Tag Archives: Jane Carnwath

Audition notice for “The Gut Girls” (2016/17 Retrospective Choice)

Back in our 1997/98 season, Alumnae Theatre Company staged British writer Sarah Daniels’ 1988 dramedy about the young women who worked in the bloody ‘gutting sheds’ of Victorian London, The Gut Girls.  It was directed by Jane Carnwath, and performed in the intimate 3rd floor Studio space, complete with realistic pig carcasses, spewing intestines.

gut-girls-image Nineteen years later, as part of the Countdown to our 100th season – the company hits the century mark in February 2018! – we present The Gut Girls as our Retrospective Production of the 2016/17 season.  This time, it will be played on the Main Stage, directed by Maya Rabinovitch, and I don’t know about the pig carcasses!

Here’s the audition notice:

The Gut Girls

By Sarah Daniels

Directed by Maya Rabinovitch

Performance dates: January 20 – February 4, 2017

Surprisingly funny and hard-hitting, this beautifully written piece follows the fortunes of the brash and proud working-class “gut girls”.

When the gutting sheds are shut and their way of life disappears, the girls must try and find a place in the new world order of late Victorian London.

Alumnae Theatre Company seeks:

6 women (ages 15-60)

2 men (ages 20 – 60)

 To play multiple roles in this sharp comedy about rotting meat and workers’ rights, where Margaret Thatcher meets Victorian England.

Please note: all actors must be able to perform with a formal and/or cockney British accent.  The ability to sing is an asset.


All interested applicants should email gutgirls.alumnaetheatre@gmail.com or leave a message on the Alumnae audition line at 416-364-4170, xtn 3.


Wednesday October 5th –  6:30 – 10pm

Saturday October 8th –  10am – 5pm

Callbacks: Sunday October 9th – 10am – 5pm



Alumnae Theatre: 70 Berkeley St. (SW corner of Berkeley & Adelaide), Toronto


Please prepare a 2 minute monologue. You may also be asked to read from the script.

Please read the play before auditioning. Reading copies are available at the 5th floor Performing Arts desk of the Toronto Reference Library.

All auditioners must bring a photo and résumé to the audition.


Alumnae Theatre is a non-professional theatre company which encourages diversity in its membership and casting.  Please note that this is a non-union and non-paying engagement.

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New Ideas and other news (by Carol Libman)

Here’s what one of our writers is up to:  she’s got a short play in the New Ideas Festival (which opens March 12), but a couple weeks before that, another of her plays will be staged at Sterling Studio Theatre.  Read on…   

Alumnae member Carol Libman is dashing between rehearsals these days:  A Life Beyond Doubt (in an earlier existence known as Connections) opens at Sterling Studio Theatre on March 6, and plays through March 15.  Airport Tale will be part of Week Three of this year’s New Ideas Festival at Alumnae Theatre, March 26 – 30.

“Luckily”, she remarks “neither lindi g. papoff (that’s right, no caps), dramaturg-director of Tomorrow’s Eve Theatre (A Life Beyond Doubt) nor Carys Lewis (director of Airport Tale) need any help from me.”

A Life Beyond Doubt began as a one-scene experiment at the Alum’s New Play Development Group; another scene was added, based on Flora Danziger’s “adventure”, when she left a parcel at the wrong house!  And the third scene came about when Carol realized the two were linked. …giving rise to the [original] title – since changed – as the play itself, grew and changed.

Next stop was Theatre Aurora’s Playwrights of Spring, then at the annual Alumnae Big Ideas project.  At that point the characters refused to leave the stage – so the author – held hostage – had to let them carry on to find their own way (with a little help from the playwright).  Later, under the leadership of Jane Carnwath, it was given a reading at the Alumnae, followed by intensive work with dramaturg lindi g. papoff, then more public exposure at both Writer’s Springboard in Aurora, and the Little Theatre of Fall River, in Fall River, Mass.  Now, with its new title and working under Canadian Actors Equity Artists’ Collective Policy, the latest version is about to be unveiled.

