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“In our rehearsal hall are the ghosts of every production we have done to date”
“How many times do we need to experience this dark episode? As many times as it takes to understand it historically and emotionally”
“The titular subject of this play is the white feather movement, where young women would pin a white chicken feather on a man’s lapel to shame him into enlisting”
When Jeff Culbert was commissioned to write a play about World War One for Fanshawe Pioneer Village he first went to the back issues of The London Free Press. He looked at newspapers from just before the war started. This was to understand what Londoners would have been reading during that time and what the perceptions and opinions on the coming war were. “When you read a newspaper you get all kinds of cultural information, as well as getting the news of the time. I wanted to know what a person who lived in London would think about the war because the Free Press would have been their main source of information” says Culbert.
“Perhaps this is the true ‘meaning of life’: to have the ability to see the flaws but to forgive them”
New York is a city of song and dance. In the literal sense, certainly, but also in its ambience, in the street life, in the gritty subways, on the Highline, on Fifth Avenue. Yes, Broadway, the avenue and the eponymous theatre district, situated on those short, but teeming blocks that peel off from the main artery and nourish regular denizens of the neighborhood as well as strays in from the hinterlands . . . Broadway is a lifeline, a thought process, an expectation, often fulfilled, of fantasy, insight, the gamut of emotional expressions.
“The Cheese Poet parallels the windmill-tilting plot of Don Quixote as McIntyre attempts, in the encroaching shadow of World War I, to get the countries of Europe to contribute curds to the making of a thousand ton cheese”
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When Conor McPherson’s 1997 drama The Weir was first performed in London Ontario, back in 2001, the production was such a hit that there were fistfights in the lobby for tickets. If folks had only known that they would simply have to wait 15 years for that production’s director, Don Fleckser, to direct the play again, perhaps some knuckles would have been spared.
Joe Recchia has been a member of London’s theatre scene for seven years. He first got involved with Musical Theatre Productions and is now president of their board of directors. Then after a few years with London Community Players at the Palace Theatre he was hired at the Original Kids Theatre and has been there full time for three years. This is his fourth Fringe festival.As the venue technician for the Spriet Family Theatre in Covent Garden Market, Joe is running the tech, lights and sound for six different shows which all have multiple performances.
You must be really organized…