The Lighthouse Festival has announced casting details for its 2025 summer season. A mix of returning favourites and new faces will appear in five productions across its two venues in Port Dover and Port Colborne.
“This year, we have an incredible lineup of plays, all guaranteed to bring joy, humour, and a sense of togetherness to our patrons,” wrote artistic director Jane Spence in a press release. “It’s a celebration of great stories and incredible talent, and we can’t wait for audiences to experience it all.”
Listed below is the full season lineup, including casting.
The New Canadian Curling Club
Written by Mark Crawford Directed by Jane Spence May 22 – June 8 in Port Dover, June 12 – 22 in Port Colborne
A misfit group of newcomers signs up for a “learn to curl” class taught by a reluctant, injured curler with something to prove. This heartfelt comedy explores identity, immigration, and what it means to be Canadian, on and off the ice.
Starring Frank Chung as Mike Chang, Mahsa Ershadifar as Fatima, Chiamaka Glory as Charmaine Bailey, John Jarvis as Stuart McPhail, and Andrew Prashadas Anoopjeet Singh.
The Hound of the Baskervilles
Adapted by Steven Canny and John Nicholson Directed by Andrew Scanlon June 12 – 29 in Port Dover, July 3 – 13 in Port Colborne
A fast-paced spoof of the Sherlock classic, performed by three actors collectively playing 17 roles.
Starring Jonathan Ellul as Watson, Sweeney MacArthur as Jason (and others), and Andrew Scanlon as Javier/Sherlock.
“The type of person that is going to love this show,” quipped MacArthur, who juggles a dozen characters in this production, “is the type of person that uses a funny voice to talk to their pets at home, then uses a different funny voice to answer!”
Hidden Treasures
Two one-act plays by Norm Foster Directed by Derek Ritschel July 3 – 20 in Port Dover, July 24 – August 3 in Port Colborne
Presented as a single evening of theatre, this double bill features My Narrator and The Death of Me — two short comedies infused with Foster’s signature warmth and wit.
Starring Jennifer Dzialoszynski as Lacy/Cassie, Melanie Janzen as Barb/Angel, David Leyshon as Miles/John, and Stephen Sparks as Bob/Doctor.
Pinkerton Comes to Prospect(World premiere)
Written by Jamie Williams Directed by Steven Gallagher July 25 – August 10 in Port Dover, August 14 – 24 in Port Colborne
Developed during Lighthouse’s 2025 Play Development Festival, this Western-inspired comedy follows Herschel Pinkerton, a hapless newcomer who rides into the dusty town of Prospect and finds far more trouble than he bargained for.
Starring Ryan Bommarito as Herschel Penkerton, Matt Olver as Doc, Adrian Shepherd-Gawinski as Amos, Jessica Sherman as Tallahassee Trigger, and Evelyn Wiebe as Lacy.
Here on the Flight Path
Written by Norm Foster Directed by Derek Ritschel August 14 – 31 in Port Dover
John lives on a quiet balcony near the airport, where over the years he encounters three very different women next door. This Foster favourite is a tender, funny look at love, growth, and the connections we make along the way.
Starring Julia Dyan as Fay, Angel, and Gwen, as well as Reid Janisse as John.
Lighthouse Festival is an Intermission partner. Learn more about Intermission’s partnership model here.
Krystal is Intermission’s Publishing and Editorial Assistant. A Scarborough-based writer of Philippine and Egyptian descent, she graduated cum laude with an Honours BA in Professional Writing from York University, specializing in Book Publishing and Corporate/Organizational Communication. She enjoys reading bell hooks, Audre Lorde, and James Baldwin. At any given moment, you can probably find her at a concert or on a long walk somewhere in Toronto.
For Immediate Release – Lighthouse Festival thanks Ontario Arts Council and MPP Bobbi Ann Brady for Supporting the 2025 Summer Season
Posted on April 15, 2025
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Port Dover, ON – April 15, 2025 | Lighthouse Festival is pleased to announce it has received vital support from the Ontario Arts Council (OAC) to help bring its 2025 Summer Season to life in Port Dover and Port Colborne. This funding will directly support the production of five professional plays, helping Lighthouse continue its mission of delivering world-class comedy rooted in the Canadian experience.
Lighthouse Festival would also like to extend sincere thanks to Haldimand-Norfolk MPP Bobbi Ann Brady for her ongoing advocacy and support of the local arts sector. Her efforts were instrumental in helping secure this grant, which will have a meaningful impact on the theatre’s ability to engage local artists, employ production teams, and welcome thousands of patrons through its doors.
“There’s such an abundance of talent in rural and smaller communities, especially in Haldimand-Norfolk,” said Bobbi Ann Brady. “When funding is put to good use as it is for supporting the Lighthouse Theatre, the whole community benefits – both audiences and everyone involved in the productions. Congratulations!”
The Ontario Arts Council’s investment reflects a continued commitment to fostering creative communities and supporting organizations offering opportunities for artists and audiences across Ontario. Lighthouse’s summer season includes five plays, four of which are written by Canadian playwrights. These plays showcase various comedic themes and styles while creating professional opportunities for actors, directors, designers, and technicians.
“Government support for the arts is so much more than funding – it’s an investment in vibrant communities, local storytelling, and creative expression,” said Jane Spence, Lighthouse Festival’s Artistic Director. “Thanks to the generous support of the Ontario Arts Council, Lighthouse Festival is able to bring Canadian stories to life, create jobs, and continue building meaningful opportunities in our region’s economy.”
“We’re proud to be part of a thriving arts landscape in Ontario and deeply grateful for the OAC’s continued investment in what we do,” said Nicole Campbell, Executive Director at Lighthouse Festival. “We also want to give a special thanks to our local MPP, Bobbi Ann Brady, for her advocacy and tireless support of arts funding in our community.”
The 2025 season includes The New Canadian Curling Club by Mark Crawford, The Hound of the Baskervilles adapted by Steven Canny & John Nicholson, Hidden Treasures and Here on the Flight Path by Norm Foster, and Pinkerton Comes to Prospect, a world premiere written by Jamie Williams. With a nearly all-Canadian lineup (plus one cheeky British import), the summer promises to be full of heart, hilarity, and high-quality storytelling.
Lighthouse Festival is a registered charity committed to celebrating Canadian stories and making live theatre accessible to audiences in southern Ontario. With locations in Port Dover and Port Colborne, Lighthouse continues to be a cornerstone of the region’s cultural identity.