Sterling Studio Theatre is located at 163 Sterling Road, Unit 5.  The road runs north from Dundas West, just past the place where Dundas and College meet.  By TTC, take the 505 streetcar from Dundas West station.  Get off at Sterling Road and walk north, past the Nestle Chocolate Factory.  The theatre is on your right a little north, down a little alleyway, past the courtyard, to the back of the building. There is lots of street parking.  The venue is wheelchair accessible.

Tickets: available on line or by phone: tomorrowseve.brownpapertickets.com or 1-800-838-3006, ext. 1-$20 evenings, $15 matinees.  Or, at the door, evenings, $25 regular, $20 arts workers, students, seniors; matinees: Pay-What-You-Can.  Also available at T.O. TIX.

After a short breather, Libman will be dashing off for the last run-throughs of Airport Tale, a comedy directed by Carys Lewis, with Jane Carnwath and Andy Perun; Stage Manager is Thalia Leonard.  Airport Tale is actually the first scene of a longer play following the adventures of 90-year old Evalina, as she runs afoul of security at Pearson Airport. It will be seen the third week of NIF, March 26 – 30, along with  Would You Do It Again?  by Rebecca Grace; Simprov by Laurence Klavan; Pit Sublime by Alexandra Watt Simpson and Rotating Thunderstorm by Taylor Marie Graham.  Tickets: 416-364-4170, Box 1, or www.alumnaetheatre.com

Thanks for sending this info, Carol!

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A world on a stage – scenic work on The Lady’s Not For Burning @ Alumnae Theatre

Scenic artist Cathy McKim’s slideshow: a fascinating look at The Lady’s Not For Burning set painting in progress.  It takes a village to make a production, for sure!  The shot of the cast & director sitting onstage was taken at the post-matinee Talkback on February 2.

life with more cowbell

Hey all –

As promised, here’s the slideshow extravaganza of the work for my recent scenic artist gig on Alumnae Theatre’s production of The Lady’s Not For Burning (designed by Ed Rosing).

Shouts to:

Building crew: Master carpenter Mike Peck, with additional construction by Cody Boyd, Paul Cotton, Gord Peck, Ed Rosing and Mike Vitorovitch.

Painting crew: Scenic artist (me), with Cody Boyd, Razie Brownstone, Joan Burrows, Margot Devlin, Ed Rosing and Dorothy Wilson.

The Lady’s Not For Burning is in its final week on the Alumnae mainstage, running tonight (Wed, Feb 5) through Saturday, February 8 at 8:00 p.m.

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February 5, 2014 · 4:28 pm

“The Lady’s Not For Burning” Talkback, Feb 2

Lady's Not For Burning cast

Cast of “The Lady’s Not For Burning”. BACK ROW:
Chris Coculuzzi (Thomas), Ian Orr (Matthew Skipps), Christopher Kelk (Mayor Tyson), Rob Candy (Tappercoom), Paul Cotton (Humphrey), Chris Whidden (Richard).
FRONT ROW: Andrea Brown (Jennet), Elsbeth McCall (Alizon), Carol McLennan (Margaret), Peter Higginson (The Chaplain).
NOT PICTURED: Ryan Armstrong (Nicholas).  Photo:  Dahlia Katz

As is traditional on the second Sunday of the run, yesterday’s matinee of The Lady’s Not For Burning was followed by a Talkback.  About a third of the audience stuck around for an informative Q&A with director Jane Carnwath, sound designer Angus Barlow, set & lighting designer Ed Rosing, and of course the cast.  Costume designer Margaret Spence was unfortunately not able to make it.  The Q&A was hosted by one of the producers, Barbara Larose.  Scenic artist Cathy McKim took pictures of the set which will soon go up on her blog as a slideshow, and of course I will re-blog for Alumnae.  Following is a sort-of transcript of the questions and answers during the approx 30-minute Talkback.

 Q:           It’s mentioned in the press release that Jane has loved The Lady for a long time.  Can you tell us why?

