theisland of Tauride for the dura-tion of the Trojan War. Itattacked the very core ofFrench operatic tradition andcaused a sensation when it pre-miered at the Paris Opera in1779. Popular soprano PeggyKriha Dye returns to OperaAtelier as Iphigénie.FYI: Learn more aboutIphigénie en Tauride and therest of the season atwww.operaatelier.com. Fortickets visit www.ticketmas-ter.ca or call 416-872-5555.

Art of Time EnsembleOne of Toronto's most inno-

vative music ensembles, theArt of Time Ensemble bridgesthe world of classical musicwith other forms of music,including pop, jazz and worldmusic, as well as art formssuch as theatre, dance, filmand literature. “Every show isa different adventure,” saysartistic director AndrewBurashko. In its first perform-ance on Sept. 26 and 27, theensemble will “reinvent” TheBeatles’ Abbey Road album onthe 40th anniversary of itsrelease, with all-new arrange-ments performed by sevenrenowned singers.FYI: For details about the con-certs and the rest of the seasonvisitwww.artoftimeensemble.com,for tickets go to www.har-bourfrontcentre.com or call416-973-4000.

The Musicians In Ordinary

The Musicians In Ordinarysigh, weep and woo in song toopen their eighth season onOct. 10 with An Anatomy ofMelancholy, a 1621 opus by anEnglish scholar and vicar ofOxford. Other highlights of theseason include A VienneseNew Year’s Day Concert onJan. 1 and 2 and O DolceNocte on February 27, a sweetnight of Italian madrigals fromthe 1500s featuring the musicof Verdelot, Cipriano di Roreand others.FYI: For information and tick-ets visit www.musiciansinordi-nary.ca or call 416-535-9956.

Mooredale ConcertsIn its 21st season,

Mooredale Concerts will bringsome of the biggest names tothe concert stage, as well asintroducing young Canadianartists. On October 25 therewill be a concert featuringGary Graffman, 80, who per-forms works with only his lefthand. On November 22 theFine Arts Quartet will bejoined by pianist Anton Kuerti,Mooredale’s artistic director, inSchumann’s exhilarating PianoQuintet. “It is one of the glo-ries of chamber music,” Kuertisays. “It has a wonderful joy-ous and heroic feel to it.”FYI: Details of shows andtickets are atwww.mooredaleconcerts.comor call 416-922-3714.

The Moscow Male JewishChoir

Show One Productionspresents the Canadian debut ofthe 20-voice Moscow MaleJewish Choir on Dec. 3 in theGeorge Weston Recital Hall.Tenor Joseph Malovany, thecelebrated cantor of NewYork’s Fifth AvenueSynagogue, joins the choir in aconcert that features a mix ofliturgical works, Yiddish,Hebrew and Russian folk-songs, classics and internation-al favourites.FYI: For information visitwww.showoneproductions.caor www.hasidic-cappella.com,for tickets go to www.ticket-master.ca or call 416-870-8000.

Fiddle on FireA dazzling violin virtuoso,

a multi-facetedpianist/arranger and a stunningdancer spice up the cuisinewhen Classical ConcertCabaret at The Old Mill Innpresents Fiddle on Fire on Oct.20. Violinist Lance Elbeck andpianist Charles Cozens willperform excerpts fromVivaldi’s Four Seasons,Sarasate’s Zigeuenerweisen,film music by John Williamsand more. Dancer HarrietChung will perform a varietyof dances.FYI: For information andreservations, visit www.old-milltoronto.com or call 416-207-2020.

ClassicalRoundupFall, winter nights alive with music

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The Entertainer

If Aubrey Dan wants to knowhow Toronto audiences feelabout his production of

Jersey Boys, rather than perusethe show’s healthy box officenumbers he just has to look inhis mailbox. There he finds trib-utes and testimonials from peo-ple returning to the show –some of them repeatedly. Thereare letters from chronic fans,queries about plans for themusical and even extensivenotes critiquing individual per-formances night-by-night, wor-thy of the most assiduous stagemanager or director.

