Here to Hear on the road

Most of our shows take place in the schools so we figured we’d highlight where the Here to Hear company has gone every week. Bookmark this post to keep track of their travels.

Our stage manager, Sarah, shows us her old school. What a great way to start the tour!

Week 1 (January 24th to 27th, 2012)
After performing at the Sullivan Mahoney Courthouse Theatre on January 21st and 23rd), the company hits the road and travels to: Our Lady of Fatima (St. Catharines), Alexandra (St. Catharines), St. Alfreds (St. Catharines), Vineland (Vineland), St. Thomas More (Niagara Falls), Crossroads (Niagara-on-the-lake), Greendale (Niagara Falls) and Forestview (Niagara Falls).

Students at Westdale help the cast load in the set. We celebrate our production manager's birthday.

Week 2 (January 30th to February 3rd, 2012)
Here to Heartackles its first full week of touring at: St. Andrew (Welland), DeWitt Carter (Port Colborne), Central (Grismby), Central (Burlington), Lakeview (Grimsby), Nelles (Grimsby), Richmond Street (Thorold), Our Lady of Victory (Fort Erie), St. Anthony (St. Catharines) and Westdale (St. Catharines).

Playwrights Linda Carson and Cathy Nosaty visit the cast at St. Therese of Lisieux.

Week 3 (February 6th to 10th)
Ten more schools! River View (Niagara Falls), Father Hennepin (Niagara Falls), Ferndale (St. Catharines), Cherrywood Avenue (Niagara Falls), R.L. Hyslop (Stoney Creek), St. Therese of Lisieux (Hamilton), Mount Hope (Mt. Hope), Maywood (St. Catharines) and McKay (Port Colborne).

Come back for more updates from the road!

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Faces of Carousel: February

Rest assured: we do feature a new Face of Carousel this month. This introduction is just a little long, so read on and you will see how it all relates to our February feature, David MacKenzie.

A different David, David S. Craig, has written one of the most successful Canadian plays for young audiences in recent years. Danny, King of the Basement has had multiple productions, toured all across Canada and the United States, won awards… The play works; it’s tightly written and it connects to audiences on many different levels. So, the playwright was taken aback (to put it mildly) when he found out that the director of a German production had dispensed with the last third of the play.

I know some of you are gasping at the notion; if you know Danny, it seems inconceivable. The reason something like that is so unsettling for many of us is that it shakes one of our core beliefs in the way we create plays. That theatre had essentially replaced the playwright with the director as the prime creator. In North America we tend to acknowledge the director as the artistic lead but we put the playwright at the forefront of the process. Altering a play so fundamentally without consulting with the playwright is foreign to many of us; it’s a completely different way of working.

I’d like to think we manage to create an environment at Carousel Players where artistic collaboration can take place. After three years of development, we recently opened Here to Hear, a play co-written by Linda A. Carson and Cathy Nosaty. We strove to deliver their vision of the play, but to say that the work of the other artists involved in the process (actors, designers and director) did not shape the play as well would be disingenuous. This is not something new or revolutionary. Look at what this gentleman has to say about the early days of Carousel Players.

David MacKenzie
I joined Carousel Players as an actor in February of 1972. Within two years I was also writing and performing music; and writing plays. Carousel was founded on the principle of allowing children to participate in the action of the plays. You knew you had been successful if you could honestly say to the people involved: “Now you know what it was like to be…” We created most of the work we performed and this meant creating four, five, and six new plays every season. We performed these before upwards of 50,000 children a year. Writing twenty plays for Carousel as playwright-in-residence and dramaturge was the most creative and satisfying time of my life.

David’s work as actor, composer and playwright embody how the plays were created in the earlier years of our history. To create work that allowed audiences to truly understand diverging points of view within the play, he collaborated actively with the artistic leaders and acting companies. We have tried to preserve that core belief of meaningful artistic collaboration in our work over the years.

Pablo Felices-Luna
(Staunch Collaborator)

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New Here to Hear Video To View

An opera singer (William Vickers) and his daughter (Amy Lee) have different ideas of what music really is in Here to Hear.

Watch the new Carousel Players Here to Hear video clip with scenes from the play and interviews with the director. A few dates in March are still available for schools to book.