For Immediate Release: Lighthouse Festival announces Cast for the upcoming 2025 Summer Season
Posted on April 3, 2025
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Jane Spence
Port Dover, ON – April 2, 2025 | Lighthouse Festival is thrilled to announce the exciting cast for its 2025 Summer Season, which promises to be a hilarious, diverse, and entertaining collection of performances. The season will feature five incredible productions, including the world-premiere of Pinkerton Comes to Prospect by Jamie Williams, Mark Crawford’s beloved comedy The New Canadian Curling Club, the classic mystery The Hound of the Baskervilles, the unique and memorable performance of Hidden Treasures, and the unforgettable Here on the Flight Path, both by Norm Foster.
“This year, we have an incredible lineup of plays, all guaranteed to bring joy, humour, and a sense of togetherness to our patrons,” says Jane Spence, Artistic Director of Lighthouse Festival. “From the world premiere of Pinkerton Comes to Prospect to the heartwarming comedy like The New Canadian Curling Club, this season truly has something for everyone. It’s a celebration of great stories and incredible talent, and we can’t wait for audiences to experience it all.”
Cast Announcement
The cast for the five productions has been carefully selected to bring these stories to life. Highlights include:
The New Canadian Curling Club is a moving and comedic look at new Canadians finding their footing on the curling rink. It features Frank Chung as Mike Chang, Mahsa Ershadifar as Fatima, Chiamaka Glory as Charmaine Bailey, John Jarvis as Stuart McPhail, and Andrew Prashad as Anoopjeet Singh.
The Hound of the Baskervilles: A Sherlock favourite starring Jonathan Ellul as Watson, Sweeney Macarthur as Jason, and Andrew Scanlon as Javier/Sherlock, all of whom will play 17 different characters.
Hidden Treasures: Our special presentation of two Norm Foster-penned, one-act plays presented as a single production starring Jennifer Dzialoszynski as Lacy/Cassie, Melanie Janzen as Barb/Angel, David Leyshon as Miles/John, and Stephen Sparks as Bob/Doctor.
Pinkerton Comes to Prospect: The world premiere of Jamie Williams’ newest work will feature an exciting ensemble cast, including the Norfolk County talent of Ryan Bommarito as Herschel Penkerton, as well as Matt Olver as Doc, Adrian Shepherd-Gawinski as Amos, Jessica Sherman as Tallahassee Trigger, and Evelyn Wiebe as Lacy. Directed by Steven Gallagher, this laugh-a-minute western-themed play will have patrons rolling in the aisles and was featured in Lighthouse’s 2025 Play Development Festival.
Here on the Flight Path: Examining one man’s relationship with three different women over several years, this Norm Foster classic is helmed by director Derek Ritschel and stars Julia Dyan as Fay, Angel and Gwen, and Reid Janisse as John.
Spence continues, “Each of these plays has been chosen for their ability to make us laugh and connect with one another, and I can’t wait to see the joy they bring to the stage. I’m so excited for this journey and look forward to celebrating the magic of live theatre with our patrons.”
Andrew Prashad
Cast Reactions
Andrew Prashad, who plays Anoopjeet Singh in The New Canadian Curling Club, shares, “On their way home, the audiences will hopefully be thinking about the jokes and humour, but also how showing empathy for other people who are different, is a good thing in helping us understand one another.” He continues, “I love that my character is an honest, hardworking person who is trying to bring a smile to other people’s faces while doing his best for his family.”
Frank Chung
Frank Chung, who portrays Mike Chang in The New Canadian Curling Club, adds, “I think audience members will be thinking a lot about what it truly means to be Canadian in an increasingly diverse world, but they will perhaps also think about how much it would cost to attend a Learn to Curl session!”
Mark Crawford
Mark Crawford, the playwright of The New Canadian Curling Club, explains, “This play originally premiered in 2018. Sitting here in 2025, it strikes me that a story about immigration, prejudice, and national identity is more relevant than ever. With threats to our sovereignty, many Canadians are taking a closer look at who we are and what we stand for. Lots of us are experiencing a renewed sense of patriotism. (Elbows up!) But despite all her great qualities, Canada isn’t perfect. As a theatre-maker, though, that’s the good stuff: conflict! I’m excited for you to meet these characters as they learn to curl, face challenges in a new land, and attempt to change and grow.” He continues, “I hope The New Canadian Curling Club tickles your funny bone. I also hope it makes you reflect on this great country we call home. Thanks for supporting Canadian culture. Enjoy the show. Hurry hard!”
Sweeney MacArthur
Sweeney MacArthur, who plays Jason in The Hound of the Baskervilles, says, “I think the type of person that is going to love this show is the type of person that uses a funny voice to talk to their pets at home, then uses a different funny voice to answer!” He adds, “What I love most about my character in this show is there’s a dozen of them!”
This summer, Lighthouse Festival continues its legacy of offering funny, captivating, world-class performances in lakeside Port Dover and Port Colborne. The 2025 Summer Season promises to deliver unforgettable theatre moments, and the team is eager to welcome audiences back for another year of exceptional comedy.
Subscriptions and single tickets for the 2025 summer season are now on sale. For more information, visit www.lighthousetheatre.com or contact the box office at (888) 779-7703.
About Lighthouse Festival
Lighthouse Festival is a charitable organization devoted to the development and production of new and existing Canadian plays. Lighthouse Festival strives to be artistically excellent, support and encourage local and regional artists, and be a source of enjoyment and pride in local communities while promoting local tourism. Located in two beautiful towns on Lake Erie, our theatres operate on a central policy of hospitality, inclusivity, accessibility, and affordability for all.
Media Contact For media inquiries, cast interviews and further information, please contact:
Don Kearney-Bourque Marketing & Communications Manager Lighthouse Festival Theatre Corporation don@lighthousetheatre.com Direct: (226) 290-0070 Cell: (289) 541-7410 www.lighthousetheatre.com
When theatre producer Ross Petty announced his retirement from his annual holiday pantomime in 2022, he left a gaping hole in Canadian theatre. The “Petty panto,” as it was lovingly known by Toronto theatre fans of all ages, was a tradition — a yearly excuse to celebrate all things silly with big dance numbers and naughty innuendos.