These are audience-memberselevated to what Dan calls“superfans”. After 13 months ofplaying to near-capacity houses,Jersey Boys has more and moreof them. Their devotion – andtheir word-of-mouth ravings, aswell as the awards and positive

reviews that are bringing ever-more new faces to the popularshow – appear to be keepingJersey Boys firmly rooted at theToronto Centre for the Arts forthe foreseeable future.

“This show has definitelyresonated, and continues to res-onate, with the public, becauseit speaks to them in a deep way,”says Dan. “It’s amazing the

impact that Jersey Boys hashad.”

The musical tells the story ofFrankie Valli and The FourSeasons, blue-collar boys whobecame one of the biggestAmerican pop-music sensations,writing their own songs, invent-ing their own sounds and selling175 million records worldwide.The musical is being presentedby Dancap Productions, Dan’sToronto-based commercial the-atre company, which will nextstage the “monster musicalcomedy” The Toxic Avenger atThe Music Hall on the Danforthstarting October 31.

Dancap celebrated the one-year anniversary of Jersey Boyson Aug. 20 with an announce-ment that the Toronto show isgoing strong and will be extend-ed to Nov. 29. Dan says the500,000 people who have seenthe show “run the gamut,” rang-ing from young to old and com-ing from all walks of life. Thereare many regulars, including oneyoung woman who at last count

had seen the show 66 times andothers who offer critical reviewsof each performance they see.“It’s a personalized relation-ship.”

Jeff Madden, the Torontoactor who plays Frankie Valli,says that much of the excite-ment that audience members

feel for the show stems from itsmoving story and the emotionsit evokes. “People come to knowthese guys and care for them,”he says. “To see their dreamsrealized and to see their strug-gles to keep their dreams alive,everyone can relate to that.”

Madden, 35, who in June

won a Dora Award forOutstanding Performance by aMale in a Principal Role –Musical, says it is demanding toplay Valli for six performances aweek in front of 1,700 people. “Ibring everything I can possiblymuster to the show,” he explains,adding that it is especially chal-lenging to sing an octave higherthan his norm.

He says that some membersof the audience come so regular-ly they even sit in the sameseats. In addition to Toronto, theshow is currently playing inNew York, Chicago, Las VegasLondon and Melbourne,Australia, as well touring.

The fact that not one of theproductions has closed shows itsappeal, Madden says. “It’s like abehind-the-scenes, all-access,backstage pass to these guys’lives.”

Another show Dancap isbringing to Toronto with roots inNew York, The Toxic Avenger,promises to have a wide drawand staying power, says Dan.

Starring Louise Pitre, Canada'sfirst lady of musical theatre, theshow is “a toxic love story withan environmental twist,” as wellas memorable songs. It opens onHalloween.

The musical is funny andengaging with a wonderful lovestory, Dan says, and much likeJersey Boys should appeal to allages.“When you find a show that

can talk to people at a youngerlevel, the BlackBerry generationand an older crowd, it’s a suc-cess,” he says.

Essential informationTo learn more about Dancapproductions, visit www.dan-captickets.com or call 416-644-3665 or 1-866-950-7469.Information and tickets forJersey Boys can be found atwww.JerseyBoysToronto.com,while details and tickets forThe Toxic Avenger can befound at www.ToxicAvengerToronto.com.

Jersey Boys wins corps of superfans

‘This show has defi-nitely resonated,

and continues to res-onate, with the public,because it speaks tothem in a deep way.’

–Aubrey Dan

THE GLOBE AND MAILThursday, September 24, 2009 PERFORMING ARTS I A Special Interest Supplement I P9

Dan confident that Toxic Avengerwill have equal staying power

Season of premieresContinued from Page P1

In October the COC opensits world premiere of IgorStravinsky’s The Nightingaleand Other Short Fables.Directed by Canadian visionarydirector Robert Lepage, it prom-ises to be a mind-boggling pro-duction. The opera will featureacrobats and Asian puppetryand an on-stage orchestra. Tospot the singers, look in the pit,which, in true Lepage quirki-

ness, will be filled with water.Meanwhile, the National

Ballet of Canada will bring anumber of treasured classics tothe Four Seasons Centre alongwith a world premiere byacclaimed Edmonton-bornAszure Barton. The new workwill be part of a mixed programin November. There will be pre-mieres as well in the world ofcontemporary dance. Coming inNovember as part of theNextSteps season at

Harbourfront is a ColemanLemieux & Compagnie pro-gram featuring a world premiereby James Kudelka, one ofCanada’s best known choreogra-phers.