A:            Director JANE CARNWATH – It was instinctive – before I knew better!  I heard the recording of the original production – 1949?  1950?  [according to my research it was actually 1948 – bloggergal] which starred John Gielguid as Thomas and Pamela Brown as Jennet, and fell in love with the language.  At first I wanted to play Jennet, and then as time went on and that became unlikely, I wanted to play Margaret [the mayor’s sister, mother of Humphrey and Nicholas].  And then when that didn’t happen, I decided I wanted to direct it. Why do I love it?  I love the themes of hope and the possibility of redemption, and I love the characters.

Q:           The language shifted from almost Shakespearean to modern.  Was that in the script?

A:            Director JANE CARNWATH – Yes.  Christopher Fry wrote the play just after World War II, and the language is full of intentional anachronisms.  Fry states that the period is 1400, “either more or less or exactly” – he’s not very concerned about it.  We decided to just do a tip of the hat to the period, and not worry about exact period accuracy.

Q:           There are a lot of doors and exits – was that specified in the script, or a production decision?

A:            Set Designer ED ROSING –  It was necessary!  People are constantly going and coming through doors and windows.  The concept for the set was a house built around a stone room, like a church.  That’s why you’ll see the walls are stone on the inside.  In those days, fabric was used as insulation – we went a step further and put fabric on the walls.  The set in the original production was very Gothic – church-like with lots of arches.  I never forgot that original, but wanted this set to be much more humble and down-to-earth.        [bloggergal’s note:  in the original 1948 production in London’s West End, a then-unknown Richard Burton played Richard, the mayor’s clerk!]         

 Q:           To the actors, what was it like, working with this text?

A:            CHRIS COCULUZZI (Thomas) – I’ve done a lot of Shakespeare over the last 20 years.  This was more challenging!   Maybe because Fry’s language is not so much a part of our culture and consciousness as Shakespeare’s is.

A:            CAROL McLENNAN (Margaret) – They key for me was I found it was essential to e-nun-ci-ate!  You can’t just garble it all together – it has to be understandable to the audience when they hear it for the first time.  Even now we’re still finding things. When I first read for Jane, she said “You were very natural – this play isn’t.”

A:            PAUL COTTON (Humphrey) – Jane insisted we get the language down first, then work on making it natural after.  Which is a reversal of the usual process.

A:            ANDREA BROWN (Jennet) – It’s a journey and a quest with every performance!  The challenge was how to honour the beautiful and poetic language while making it engaging to the audience.

Q:           The cast did a great job in getting the comedy across.

A:            IAN ORR (Matthew Skipps) – This is a comedy??!!

Q:           I noticed in her bio that Andrea has now played an accused witch in two shows.

A:            ANDREA BROWN – Yes, I played Elizabeth Proctor in The Crucible just a few months ago.  Spoiler alert: it does not end well for her!  Jennet has a much happier ending.

Q:           (Jane calls the audience’s attention to the sound design)

A:            Sound Designer ANGUS BARLOW – There are about 25 sound cues.  Some are so subtle, it’s like Margot [stage manager Margot Devlin] calls the cue and nothing happens.  We can’t hear it in the booth, but it’s audible to the audience.  It was a challenge to build and run the sound.  We recorded some of the cast to make the noises of the angry mob and the party, and a professional cellist was brought in to record the awful sounds of the viol tuning [actor Peter Higginson, who plays the musically untalented Chaplain, interjects: “it wasn’t me!”].

Q:           It’s a big cast [11 actors] – was everybody at all the rehearsals?

A:            Director JANE CARNWATH – No, we had a few reads all together and then I broke the script into scenes and tried to bring actors in only when they would be used.   When we finally get to run all the scenes together it takes a huge leap forward.  This was one of the best teams I’ve ever worked with – a lot happened onstage; the actors made it come together.  I had a great time with the production because I was also working with people I’ve worked with before – Ed, Angus, Margaret, Margot… it’s been wonderful.

The Lady’s Not For Burning runs to Saturday Feb 8.  Four more performances:  Wed – Sat at 8pm.  Tickets are 2-for-1 on Wed, and $20 Thu – Sat (unless you purchase day-of tickets at half price at the T.O. Tix booth!).  reservations@alumnaetheatre.com


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Wit, wonder & wisdom in The Lady’s Not For Burning @ Alumnae Theatre

life with more cowbell

Lady's Not For Burning - image only“Life, forbye, is the way

We fatten for the Michaelmas of our own particular

Gallows. What a wonderful thing is metaphor!”