Thanks to Canadian Stage, the pantomime is back in Toronto this year, with Petty serving as executive producer emeritus.
The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)
Over the last few decades, holiday pantos have cropped up across Canada, each one a little different in terms of how they pay homage to their respective communities. Most of them hold fast to the form’s usual features — audience participation, singalong dance numbers and melodramatic conflicts — and most theatre artists credit Petty for kick-starting the panto trend in Canada.
What is a pantomime?
A pantomime is a family-friendly musical typically produced in the lead-up to Christmas, although the show seldom touches on religious or holiday themes. What typically makes pantomime fun for all ages is the element of audience participation — spectators are encouraged to boo the villain, cheer for the hero and sing along to their favourite pop songs, which are often woven into the musical score of the show.
Simon Sladen, senior curator of modern and contemporary theatre and performance at the Victoria and Albert Museum in London, has dedicated his career to researching the phenomenon of pantomime. In 2013, he launched the National Database of Pantomime Performance, enabling researchers to track every professional pantomime in the U.K. and beyond.
The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)
“Pantomimes are often considered popular art, something that isn’t in the same cultural hierarchy as, say, Shakespeare,” Sladen tells CBC Arts. “But there’s no reason for that apart from cultural snobbery. Pantomime is a very important part of British Christmas. It’s a form that’s survived centuries, and it’s enjoyed by millions of people in the U.K. each year.”
Sladen includes Petty in a group of theatre creators who helped to usher pantomime beyond the British Isles, and says Petty’s work has helped to keep panto alive in Canada.
“He’s a great performer,” says Sladen. “His villainy is just amazing. A Ross Petty panto is anarchic and eccentric, and those are things I love in a panto. They’re cartoony, and they have interesting morals in them. They’re not constrained by expectations of tradition, which can happen a bit here in the U.K. They don’t have the same cultural straitjacket. They can present panto as a bonkers British genre but with its own spin, which I think is fantastic.”
Reviving the Ross Petty panto in 2024
Brendan Healy, artistic director of Canadian Stage, says taking the panto under his company’s wing was an easy decision. Canadian Stage is famous for its Dream in High Park summer theatre series, and according to Healy, there was interest in finding a family-friendly winter counterpart to the annual Shakespeare tradition.
“When Ross was retiring in 2022, we thought there was an opportunity for us to pick up the panto and make that our family winter offering,” he says. “I have a very strong belief that Canadian Stage needs to do its part in fostering the next generation of theatregoers, and provide opportunities for younger people to experience live theatre. Dream in High Park does that, but Ross has introduced literally thousands upon thousands of children to theatre. That’s what plants the seed for a lifetime of interest in the art form.”
The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)
Petty vividly remembers the first call he got from Canadian Stage, during which it became clear both to him and the new producers: “The panto cannot die after 27 years.”
“I’m delighted that Canadian Stage came forward with this proposal,” he says. As executive producer emeritus, Petty contributed a few of his relationships in advertising and sponsorships, and he sat in on a few rehearsals, but for the most part, he has been hands-off with this production. That’s part of his “running off into the sunset” dream of retirement, he says.
“The whole creative team is stellar — Ted Dykstra has directed five of the pantos in the past, and music director Mark Camilleri has done them for several years. I trusted each member of this team implicitly.”
The Wizard of Oz: The Toto-ly Awesome Family Musical by Canadian Stage at the Elgin and Winter Garden Theatres Centre in Toronto. (Dahlia Katz)
On Dec. 11, at Toronto’s Winter Garden Theatre, the Ross Petty panto officially returned with a deliciously campy adaptation of The Wizard of Oz. Playwright Matt Murray, who previously wrote six of Petty’s pantos, handled the pen once more for this milestone outing. And while, yes, this year’s choice of story was partly inspired by the recent film adaptation of Wicked, there’s more nuance to it than just that.
“I’m really feeling the sense that people genuinely missed this tradition,” Murray says. “I think people are really craving it. It’s been very exciting to feel the energy of getting this opportunity to bring this tradition back.
“We knew people would be loving Oz right now and wanting more of it,” he continues. “The enthusiasm is there. The show is really hitting the zeitgeist, and that’s really fun.”
Panto beyond Toronto
The Canadian panto craze extends far beyond Toronto. Around the GTA, loads of regional theatres stage annual pantomimes — inspired, of course, by Petty — but further adrift, smaller communities have taken the art form and made it their own.
Vancouver’s East Van Panto is a beloved local tradition that infuses pantomime with a sense of social justice. This year’s story, Robin Hood, comments on gentrification, and according to co-writer Jiv Parasram, is “a lot more politically engaged” than some of the other theatre happening in Vancouver.
East Van Panto Robin Hood by Theatre Replacement at the York Theatre in Vancouver. (Emily Cooper)
“It borrows the conventions of the traditional British panto, but has really morphed into its own thing,” says fellow co-writer Christine Quintana. “East Vancouver is a very artist-heavy, counterculture-heavy community.”
“I’m familiar with the Petty pantos from when I lived in Toronto,” says Parasram. “They’ll touch on politics, but it’s usually pretty light. The East Van Panto lives more in the political satire realm, and we really leaned into that this year.” According to Parasram and Quintana, their panto is loaded with esoteric local references, like an infamously weird sign warning hikers of deep mud at Trout Lake, which makes an appearance in the show.
“That kind of hyper-specific reference is really fun for us,” says Parasram. “It’s awesome to get to pay tribute and mythologize places that are real and that mean something.”
Cinderella by Lighthouse Festival Theatre in Port Colborne, Ont. and Port Dover, Ont. (Lighthouse Festival Theatre )
In southwestern Ontario, Lighthouse Festival Theatre is one of several companies with an annual pantomime. The company has theatres in two cities — Port Dover and Port Colborne — and the yearly panto is a highlight of their programming, which is otherwise concentrated in the summer months.
“Pantomime is such a participatory style of theatre,” says artistic director Jane Spence. This year, Lighthouse produced a panto-fied take on Cinderella. “We had a performance for 300 elementary school kids and it was magical. I’ve never seen an audience so engaged. They were all just ready to boo and cheer, and they sang along with some of the songs. It was such a beautiful moment — there was not one cellphone on in the whole audience.
“Everyone was just engaged, and there was so much excitement,” she continues. “I thought, ‘This is how you inspire the next generation of theatre-goers.'”