The Toronto SymphonyOrchestra will present a worldpremiere of its own on Dec. 9and 12. The work, called TheFour Seasons, was co-commis-sioned by the TSO from com-poser Philip Glass. Sharing theplaybill will be Beethoven’s

Pastoral Symphony.The city’s theatres also will be

presenting world premieres.Necessary Angel, known for itscutting-edge productions, willunveil a sexy, violent and exper-imental version of Shakespeare’sHamlet in November. The showis part of Harbourfront Centre’sWorld Stage.

Among other world premiersthis season, look for Mimi, amusical about 17th-century seri-al killers at the Tarragon

Theatre; Judith Thompson’sSuch Creatures at Theatre PasseMuraille; and The Princess andthe Handmaiden, a new chil-dren’s musical at LorraineKimsa Theatre for YoungPeople.

The season will also bring theCanadian premieres of worksthat have garnered awards andpraise elsewhere. Among theseare Tom Stoppard’s Rock ‘n’Roll at the Canadian StageCompany, True Love Lies, by

Brad Fraser at Factory Theatre;and a Druid Theatre Companyproduction of Enda Walsh’s TheWalworth Farce at HarbourfrontCentre’s World Stage.

The big Fall show for MirvishProductions is Andrew LloydWebber's The Boys in thePhotograph. Fresh from a suc-cessful tryout at the ManitobaTheatre Centre, the musical is arevamping of The BeautifulGame, which played London’sWest End in 2001.

Louise Pitre will star inDancap production of TheToxic Avenger

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The summer crowds havegone, vintners are bring-ing in the harvest, trees

wear shades of crimson andgold and the theatres of theShaw Festival in Niagara-on-the-Lake are in full swing thisfall.

Ten Shaw productions contin-ue until as late as Nov. 1, pre-senting social comedy, musicand drama and variety amid theautumn splendours of theregion, says artistic directorJackie Maxwell.

“It’s quite a different experi-ence from coming in the sum-mer,” she says. “The wineriesand restaurants and activities arestill there, everything is slightlyless crowded, and it’s a perfect

time for seeing great theatre.”The season has been a suc-

cess, she says, after a slow startbrought on by economic uncer-tainty. But the box office gotbusy with the help of govern-ment financing for the festival’smarketing initiatives. “Perhapspeople also started to think‘we’re not going to sit in ourhouses all summer,’ ” Maxwellsays.

The festival has a loyal fallaudience, she adds, and bustours and school groups as wellas seasonal specials at restau-rants, hotels and wineries add tothe numbers. Some people evenreturn to see productions theysaw and liked earlier in the sea-son or in previews. The plays

themselves four or five monthsinto their runs are more devel-oped, Maxwell says. “There’s anadvantage seeing actors deeplyinto their work.”

Garson Kanin’s classic socialcomedy Born Yesterday, whichplays at the Festival Theatreuntil Nov. 1, continues to be a

huge hit, she says.The play first opened at the

Lyceum Theatre in 1946. In1950 it became a film that madeactress and comedian JudyHolliday a star. Largely borrow-ing from George BernardShaw’s Pygmalion, the story of

the education of a brazen blondebroad from Brooklyn namedBillie Dawn, played by DeborahHay, combines romance, wittyrepartee and pointed politicalcomment.

“It’s a brilliantly well-con-structed comedy,” says Maxwell,adding that director Gina

Wilkinson has brought out theplay’s “shading” as well.

“This production just clickedfrom the second it opened,”although after several monthsthere are subtle differences, sheadds. “It’s more oiled, it’s got areal sense of ease to it, the rela-tionships have deepened, theactors know it so much better.”

Another show running untilthe end of Shaw’s season,Sunday in the Park with George,also has two sides to it. Inspiredby pointillist painter GeorgesSeurat’s work A SundayAfternoon on the Island of LaGrande Jatte - 1884, the musicalby Stephen Sondheim revolvesaround Seurat during the cre-

ation of his masterpiece. A cen-tury later, Seurat’s fictionalizedgreat-grandson George, a strug-gling installation artist andinventor visits La Grande Jatteand finds creative encourage-ment and a connection to theSeurat legacy.