Children in Grades K to 3 from over 50 schools are seeing the full-length play at their schools from January to March 2012. See some pictures from the road and a record of the schools on our blog.

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Faces of Carousel: January

If we have spent any time talking about Carousel Players, there is a very high likelihood you have heard me say one or both of the following things:

  1. Our audience defines us. I believe theatre creators should always ask themselves who they’re creating for. In our case, we proudly define ourselves as a theatre for young audiences company, and that tenet informs the creative decisions we make in our work.
  2. When I first moved to St. Catharines, people would ask me what had brought me here. I would tell them I was starting at Carousel Players, and almost inevitably, someone would say: “Really? You came to my school when I was little.”

How does that connect to our celebration of audiences for the Faces of Carousel? Well, at our opening of Here to Hear, our MPP, Jim Bradley, observed how there were three generations of audiences in the room. Guess who was there too?

Garry, Barbara Blain and family
As adults attending a Carousel Players presentation, we already subscribe to the belief that what they present is theatre you never outgrow; however, when you attend with a young child you are struck with the MAGIC of theatre you never outgrow.

Sit through a Carousel production with young children, in our case, it’s our grandchildren and their peers in kindergarten, and their faces during the production will make you believe … the light, the interaction, the puzzled looks, the realization, the laughter, the questioning, the breathing, the resolution …

Shakespeare’s Hamlet declares that “the play’s the thing / Wherein [he’ll] catch the conscience of the king”; Carousel Players shows us that the play is the thing to catch the conscience of mankind … more specifically childkind…every generation from youngest to oldest. Attend with a young child, you’ll be amazed at the depth of interaction, realization and understanding.

Carousel has created and performed for generations of families like Garry and Barb’s. These audiences have, in turn, inspired and guided our work. So, when Garry and Barb’s grandson asks Grandpa and Grandma if he can come back another time because “all of the plays that you have made have been very fantastic”, he is not that far off.

Thank you for helping us make these plays with and for you.

Pablo Felices-Luna
(Believer in Audiences
Young and Less Young)

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Peg and the Yeti Receives Best of 2011 Award

Jen Balen in Peg and the Yeti (2010-2011)

Reviewer James Wegg awarded the Carousel Players production of Peg and the Yeti by Monica Dufault with a “Best of 2011 Award”. He says it’s one of the best works he’s seen, heard and written about over the past twelve months. About 6700 children saw one of 55 performances of Peg and the Yeti (adapted from the popular children’s book by Kenneth Oppel) as it toured to schools and theatres from March to May 2011. Visit www.jamesweggreview.org for his review of Peg and the Yeti.

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Here to Hear a Huge Hit With Children

An opera singer (William Vickers) and his daughter (Amy Lee) have different ideas of what music really is.

The reviews for Here to Hear from the media, schools and family audiences are in!

Send us your comments and see more photos on our Facebook page.

“It’s hard to imagine anyone but William Vickers playing Len. His performance is a comedic tour de force that ought to find its way into the Canadian Theatre Hall of Fame (if only such a thing existed).”

“Here to Here was a fantastic, exciting and interactive show that held everyone’s interest, young and old.”

“Thank you for that wonderful play that you put on. It was great. I liked it even more than spectacular. My favourite part was when the little globe got bigger and bigger until it was huge. My favourite person was the girl’s dad because he was super funny. Can I please see another play another time? All of the plays that you have made have been very fantastic.” 6-year old Student

“I know that I join everyone in Niagara in our admiration for all of those involved with Carousel Players for the long hours of preparation, commitment, effort and energy involved to produce such a superlative theatrical performance that can be shared with the entire community.”

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Faces of Carousel: December

We are currently working on our premiere of Here to Hear. Bear with me, this does relate to our December installment of the Faces of Carousel. There is a technician character in the show who is a musician in her own right. Not surprisingly, we couldn’t stay away from discussing the line we sometimes draw between “artist” and “technician” as the play was being shaped. We essentially agreed that this line is at best blurry, if not altogether arbitrary.

Don’t get me wrong. The irony of stating this when we dedicated December to our “Artisans, Stage Managers and Technicians”does not escape me. Well, here are two people who blur that line regularly in their work.