Aisling Murphy is a Toronto-based writer and editor. She is the Senior Editor of Intermission Magazine, and has previously written for the Toronto Star and CP24.She is the incoming Theatre Reporter for The Globe and Mail.
Meet the cast of Cinderella – The Panto! | Allan Cooke as Shania
Posted on November 25, 2024
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We sat down with Allan to chat about Cinderella – The Panto!, what’s the most rewarding part of his job, and what are the challenges and rewards of live theatre compared to other forms of acting.
Allan Cooke as Shania in Cinderella – The Panto!
Lighthouse Festival (LF): How do you see the role of theatre in today’s society?
Allan Cooke (AC): A lot would depend on the type of show you’re seeing. There’s still great theatre that challenges you to think and see the world in a different way and we need that. But just as important is Panto and comedy and musicals providing pure escapism and entertainment. We probably want more of the latter these days if we feel the world is getting worse!
(LF): What’s the most rewarding part of your job?
(AC): On this gig it’s a tie between having a blast with the cast in the rehearsal room; coming up with silly bits, trying out ideas; and getting on stage, connecting with the audience and getting those laughs.
(LF): What drew you to this role in Cinderella?
(AC): I knew working alongside Sal again it’d be a Master’s Degree in Subtle, Nuanced Restraint, and I’ve been proved right – so much fun. Also, Jonny always gathers a great cast and garners a generous atmosphere for these things and once again he’s pulled the rabbit out the hat.
(LF): What are the challenges and rewards of live theatre compared to other forms of acting?
(AC): On both counts it would be immediate feedback from the audience. They’ll laugh if you’re funny, clap if you;re good, and quickly bring the tumbleweed if it all goes to pot.
(LF): What do you think is the biggest misconception people have about working in theatre?
(AC): Tough one. It might be that people think it looks easier than it is. But then, that’s our job, to make it look effortless, so who’s complaining? In rehearsals, if it does feel like hard work, even as we’re pouring our hearts and mind into it as we do, we might not be doing it right, because the best stuff tends to come from knowing how to play, how to love the process as you engage with it and embracing even the steeper learning curves!
Last year, Southern Ontario’s Lighthouse Festival brought an old tradition to a whole new audience: A holiday pantomime. The risk paid off.
“It was like baby turtles to the sea,” said Jonathan Ellul, the director of 2023’s panto Jack and the Beanstalk, in an interview. Ellul returns to Lighthouse this fall to helm 2024’s panto, Cinderella.
“About 10 minutes in, everyone was right on board opening night,” he continued. “During the reception, a man came up to me. He was a dad with little kids, and I could see that his parents were with him too.
“He took my hand and thanked me,” said Ellul, “because [his family] had just emigrated from England, [where the panto tradition originated], and in his mind he’d accepted that they weren’t going to see any more pantos. He welled up with tears and told me, ‘To see my kids and my parents sitting together having a wonderful time has made my whole Christmas.’ So that was my personal win.”
“I was born in England,” said Jane Spence, Lighthouse Festival’s new artistic director, in a separate interview. “When we came to Canada, [pantomime] was a tradition my mother sought out. It was magical, because I’d never gone to theatre where you could interact before.”
Concept art for this year’s pantomime gives a sneak peek of what audiences can expect this holiday season. Photo courtesy of Lighthouse Festival Theatre.
As per panto tradition, Cinderella will feature audience call-and-response, topical zingers, and loving nods to the local community, framed by an irreverent retelling of a classic fairytale. Jack and the Beanstalk’s playwright, Ken MacDougall, will once again pen the script for the show.
“Ken is brilliant,” said Ellul. “He’s very funny, and if he knows the actors [in the panto] — if he’s seen their work, or he’s worked with them — you can actually hear their voices in the lines he gives them.”
Like its predecessor, Cinderella willfeature an all-star cast whose comic chops fit the panto tradition like custom-made glass slippers. The ensemble includes Helen Belay (Come Home: The Legend of Daddy Hall) as Prince Charming, Raquel Duffy (Appropriate) as the Fairy Godmother, and Katie Edwards (Jack in the Beanstalk) as Cinderella. Sal Figliomeni — who played last year’s pantomime dame — and Allan Cooke will play Minnie and Brobby, Cinderella’s stepsisters.
There to highlight the actors’ tomfoolery is drummer, singer, and instrumentalist Brad Hart, who recently released his first solo album, Notes Like Ghosts. Hart will play live on stage and “is going to become a kind of commenter on the show,” said Ellul. “My hope is, as the show goes on, he’ll become more and more involved until he’s practically a full character: the reluctant drummer who gets wound up in the chaos.”
Ellul first became involved with panto as a young actor, via the Stirling Festival Theatre in Hastings County, Ontario. In 1998, Stirling’s then-artistic director and founder Caroline Smith hired Ellul, as well as MacDougall, to perform in Stirling’s own version of Jack and the Beanstalk. Ellul continued performing in pantos at Stirling Festival into the 2000s, as well as in Ross Petty’s touring production of Aladdin in 2006.
“Having done pantos myself, I know that [the best] ideas come out of rehearsal, where the actors are just playing,” Ellul said. “Part of directing is reminding myself to graciously accept new ideas and willingly let go of what I’d had in mind.”
In her interview, Spence noted that Ellul’s comic prowess as an actor makes him the perfect match for panto’s generous spirit. “I had the pleasure of watching Jonathan when he did The Foursome [by Norm Foster] here,” she said. “He was so funny that, several times during the show, the other actors had to wait for the audience to stop laughing long enough to say the next line. I think he’s a comedic genius.”
Spence’s predecessor, Derek Ritschel, was the driving force behind bringing panto to Lighthouse. It was Ritschel who asked Ellul to direct Jack and the Beanstalk, in another risk that more than paid off: Although Ellul is a veteran actor, last year’s pantomime was his first experience directing.
“It was really not even on my radar,” said Ellul. When Ritschel asked, “‘Would you consider directing?’ I was like, ‘Hell yes.’ The words just came out of my mouth. [I thought,] I can help anybody feel confident and tell a story in that style. That’s my comfort zone, my wheelhouse.”
Reflecting on it now, “I’ve been directing for a long time in other ways,” shared Ellul, who also works as a photographer and portrait artist. “I really want to make people feel confident and comfortable in front of the camera.””