Connecting the past and thepresent, the play is perfect forthe Shaw Festival, which strivesto do much the same thing. “It’sa different kind of musical,” shesays, adding that people whohave seen it have commented onhow moved they were by it.

Noël Coward’s 10 one-actplays collectively titled Tonightat 8:30 continue to play.Grouped into sets of three –Brief Encounters, Ways of theHeart and Play, Orchestra, Play,as well as the single-act StarChamber presented atlunchtimes – the successfulplays “left people surprised atthe range of Noël Coward’swork,” Maxwell says. On thethree occasions during the sum-mer when they were all present-ed in one day, collectively titledMad Dogs and Englishmen,they sold out well in advance.

Playing at the FestivalTheatre until Oct. 24, BriefEncounters, which Maxwelldirected, includes the three best-known plays in the series, Still

Life, We Were Dancing andHands Across the Sea, andshows the tremendous range ofCoward’s writing, from dramaand comedy to music.

Maxwell is already lookingahead to next season. The 2010lineup, which has just beenannounced, includes OscarWilde’s An Ideal Husband,which she will direct, TheWomen by Clare Boothe Luceand Shaw’s A Doctor’sDilemma, directed by MorrisPanych, a play that highlightsmedical ethics relevant in theage of the H1N1 virus.

While the current season con-tinues, those behind the scenesare busy on the next, with cast-ing and marketing meeting withdesigners and building sets.

“You become a bit bi-polar atthis point,” Maxwell says. “Ittruly is a year-round operation.”

Essential informationThe Shaw Festival inNiagara-on-the-Lake, Ont.,has productions running toNovember 1. Find out moreabout shows and buy ticketsat www.shawfest.com, or bycalling 1-800-511-7429 or905-468-2172.

P10 I PERFORMING ARTS I A Special Interest Supplement THE GLOBE AND MAILThursday, September 24, 2009

The annual Ross Petty pan-tomimes may be billed askids’ entertainment, but

more tickets are sold for adultsthan children.

The traditional holiday sea-son productions introduce chil-dren to the wonders of live the-atre, instilling them with a life-long love of the performing arts,says executive producer Petty,who has been involved with theshows since 1984. But the pan-tomimes also “have the kind ofhumour you find in MontyPython” he says. “So many ofthe jokes fly over the kids’heads. But there are also somany things the kids love.”

The children’s elements areaimed at 3 to 12-year-olds, andmany of those 3-year-olds showup on stage when youngsters areinvited to come forward duringeach performance, says Petty.

This year’s pantomime, run-ning Nov. 26 to Jan. 3, bringsback Robin Hood, a classic chil-dren’s tale last featured in 2002.Except that the show will becompletely different this timearound. Robin Hood is one ofwhat Petty calls “great well-known family fairy tales,” thatget recycled every five to

seven years.“We always write a brand-

new show,” he says. “We wantto be sure the audience gets allnew material.” The jokes will betopical, he says. Cast membersare known for their ad libs,many of them dealing withevents in the daily news. Thereis also a green theme this year;the show’s subtitle is TheEnvironMENTAL FamilyMusical that Targets Your FunnyBone!

Robin Hood will be the thirdshow written by Chris Earle, anactor and playwright who hasboth directed and starred inmain-stage reviews for the com-edy group Second City. Back asdirector will be Ted Dykstra.

For many years, the pan-tomimes have featured majorCanadian stars, and this yearwill be no exception.

Portraying Robin Hood willbe Jeff Irving, fresh from hisrole as Rolf Gruber in theMirvish production of Sound ofMusic.

Eva Avila, who plays MaidMarion, was a Canadian Idolwinner in 2006, Most recentlyshe opened for Beyonce on fourCanadian tour dates. Playing the

Good Fairy will be JessicaHolmes. One of the stars ofRoyal Canadian Air Farce, she isbest known for her imperson-ations of Liza Minelli andCeline Dion, among others.“The Good Fairy will be imper-sonating various and sundrywell-known people,” Pettypromises.