Brad Trenaman and Giselle Clarke-Trenaman
Working at Carousel Players was like working in a world of possibility, adventure and fun.  This is how I remember my six seasons at Carousel Players as a stage manager.  Seeing the looks and hearing the shouts of delight as the van arrived on the school property was always a thrill – making me want to do a good show.  My first and I have to admit my favourite show was George and Martha. Hearing 150 squeals of delight as Martha danced in her recital made all the blocking changes and the hours of rehearsal worthwhile.  I was also privileged to go to Japan with Where the Wild Things Are but what will forever remain etched in my memory is our run of Wild Things at Young Peoples Theatre where my mother jumped up and became a “Wild Thing” roaring along with 100 young people.  Truly that was theatre that could not be outgrown.

In her time at Carousel Players, Giselle always showed that she really knew how to connect with our audiences, to the point where she may have been caught slipping a souvenir prop leaf to a very happy child after a performance of The House at Pooh Corner.  She also understood the need to communicate clearly in the creative process and to hold ourselves to a high standard in our work. I remember how she stopped in on a cueing session for my first show at Carousel, The Invisible Girl, and told Brad what she thought was missing from his lighting design. Brad agreed, and the show was better for it. That level of collaboration is one of the things that makes them such a fantastic team. Speaking of Brad…

Like Giselle, the “Wild Things” tour to Japan was definitely a highlight for me, even with the myriad challenges of adapting to vastly different venues (where the in-house crews spoke little or no English).  Every day of that tour was a new adventure and the only thing we were fairly certain of as we travelled to each venue was that the audience would be packed with enthusiastic children.  Having the opportunity to return the hospitality for our Japanese host, the Kazenoko Theatre Company, when they brought their production of “Techan’s Wonder Train” to Canada was especially rewarding.  Seeing the potential for theatre to inspire young minds, no matter where in the world you were and no matter what language was being spoken, resonates even stronger now with the recent birth of our daughter, Brianna.

And Brianna is indeed their latest collaboration. Best of luck, Brad and Giselle. We miss you and hope to get inspired together again soon.

Pablo Felices-Luna
(Tattletale)

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Teacher Nancy Gill Announced as 2012 Norah Morgan Award Winner

Pablo Felices Luna and Debra McLauchlan with Nancy Gill (middle)

Carousel Players is pleased to announce that Nancy Gill, a Grade 8 and visual arts teacher for Grades 2 to 8 at Power Glen School, is the 2012 winner of the Norah Morgan Memorial Award.

Established by Carousel Players, the award celebrates the contributions and achievements of elementary school teachers who have made a strong contribution to the arts in Niagararegion schools. On January 10th at the District School Board of Niagara meeting, the Norah Morgan Award presentation will be made to Ms. Gill by Debra McLauchlan, Chair of the Carousel Players Board of Directors. One of the benefits of the award is that Ms. Gill’s school will receive a free performance on Tuesday April 17, 2012 at 2pm by Carousel Players of the play Spelling 2-5-5 for Grades 4 to 8 students. The play promotes a greater understanding of children diagnosed with autism and the issues they face at home and school

This is the seventh annual presentation of the award in memory of drama education pioneer Norah Morgan pictured here. Previous winners of the award include teachers Laurie Crain-Anez (2011), Sharon Hellinga (2010), Anneliese Burke (2009), Jerome Black (2008), Barb Hennessy (2007) and Tim Mallory (2006). The Norah Morgan Memorial Award alternates from year to year between the District School Board of Niagara and the Niagara Catholic District School Board.

School principal Candi Sitko who nominated Gill said, “Nancy is an outstanding teacher, an artist herself who is very passionate about the instruction of the visual arts. On any given day, at any given time, art is happening in Nancy’s classroom, whether it be using a mirror to draw a self-portrait in Grade 7, creating a dragon in Grade 4, or learning about the importance of lines in Grade 2. Once a year, Nancy organizes an “Art Gallery Opening” for her intermediate students that includes a detailed written passage about the process, the thinking and the reasoning behind each student’s artwork. She cares about her students being the best they can be in all areas of their lives. Visual arts is the vehicle she uses to accomplish this.” Nancy Gill also works with groups of Niagara teachers in Visual Arts Learning Groups to share her ideas and arts resources to integrate the Visual Arts in their classroom activities. For over six years, Ms. Gill has been a member of the Elementary Arts Council and Elementary Arts Showcase committee and helped to develop curriculum and visual arts resources for teachers.