Still, “it was Derek who helped bring [directing] to the surface in me,” Ellul said. “I didn’t realize he saw me as a leader. I’m grateful for the opportunity to learn.”
Ellul remembered that Ritschel told him, “‘You don’t have to be the director with all the decisions made ahead of time. Think of yourself as the extra artist in the room, keeping everyone safe and keeping fun at the centre, at the heart.’ That was the best advice I’ve ever heard.”
Cinderella runs at the Lighthouse Theatre in Port Dover November 28 to December 8, and at the Roselawn Theatre in Port Colborne December 12 to 15. Tickets are available here.
Nathaniel Hanula-James is a multidisciplinary theatre artist who has worked across Canada as a dramaturg, playwright, performer, and administrator.
Starring: Terry Barna (who jumped in for Ralph Small who injured his knee)
Melodee Finlay
Derek Ritschel
Imagine it, a comedy about senior citizens? Whoda thought it? Well, playwright Norm Foster of course. And artistic director, Derek Ritschel who was wise enough to programme it for the Lighthouse Festival.
Christine (Melodee Finlay) and Robert (Terry Barna) are strangers who meet at a wedding. Both are single and lonely. They seem to hit it off, although we are told that there was ‘some’ liquid refreshment that made them brave. They decided so see if they were still sexy and attractive to the other and planned to take off two days and spend it together in a rustic cabin by a Lakefront. Sex was the object. One doubted they were there to discuss Schopenhauer.
We meet them as they arrive at the cabin and are shown around by Duane, the buoyant but awkward son of the owners who are away. Duane seems to burst into the place at inopportune times. That’s part of his charm and the humour of the piece. We learn that Robert is 70 and divorced and Christine is 68. The place is called Lakefront although one can’t see the lake from the cabin. Duane says that the lake receded eons ago, but the name stuck.
While Robert and Christine are a bit awkward, they are also intelligent, funny characters who have life experience on their side. They know why they are there. They have easy and believable banter and both have a keen sense of humour. It does help that their creator is Norm Foster, who knows his way around a quip and a funny laugh-line.
The production is directed with a wonderful sense of wit by Jeffrey Wetsch. The humour of Robert and Christine is never forced thanks to the wonderful performances of Terry Barna as Robert and Melodee Finlay as Christine. A note: Robert was originally to be played by Ralph Small but a few days before he injured his knee and had to leave the show. Terry Barna saved the day and with two days notice began doing the show, with the script in his hand. For my performance (two days after jumping in) Terry Barna hardly consulted the script at all. His manner is easy, funny, laid-back and full of nuance. As Christine, Melodee Finlay matches him with finesse and understatement and that makes her all the funnier. Rounding out the cast is Derek Ritschel as Duane, who pops into the cabin without knocking, without a clue and full of awkward humour. Lovely.
The set by Eric Bunnell is quirky and appropriate for a play that is quirky too. Alex Amini’s costumes are casual for Robert and Christine. Duane always wears over-warm hat and clothes and is so wide-eyed odd, he’s hilarious.
There is a sweet gentleness to Lakefront. It’s full of the wisdom and humour of people looking to get on with life as joyfully as possible, ideally with someone as searching and as funny as Robert and Christine.
The play closed Sept. 22, but it deserved comment.
PORT DOVER—It’s been a whirlwind season at Port Dover’s Lighthouse Theatre, with audiences enjoying an impressive lineup of comedy, drama, and musical theatre, all leading up to the season-ending world premiere of famed playwright Norm Foster’s latest creation, ‘Lakefront.’
Helmed by long-time performer but first-time director Jeffrey Wetsch (who will be familiar to Lighthouse regulars for his performances in recent shows ‘Sugar Road’ and ‘A Pack of Thieves’), the play stars Melodee Finlay and Ralph Small as Christina and Robert, a pair of downtrodden seniors who meet at a wedding and through the haze of wine decide to spend a wild weekend together at a cabin in the woods, to see if they can find a spark of the old romance both have been missing.
Joining them is Lighthouse Artistic Director (AD) Derek Ritschel as Duane, the hapless caretaker of the cabin. The show marks the finale of Ritschel’s term as AD, with him stepping into a new role, Director in Residence, as new AD Jane Spence takes over in his stead.
The show is a fantastic spotlight for Ritschel, who gives a showstopping comedic performance, cracking the audience up nearly every time he appears on stage. His Duane is a comedic creation for the ages, equal parts oblivious and earnest.
Finlay and Small make for a lovable pair with a realistic chemistry. You believe that these two people might find themselves in just such a situation, and their honesty in addressing the awkwardness of their predicament head-on is refreshing and delightful to watch unfold. Both have arrived at the cabin for their own reasons; some that line up, and some that don’t. Witnessing the pair navigate the tricky road toward their inevitable rendezvous is just straight up fun.
Wetsch creates a great aesthetic, with the rustic look of the cabin just right, and the cool blue lights illuminating the exterior of the set setting a perfect mood for the unfolding story. The show is staged lively, with the three characters constantly moving around the stage, exiting and entering at the most inopportune moments for maximum comedic impact.
Beyond the show’s impeccable comic timing, the relationship of the two main characters unfolds in a gentle and not overly dramatized fashion. Don’t expect sweeping dramatic gestures here, but sometimes a warm cup of tea means more than all that – and this show is very much that warm cup of tea that all theatregoers crave, especially as we see the horizon starting to set on another summer and the promise of cooler weather ahead.
Foster’s latest script brings all the trademarks his fans have come to know and love. Quick dialogue and mile-a-minute jokes unfolding in a rural setting? Check. Foster’s shows play in theatres across Canada each year for good reason. They promise a warm, easy-going experience full of authentic laughs and heart.
‘Lakefront’ is yet another fine addition to his library and will surely delight any and all who take the trip out to catch a showing.
Following the curtain call at the show’s premiere last Thursday, Ritschel was given an enthusiastic round of applause from the audience for his 14 years in the AD’s seat.
Ritschel has been heralded for helping to save both the Lighthouse and Roselawn theatres and transforming Lighthouse into a cornerstone of the artistic community in southern Ontario. In those years, he produced 17 world premieres, with ‘Lakefront’ marking his final.
The show plays in Port Dover until September 7 before heading out to Port Colborne’s Roselawn Theatre from September 11-22. For showtimes and to purchase tickets, visit lighthousetheatre.com or call 1-888-779-7703.