As always, Petty has casthimself as the villain. This timearound he plays a man, theSheriff of Nottingham.

As usual, there will be a manplaying in a female role. Whoelse but Dan Chameroy, current-ly being seen at the StratfordFestival in both West Side Storyand A Funny Thing Happenedon the Way to the Forum? Hewill reprise his ugly stepsistercharacter, Plumbum von Botox,who was a hit with audienceslast year.

Essential informationProduction information:www.rosspetty.comTickets: Through the websiteor call Ticketmaster at (416)870-8000.Performances: Robin Hoodruns Nov. 26 to Jan. 3, 2010at the Elgin Theatre.

Gags for all agesAll new Robin Hood featured in green-themed panto

Ross Petty (left) and Jeff Irving in Robin Hood.

Shaw enthusiasts relish fall

‘The wineries and restaurants and activities arestill there, everything is slightly less crowded,

and it’s a perfect time for seeing great theatre.’– Shaw Festival artistic director Jackie Maxwell

Niagara attractions hold special appealwhen summer throngs have vanished

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SUBSCRIBETODAY!Subscriptionsstart at only$102 for3 concertsIsrael in EgyptSATURDAY, OCTOBER 24, 2009Handel’s dramatically powerful word painting expressesthe trial and triumph of the Israelites. Hear it in the superbacoustics ofThe Royal Conservatory’s new Koerner Hall.

Festival of CarolsWEDNESDAY, DECEMBER 9, 2009Britten’s Ceremony of Carols and other festivefavourites will stir your Christmas spirit.

Toronto’s Favourite MessiahWEDNESDAY, DECEMBER 16, 2009“A grand, majestic spectacle that should be seenand heard by every Torontonian”–Toronto Life

SacredMusic for a Sacred SpaceGOOD FRIDAY, APRIL 2, 2010Sacred works by contemporary masters takeon a new dimension in the beautiful spaceand acoustics of St. Paul’s Basilica.

ANight at the OperaWEDNESDAY, APRIL 28, 2010The TMC performs your favourite ariasand choruses on a grand scale—withthe power and intensity of 150 voices.

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Sunday, October 4, 2009 - 7:00 p.m.Our Lady of Perpetual Help Church

~ GIBBONS TO GOSPEL ~Special Guests: Brainerd Blyden-Taylor

and the renowned Nathaniel Dett Chorale.Works by Byrd, Tallis, Gibbons,

Whitacre and Tomkins

Sat, November 14, 2009 - 3:00 p.m.St. Anne's Anglican Church

~ IT'S A LAUNCH ~Celebrate the launch of our new CD

of Peter-A. Togni's brilliant masterpiece "Lamentations of Jeremiah"

Soloists: Jeff Reilly, Bass ClarinetRebecca Whelan, Soprano

Special Guest: Peter Anthony Togni

Friday, December 4, 2009 – 8:00 p.mMetropolitan United Church

~ HANDEL’S MESSIAH ~Special Guests: Amadeus Choir

and soloists Meredith Hall,Allyson McHardy, Michael Colvin,

Peter McGillivray, Patricia Wright - Organ,with Chamber Orchestra

Pre-Concert Dinner – Albany Club, Toronto

All programmes subject to change

FOR TICKETS ANDINFORMATION

please call: 416-217-0537

When Torontosongstress AmandaMartinez launches

her second album, Amor, withan Oct. 23 concert in thebrand-new Koerner Hall at TheRoyal Conservatory of Music,she’ll have an extra reason forpre-performance nerves.“When I was growing up Istudied classical piano, and Iused to take my exams at theConservatory. I’d always havethese nervous butterflies goinginto that building. It’s verycool to be performing therenow. I got to see Koerner Hallwhile it was under construc-tion, and it’s just beautiful.”

The fact that Ms. Martinezcan now headline such a venuetestifies to the rapid careerstrides she has taken since the2006 release of her debutalbum, Sola, a record forwhich she had no specificexpectations. “You’d think thatas a business graduate [anMBA], I’d have had sales tar-gets and a big plan,” she says.“I really just went on blindfaith. I had the fire in me thatI had to get this music outthere. I just felt I was bringingsome good energy to the uni-verse and was hoping peoplewould respond. In that sense, I

guess it did exceed any expec-tation I must have had some-where.”