“I chose to become a teacher in my thirties and I went to Brock University and graduated with 2 degrees in 5 years,” said Nancy Gill. “At Brock I received great encouragement from two mentors in particular – Derek Knight and Warren Hartman. All of my fifteen years of teaching have been at Power Glen School in St. Catharines– fourteen years teaching Grade 6 and teaching Grade 8 for the first time this year. I really enjoy incorporating all of the arts into my every day classroom, teaching my students new ways of looking at art and helping them to work to their potential. I am honoured to be nominated by my school and to receive this award.”

Norah Morgan was one of the most influential international ambassadors of drama education for both students and teachers for over fifty years. In 1972, Norah Morgan worked with Des Davis in developing a vision for Carousel Players that continues to inspire students and teachers locally, provincially, nationally and internationally. The Norah Morgan Memorial Award honours her leadership and influence in enriching the lives of young people through the arts.

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Interactive Music-Making Play Premieres Jan 21st

 Launching Carousel Players 40th anniversary school touring season is Here to Hear by Linda A. Carson and Cathy Nosaty, an interactive music-making play for children aged 4 and up that was commissioned three years ago by Pablo Felices Luna, Carousel’s Artistic Director. The world premiere of Here to Hear takes place at the Sullivan Mahoney Courthouse Theatre on Saturday, January 21, 2012 with performances for families at 11am and 2pm shows at 101 King Street, beside Market Square in downtown St. Catharines. Tickets are $12 each and available at 905-682-8326 X26.

 Here to Hear is the story of a famous singer and his daughter Amanda who can’t agree on what music really is. While setting up for Singer’s concert, Amanda, his backstage technician, gets sidetracked collecting sounds from the audience and making music with them. Just when it looks like there won’t be a concert at all, a surprise visitor turns things upside down. Together with the audience, Amanda and her father make the song that will help their visitor find the way home. Here to Hear offers young children a participatory theatre experience where the central characters collect sounds from the audience, involve children in the audience in problem-solving, music-making and play with sound and technology as part of the story. 

Forty-three schools have already booked a performance of the show at their schools from January to March 2012 and the play travels to the Grand Theatre in London (March 1 to 3,  2012) and Theatre Aquarius in Hamilton (February 24, 2012). Students in Grades JK to 3 can also come to the Courthouse on Monday, January 23rd to see Here to Hear. An estimated 8000 children will see the show thanks to the generous support of Ontario Power Generation, the tour’s sponsor.

The play’s co-creator Linda Carson says, “people often ask me what inspires me to write for the theatre. The idea for the play Here to Hear began when I was having tea with Cathy Nosaty and her three year old son, Luka, came bouncing into the room and said, ‘Let’s make some music!’ He proceeded to play with the simplest of household items and made their sounds into music. We all had a great time playing together, even though I don’t play any instruments myself. When I was driving home I remembered a show I had been part of some ten years ago with Carousel Players called, Patty’s Cake. It was created by the Oily Cart Theatre Company of London, England to help inner city children discover that baking does not only come from the shelves of the super markets, but is something that one can make. I eventually turned the car around, drove back to Cathy’s house, and asked her to write this show with me. I am so very proud of this project and grateful to be able to work with this incredible team.”

 The cast for Here to Hear features actors Amy Lee and William Vickers; stage manager Sarah Miller and apprentice stage manager Melissa Gallant. The creative team for Here to Hear includes directorPablo Felices Luna, set & costume designer Michael Greves, composer and sound designer Cathy Nosaty, sound design intern Chris Penney and lighting & projections designer Gavin Fearon.

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Two New Instructors at Carousel’s Summer Camps

Jen Balen in Peg and the Yeti (2010-2011)

Introducing two new instructors at Carousel’s summer theatre camps at the Courthouse in Summer 2012 – Jennifer Balen (she played Peg in Peg and the Yeti last season) and Richard Lee (Toronto actor, sound designer and fight director). Jennifer Balen teaches an acting camp for ages 9 to 12 from July 23 to 27, 2012 and Richard Lee teaches young actors the art of stage combat and fight choreography to youth aged 9 to 12 from July 30 to August 3, 2012. Classes held Monday to Friday, 9am to 3pm. Registration $175 for the week.

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