That’s not all from the Lighthouse team, however, as they will present their season-topping musical performance ‘Memphis to Motown’ from September 10-28, bringing the music of legendary artists including Otis Redding, Smokey Robinson, The Temptations, and more to the stage. Then, this holiday season they will raise the curtain on their second annual holiday pantomime, with this year’s performance having fun with the children’s classic ‘Cinderella’.
After studying journalism at Humber College, Mike Renzella desired to write professionally but found himself working in technical fields for many years. Beginning in 2019 as a freelancer, he joined the team full-time later that year. Since then, Mike has won several awards for his articles thanks to his commitment to presenting an unbiased, honest look at the important news and events shaping our community.
Speaking from his home in Fredericton, the celebrated author of dozens of comedic plays told Intermission candidly, “I never met a person that tried to be funny that was actually funny.”
So how does he do it? After writing nearly 70 produced plays (and who-knows-how-many completed drafts still awaiting their world premieres), how does Foster keep finding new ways to make us laugh?
“It just happens,” he said.
There has to be more to it than that, though. Anyone familiar with old showbiz sayings will tell ya: Dying’s easy; comedy isn’t. And yet, Foster has found a way to make the painstaking process of writing plays — funny ones, no less — appear effortless.
Over the four-plus decades he’s been writing comedy, the venerable Canadian playwright has proven himself to be an expert craftsman of heartfelt, heart-filled comedy, his modesty masking a real, intense dedication to the art form.
A writer so prolific that the word almost feels insufficient, Foster is widely considered to be the Most Frequently Produced Canadian Playwright™, and he shows no sign of letting that record slip. This summer in Ontario alone, audiences have already had the chance to see two new comedies he’s written. The world premieres of Those Movies and Whit’s End have completed their runs; a third new work, Lakefront, will debut this August when Lighthouse Theatre mounts the three-character rom-com in Port Dover and Port Colborne. Foster has had a working relationship with Lighthouse for over 40 years, making the premiere all the more exciting.
Foster’s seemingly boundless stamina can be attributed, in part, to the rigour of his routine.
“I get up in the morning early,” he told me when I asked about his daily writing habits, “at about five o’clock in the morning. And I start writing at about seven, eight. And I just write.”
Working straight through the afternoon, he constructs scenarios that are immediately recognizable to his countrywide base of loyal fans. For hours on end, he crafts natural-sounding dialogue that’s spoken by regular, everyday characters who, as he puts it, “write the play for him.”
By allowing the characters to speak and act for themselves rather than forcing them to follow a prescribed plan for each individual scene, Foster lets his characters navigate their own ways through the circumstances he’s established.
Even after more than 40 years of writing, he says he’s still taken aback by what his characters have to say. And by how funny they are.
“Sometimes,” he said, “I’ll just write a line and I’ll burst out laughing.” Foster is able to unlock the comedic potential of any given scene by staying true to the characters’ objectives, and by allowing even himself to be surprised by what comes out of their mouths.
“It’s like I didn’t say it; the character said it.”
Norm Foster in an undated photo.
Foster is able to complete initial drafts of new plays at almost superhuman speed by surrendering to this kind of flow-state writing for the greater part of his working day. At the outset of his process, he has an idea of where the characters will wind up by the end, but how they get there is a process of daily discovery.
“When I first started writing,” he said, “I used to write out details of what happened in every scene. But the more confident I became, the more I just wing it.”
That’s another one of those statements that, to me, sounds a bit too modest to be true.
“Nobody writes a first draft like Norm Foster,” according to Emily Oriold, co-founder and artistic director of the Foster Festival in St. Catharines. “He’s got it down to a science.”
Growing up as a theatre kid in Blyth, Oriold first encountered Norm Foster when she saw the Blyth Festival’s 1997 production of his most famous work, The Melville Boys. Sitting in the theatre’s front row, Oriold became an instant Foster fan. The experience stayed with her throughout her time at theatre school and over the 10 or so years that followed, when she conceived and nurtured the idea of establishing an official Foster Festival.
“We’re not very good at celebrating our own in Canada,” said Oriold. “We should be celebrating the success of our Canadian artists.”
Few contemporary playwrights have enough creative output to sustain an entire festival devoted to their body of work. But since 2016, the Foster Festival has presented both the writer’s new plays and fan favourites to St. Catharines locals and summer tourists visiting the Niagara region.
As the co-founder and leader of an artistic institution devoted to sharing the work of one playwright with local audiences, Oriold has a clear mission. “Our goal,” she said, “is to make them feel better leaving than when they arrived. And I really believe that’s what his art does for people.”
Foster’s plays consistently accomplish this, and not just because of their inherent humour. In his plays, comedy almost always acts as a conduit to deeper, emotional content. What’s so impressive is that Foster can strike a fine balance between humour and heart without ever allowing his work to devolve into either shtick or melodrama. According to him, it’s important that his work “touches us somewhere other than the funny bone.”
Derek Ritschel & Ralph Small in Norm Foster’s Lakefront | Lighthouse Festival 2024 Summer Season.
“You don’t want to lay it on too thick,” he said. “You don’t want to bang the audience over the head with an idea or a feeling.”
Instead, Foster hopes the emotional resonance of his plays will sneak up on audiences so that they don’t even realize they’re being moved. He accomplishes this by writing with such relatability that audiences can discover themselves in his work.
“My plays are usually about small subjects,” he says, “like family or relationships, and not necessarily about solving the world’s problems.”
By centering his artistic focus on interpersonal rather than global conflicts, Foster creates easy points of access for audiences of all ages and walks of life. His plays are snapshots of extraordinary moments in the lives of ordinary people.
“They can see their neighbours onstage,” said Oriold, when describing the typical audience response to a Foster play. “They see their friends onstage, their family onstage, themselves onstage. And when that’s reflected back to them, it’s a wonderful shared experience with everybody else around.”
The accessibility of Foster’s work is precisely what’s given his plays their perennial appeal. It’s why Foster’s newer comedies are so frequently programmed at regional companies from coast to coast, and why his older plays continue to endure.
Case in point: this summer, Oriold is directing the Foster Festival’s new production of The Melville Boys — the very play that made her fall in love with Foster’s writing — to mark the 40th anniversary of its world premiere. “It’s full circle for me,” she said.