The audience did respond.Sola received solid airplay,sold an impressive 5,000copies, and earned Martinezboth a Best World Music Artisttrophy at Toronto’sIndependent Music Awards

and a National Jazz Awardnomination. Her profile wasboosted by her guest appear-ance on guitarist Jesse Cook’salbum Frontiers, singing thetraditional Mexican tune LaLlorona, as well as a long-run-ning stint as a radio host ofpopular local radio show CaféLatino. Martinez toured inter-nationally with Cook, toencouraging feedback. Herfirst New York City datecomes in November at the leg-endary Blue Note, and she’soptimistic that her music hascommercial potential beyondCanada.

Much of her material is

sung in Spanish, and Martinezis most commonly describedas a Latin jazz artist. That is alittle confining, as elements ofbossa nova, folk and worldmusic are also featured in herwork. “Growing up, my influ-ences covered a wide range ofstyles,” she says. “I worked inmusical theatre and didcabaret. I do like the more dra-matic songs, but also the softand sensual Brazilian music.”

Half the compositions onSola were Martinez originals,and she ups that ratio onAmor, a record she describesas “a little lighter than Sola. Iwanted to feature more of thecollaborations I’d been work-ing on with my band. It hasbeen four years since record-ing the first album, and in thattime we’ve developed as astrong unit. There are somesongs here we started com-pletely from scratch, such asthe opening one, Gitana. I hada certain vibe in mind for it, agypsy/Middle Eastern sensibil-ity. We lit candles, I explainedit, we improvised the musictogether and I came up withlyrics later on my own.”

The singer’s core band com-prises A-list Toronto players:guitarist Kevin Laliberte,bassist Drew Birston (her hus-band), percussionist Rosendo(Chendy) Leon, violinistOsvaldo Rodriguez and trum-peter Alexander Brown. “Weall bring a different way ofapproaching music,” saysMartinez. “Kevin is an engi-neer turned nouveau flamencoguitarist, my husband is fromjazz and the pop world, thenthe Cubanos in the group[Leon, Rodriguez and Brown]have so much energy and pas-sion for the music. It alwaysfeels like a big party when weget together. I usually cook forthe rehearsals, and it is justfun!”

Martinez enjoys a reputa-tion as a warm and charmingentertainer. “Performance ismy first love,” she says. “I hadmy first taste of the stage in acamp play when I was 9 andquite shy. I love the chemistrythat happens in the momentbetween the musicians, andwith the audience as well.That’s something I genuinelylive for.”

High marks for Latin jazz artistTHE GLOBE AND MAILThursday, September 24, 2009 PERFORMING ARTS I A Special Interest Supplement I P11

Koerner Hall concert evokes memoriesfor Amanda Martinez, whose careerhas advanced steadily since long-agoConservatory days

‘I had the fire in methat I had to get this

music out there.’–Amanda Martinez

–Photo by Joanne Klimaszewski

Amanda Martinez describes her second album, Amor, as ‘a littlelighter’ than her debut cd.

CelebratingcreativespiritContinued from Page P1

Kuerti says he is looking for-ward to playing in the hall,which is a perfect size forrecitals in terms of sight-linesand especially acoustics. Largervenues (Roy Thomson Hall andMassey Hall each have morethan 2,600 seats) often sufferbecause of the simple volume ofair in them, so sound is lost.“Violin, piano, string quartetscan’t be impressive in a massivehall,” he says.

“Toronto has been striving forthis size of hall, with this quali-ty, in this location,” addsMervon Mehta, the new execu-tive director of performing artsfor the Conservatory. His moth-er, Carmen Mehta, a retiredvoice teacher, is a double-gradu-ate of the Conservatory in voice

and piano, having studied withit from her home in Saskatoonin 1953 and 1954. (His father iscelebrated conductor ZubinMehta.)

He says that Conservatorystaff have had to focus on everydetail of the new hall, from mar-keting and setting up a comput-erized box office to arrangingfor backstage catering andlearning to operate a sophisticat-ed sound system that allows forminute adjustments in theacoustics, tailored to each per-formance.