The term “accessible” can sometimes be used as a backhanded compliment by cosmopolitan critics. That doesn’t seem to faze Foster, who no longer pays attention to what they have to say about his work. “I used to,” he says, “but now I don’t because I think I’m better than them. Isn’t that horrible?”
(NB: No, it’s not.)
Perhaps a handful of Canadian playwrights (if that!) have ever been popular enough to become household names. But a recent experience at the Port Stanley Festival Theatre proved to playwright Mark Crawford just how far Foster’s name recognition extends.
Before entering the theatre for yet another Foster play that was staged earlier this summer, Crawford (himself a nationally beloved writer of heartfelt, frequently produced comedies) overheard a fellow audience member delightedly react to seeing Foster’s name on the house program. When she realized who had written the play she was about to see, she exclaimed: “Oh, it’s Norm Foster! This’ll be good!”
“It’s an amazing thing,” said Crawford, “for any artist, especially in Canada, to achieve a sort of name recognition and the trust of an audience.”
“They know they’re going to have a good time,” he continued, “and they know that they’re taken care of by the writer. That’s an incredible, incredible achievement.”
When Crawford was a teenager, he borrowed his grandmother’s car and drove to the Victoria Playhouse Petrolia to experience Foster’s work for the first time. (Although, he admits, it’s entirely possible that he had already seen a Foster play at some community theatre or other and just not known it at the moment.) Since then, he has performed in one of Foster’s plays, Opening Night at Theatre Aquarius in 2007, and has seen a ton of his work.
“Norm’s writing is incredibly rhythmic,” Crawford shared. “He’s such a craftsman, in terms of comedy.”
Foster’s work has always been somewhat reflective of his own life experience. Some of his plays are more autobiographical than others, but the present moment often finds its way onto the page.
“I think there’s a little bit of me, obviously, in every play I write,” he says. “The older I get, I’m writing about more mature people.”
In this summer’s world premiere of Lakefront, audiences will encounter two such characters. Directed by frequent collaborator Jeffrey Wetsch, the new play is about two senior singles who barely know one another, but decide to take a risk and run off together for a naughty weekend getaway.
Lakefront has a premise that’s representative of everything audiences have come to expect from a classic Norm Foster play. Like so many of the comedies he’s written throughout his impressive career, Foster’s newest work will hinge on recognizable, everyday characters finding their ways through out-of-the-ordinary circumstances with untold potential for laughs.
And, like he does time and time again, Norm Foster will make his earnest, exacting craftsmanship look effortless.
“I’m really proud that people want to see my work and want to see my new stuff,” said Foster. “That makes me want to keep writing. Whenever I think, ‘Oh, maybe I’ve written my last play,’ I go, ‘No, I think I’ve got a few more in me. Let’s keep going.’”
Lakefront runs at Lighthouse Festival Theatre until September 7 in Port Dover and from September 11-22 in Port Colborne. Tickets are available here.
SIMCOE — The classic tale of Pinocchio comes to life in Port Dover as this year’s production from the Lighthouse Theatre Young Company hits the stage August 14-17, 2024. Described as “the enchanting wooden puppet with dreams as big as his heart,” audiences will follow Pinocchio in “a tale filled with joy, courage, and the magic of becoming a real boy!”
Since 1995, the Lighthouse Theatre Young Company has provided participants between the ages of 11 to 17 the opportunity to learn about the acting profession from auditioning to rehearsing to performaning. The four-week program includes team-building exercises and introductory theatre training.
This year’s participants include Kyle Yule, age 14 of Jarvis, Jack Priestman, age 17 of Cayuga, Kiana Littlemore, age 16 of Simcoe, and Oliver Tilson, age 16 of Delhi. Upon meeting this quartet, enthusiasm for the program is soon felt and their camaraderie is evidenced by quick banter, joking, and the occasional friendly jab.
Kyle, who plays Pinocchio, was the subject of a joke shared by the rest of the cast. Oliver explains, “An inside joke with the entire cast is that (Kyle) was told he was the understudy.” Oliver then pokes fun at himself as he shares that, along with playing Geppetto, he is also a henchman named Stench. “It really stinks,” he laughs.
Kyle continues the sparring saying, “Both your roles really suit you.”
This is actually the third year in a row with a Yule in the title role, as his brother previously played Peter Pan and Robin Hood. It was his brother’s influence that led Kyle to join the Young Company two years ago. Kyle says, “He would come home and tell stories about the games they played and the fun they had.”
Jack plays the coachman and was in the Peter Pan and Robin Hood productions. His mom learned about the program and encouraged him to join. He recalls thinking, “I like movies so I might like acting.” Pinocchio will be Jack’s final play with the program, as he has reached the top age of eligibility.
Kiana had experience in drama through school and community theatre before she joined two years ago. She says, “Friends were in the company and said it was a really good experience.”
She likes the opportunity to do theatre in the summer. Her role in Pinocchio – Lucky the Duck – is unique because it is a new character for this adaptation.
When Oliver heard about the Young Company from a former director who helped with set design on Peter Pan, his interest was piqued. “It fills up the summer and seemed like fun,” he shares. “I’ve had a blast ever since.”
Guiding the four actors and the rest of the 15 member cast is director Marcus Lundgren, who has been with the Lighthouse Theatre Young Company program for more than 20 years. He says, “They keep me young. Every day I come in here, it doesn’t feel like work.”
The cast began working on Pinocchio at the Simcoe Little Theatre (SLT) on July 22. Lundgren says, “It’s a lot of work for a short time but it’s great.”
On August 12 they moved to the Lighthouse Theatre in Port Dover for what Lundgren calls “the full immersion into live theatre.”
Two full rehearsal days took place before the show opened on August 14. Lundgren admits those are “two very intense days.” The four-day run has eight performances including a “relaxed performance” on Thursday with the lights up, spacious seating, and other accommodations to make the show accessible and inclusive.
The end result is genuine entertainment. Lundgren says, “We try to make it appeal to everybody…. There’s some pop culture references and updates. It’s always going to be fun.… This is definitely a family show that everyone can enjoy.”
Through the Young Company cast members develop valuable skills while gaining confidence. Kiana shares, “I’ve gotten better at working with people I don’t know and collaborating…. I can be a better speaker now.”
Oliver adds, “It’s helped me get a thicker skin and be able to understand and communicate with the people I’m surrounded with.”