“In the past you put out fourchairs and four music standsand you were done. Now wehave Chick Corea coming,” hesays.

When it came to determiningwhat kind of music to present,the idea was to include a broadrange of artists, he explains,from classical and world musicto jazz and even bluegrass, “allof them at the top of their

respective fields.” The GrandOpening Festival that will rununtil Oct. 17 will feature allgenres represented in the inau-gural season.

The concert hall will be usedby the Royal ConservatoryOrchestra and the faculty of theGlenn Gould School and RoyalConservatory School for classesand rehearsals. Mehta says thestudents will have a chance toperform in the hall and in con-junction with the major concertsthere. Two smaller venues at theTELUS Centre, theConservatory Theatre andMazzoleni Hall, as well asspaces such as the lobby, will beused for before- and after-showconcerts and talks surroundingevents. Ticket-holders will beinvited to enjoy a coffee orcocktail and hear a range ofmusic courtesy of the studentsas well as DJs and local musi-cians.

“We really want people to feel

they’ve had an experience here,”says Mehta. “We never wantpeople to come to a concert andforget they’re at a Conservatory,and we never want our studentsto forget they’re at a concerthall.”

“Toronto needed a hall ofthis size with spectacularacoustics, great sightlines,extraordinary intimacy andbeauty as well as a perfect loca-tion,” Simon says. “It is theequal of anyconcert hall in the worldtoday.”

Essential informationFor concert details and ticketsto Koerner Hall and othervenues of The RoyalConservatoryin the TELUS Centre forPerformance and Learningvisit www.rcmusic.cahttp://www.rcmusic.ca or call416-408-0208.

The Walworth FarceDruid Theatre Company (Ireland), Oct. 6-10

Neccesary Angel's HamletNecessary Angel Theatre Company (Canada)Nov. 19-29

To Be Straight with YouDV8 Physical Theatre (England), Dec. 2-5

roadkillSplintergroup (Australia), Feb. 3-6

Once and for all we're gonna tell youwho we are so shut up and listenOntroerend Goed, Kopergietery and Richard JordanProductions Ltd (Belgium), Feb. 16-20

Rebecca Northan in Blind Date(Canada), Feb. 23-Mar. 6

Do Animals CryMeg Stuart/Damaged Goods (Belgium), Mar. 3-6

Loin...(Far...)Rachid Ouramdane/L'A (France), Mar. 11-16

On the Side of the Road *Theatre Junction (Canada),Mar. 24-27

relayAme Henderson/Public Recordings (Canada)Apr. 7-10

GiselleFabulous Beast Dance Theatre (Ireland), May 4-8*As part of The Theare Centre’s Free Fall ’10

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Enjoy the warmth and beauty of sound, the explosive joy and special spirit that isLydia Adams and the Amadeus Choir! With music by Duruflé, Rutter, Willan, Cable,Mozart, Piazzola and many more - great choral moments abound in every concert!

Greater Love Hath No ManSaturday, November 7, 2009, 7:30 p.m.

Yorkminster Park Baptist Church

Amadeus - Mozart35th Anniversary Concert

Saturday, April 10, 2010, 7:30 p.m.Yorkminster Park Baptist Church

Glorious Choir and BrassSaturday, December 19, 2009, 7:30 p.m.

Yorkminster Park Baptist Church

Rhythms of Latin AmericaSaturday, May 15, 2010, 7:30 p.m.

George Weston Recital Hall,Toronto Centre for the Arts

To order subscriptions: 416-733-0545 For information/brochures: 416-446-0188

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Sonia Rodriguez in The Sleeping Beauty . Photo by Sian Richards. Inset: Greta Hodgkinson and Gui l laume Côté in The Sleeping Beauty .Photo by Bruce Zinger. Heather Ogden and Gui l laume Côté in Swan Lake . Photo by David Cooper. Piotr Stanczyk and Art ist of the Bal letin West Side Story Suite . Photo by Cyl la von T iedemann. Aleksandar Antoni jevic in Onegin . Photo by Cyl la von T iedemann.

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The Sleeping BeautyNovember 13—22

Swan LakeMarch 11—21

West Side Story SuiteJune 4—13

OneginJune 19—25Glorious New Design

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