Kyle agrees: “It definitely helped with my people skills.”
They know more about comedy now, too. Kyle says, “When you listen to the audience response, you learn what’s funny.”
Jack also appreciates the audience. He says, “It made me feel better when I was out on stage. It’s nice to see people there seeing the show and seeing me in character.”
There are takeaways for the audience as well. Kyle observes, “If you do something that needs to be covered up by a lie, you shouldn’t have done it in the first place.”
There’s also the classic theme made familiar to many by Pinocchio’s friend Jiminy Cricket. Lundgren says, “I do think that ‘when you wish upon a star’ and ‘dreams do come true’ works through the whole show.”
Whatever goals they have for the future, the Lighthouse Theatre Young Company enables youth to develop skills, explore new possibilities, and reach for their dreams. Lundgren concludes, “It’s amazing when alumni drop in. It’s great to see it goes beyond the four weeks of the summer.”
For tickets visit lighthousetheatre.com or call 519-583-2221.
For more information on the Lighthouse Theatre Young Company, visit lighthousetheatre.com/young-company.
Sheila Phibbs
Now living in Jarvis, Sheila (Wodskou) Phibbs grew up on a dairy farm in Oneida with The Haldimand Press delivered weekly. She was first published in the paper in Grade 2 for her poetry, worked in The Press office in the late 90s, and joined the team again as a freelance reporter in 2015.
Meet the cast of The Sweet Delilah Swim Club | Susan JohnstonCollins as Dinah
Posted on August 8, 2024
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Susan JohnstonCollins played the hilarious Lady Louisa MacDrummond in The Real Sherlock Holmes at Lighthouse Festival in 2022. She’s also starred in The Last Resort and Having Hope at Home at Lighthouse as well. Outside of Lighthouse, Susan has starred in Mark Crawford’s The Birds and The Bees at Port Stanley Festival Theatre & Theatre Orangeville, Sister Act at Drayton Entertainment, and as Marilla Cuthbert & Rachel Lynde in Anne of Green Gables at Charlottetown Festival. We chatted with Susan about what role has had the greatest impact on her personally, what she loves about the character she’s playing, and why she wanted to be involved in The Sweet Delilah Swim Club.
Susan JohnstonCollins as Dinah in The Sweet Delilah Swim Club
Lighthouse Festival (LF): What do you love about the character you’re playing?
Susan JohnstonCollins (SJC): There’s alot to love about Dinah Grayson. It’s so much fun to explore her intelligence, grace, secret generosity, dry and cynical sence of humor and huge heart which she seldom reveals. Trying to harness all those facets is a tremendous and welcome challenge.
(LF): Why did you want to be involved in this production?
(SJC): I’ve been a huge fan of this wonderful play for a long time. I was so excited to be cast in a production that was to be produced in 2020. We all know what happened then. So, when I saw that Lighthouse was going to produce the show and it was going to be directed by one of my very favorite Directors and dear friend Jane Spence, I jumped at the opportunity and was thrilled to be cast. It certainly doesn’t hurt that the company is made up of awesome and extremely talented women. This summer with Jane S, Susan, Andrea, Debra, Jane M, Laura and Ben will be one I will truly cherish!
(LF): What role has had the greatest impact on you personally?
(SJC): This question is almost impossible to answer. Each and every role that I’ve been blessed with has taught me different things about myself, life, spirituality, the people around me and the world we live in. I simply couldn’t pick just one role that has had an impact. That’s the beauty of Theatre. We experience all these different lives that we then share with our audiences and that shared experience can sometimes inspire wonderful things!
(LF): How do you prepare for a new role?
(SJC): Every Actor has a different process and each project might require something a little bit different. As a general rule, the following are the steps that I would follow. I start with reading the play over and over and over again so I can get really familiar with the characters, places and situations. Next, I will begin ongoing research into the period and locations as well as anything else that might be particular to each piece. Then I start to work on the lines and try to do some preliminary memorization. For me, the final hard work on memorization has to come once rehearsal has started and I’ve met the other actors as well as started blocking the show. Depending on the size of the role, I normally start my preparation at least a month prior to rehearsal.
(LF): What inspired you to pursue a career in theatre?
(SJC): I feel like my wonderful Mother was my inspiration…not just in theatre, but in so many aspects of my life. Mom was an incredible singer and lover of the arts. So, I was exposed to amazing theatre and music from a very young age. Each experience opened my heart and spirit to the magic of the arts and when I was about ten years old, it dawned on me that this could be my life. Nothing could hold me back! I worked as hard as I could and was blessed with many incredible people, mentors and opportunities and after almost forty years of a professional career, I’m still excited about the next show! My ninety-one year old Mom, Rosemary, is just as excited too!
Meet the cast of The Sweet Delilah Swim Club | Andrea Risk as Vernadette
Posted on August 5, 2024
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Andrea Risk has graced the Lighthouse stage as Sybil/Mable/Duff/Brian/Big/Phylis in Freedom 85! and as Penelope/Mandy/Weever in Something Fishy, which was a world premiere! She’s appeared on stage in productions for Theatre Aquarius, St. Jacobs Schoolhouse, Drayton Entertainment, Victoria Playhouse Petrolia, just to name a few. We chatted with Andrea about what she loves about the character she’s playing, what her next project would be if she had a magic wand, and why she wanted to be involved in The Sweet Delilah Swim Club.
Andrea Risk as Vernadette in The Sweet Delilah Swim Club
Lighthouse Festival (LF): What do you love about the character you’re playing?
Andrea Risk (AR): I love Vernadette’s resilience and her humour. Her life is incredible and pitiful but despite all the hardships, she has an amazing inner strength
(LF): Why did you want to be involved in this production?
(AR): It’s a great role in a wonderful play. I love the opportunity to play a character who ages over the course of the show as well as the chance to do an accent.
(LF): If you had a magic wand, what show would you do next?
(AR): Any show that would be offered to me! Seriously, I am not even at the point of thinking of anything other than this one.
(LF): How do you see the role of theatre in today’s society?
(AR): It offers the opportunity for the audience to experience emotions and situations covering a wide range of topics. It is a mirror. It is representational. It informs.
(LF): What role did mentors play in your career?
(AR): There were people who taught me about timing , particularly in comedy and farce. My mother taught me how to breathe correctly in order to project. She also taught me how even the smallest gesture can completely transform a character.