– Thomas Mendip in The Lady’s Not For Burning (from director’s program notes)

Alumnae Theatre Company’s production of The Lady’s Not For Burning, directed by Jane Carnwath, brings the wit, wonder and wisdom of Christopher Fry’s play to life through sight, sound and poetic wordplay – an excellent cast and a beautiful show.

The marvelous ensemble includes some remarkable stand-outs. Chris Coculuzzi gives us a Thomas Mendip that combines the melancholy philosophy of a Jacques with the good-humoured wit of a Fool, and Andrea Brown is luminous as Jennet Jourdemayne, quirky, sharp-witted and compassionate. Together, their performances show us opposite perspectives of the all too fleeting realization of the nature of the human condition: we live, suffer out our short time in these bodies – yes – and…

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Fly on the wall at “The Lady’s Not For Burning” rehearsal

This coming weekend, the cast & crew of The Lady’s Not For Burning swing into Tech.   Usually, designers, operators and crew work out the technical cues under the leadership of the stage manager on Saturday, and Sunday is the Cue-to-Cue rehearsal with actors.  “To lessen the pain”, as SM Margot Devlin says, the producers (Barbara Larose, Ellen Green) will provide lunch for everyone.

I sat in for a piece of last Saturday’s rehearsal (Jan 4), just to see how it’s going.  In a big group scene from near the beginning of the play, Thomas the ex-soldier (Chris Coculuzzi) is trying to convince the villagers that he’s murdered people and should be hanged – “What about my murders?”, he keeps asking.  Only to be continually dismissed by the town’s Mayor Tyson (Christopher Kelk):  “It will all be gone into at the proper time.”  The mayor is somewhat harried because at the same time,  a local girl, Jennet (Andrea Irwin Brown) is accused of witchcraft and turning a man into a dog.  Stage Manager Margot read in for absent actor Chris Whidden, who plays Richard, the mayor’s clerk.  [For those keeping count, there are 3 actors named Chris/Christopher in this production, plus the playwright Christopher Fry!]

I also saw a run of a scene near the end of the play, featuring the entire cast: everyone from the earlier scene – including  Carol McLennan as the Mayor’s sister Margaret;  Ryan Armstrong and Paul Cotton as her  sons; Elsbeth McCall as Alizon, the girl they both want;  and Peter Higginson as the guitar-toting* Chaplain – plus the magistrate Tappercoom (Rob Candy),  and Ian Orr having a grand ol’ time as the drunken rag & bone man Matthew Skipps.  “Aren’t you dead?” asks Thomas.  “You’ve been dead for hours.”

After the scene runs, director Jane Carnwath gave notes to the actors.  Was intrigued to notice the start of a medieval village backdrop, which scenic artist Cathy McKim (who will be creating stone, wood and stucco finishes, and of course using the “magical” colour of burnt umber) reports will be the last thing painted.

Here’s her initial sketch presented to set designer Ed Rosing – it’s from November, so things may have changed: Lady's Not For Burning bkdrop sketch     *I was curious about the guitar that the Chaplain (Peter Higginson) carried.  So I asked him about it.  Here’s his delightfully tongue-in-cheek e-mail response.

BLOGGERGAL:  Hey, do you actually play the guitar you were carrying in Lady?

PETER:   Regrettably, no – I don’t play guitar – though that prop I might be able to manage as a percussion tool as it has no strings!! The Chaplain can only play religious dirges with any accomplishment and, I am assured, will never have to pluck or bow the strings on stage – the paucity of his (my) talent will be represented by discordant sounds through the magic of those that deal with the complexities of producing the audio fabric for this mysterious but magical play – but also, please note, the instrument is more likely to resemble a viola than a guitar.

Audiences will have the opportunity to see the whole thing come together on Alumnae Theatre’s Mainstage as of January 24, where it runs to February 8.  Tickets can be purchased online via our website www.alumnaetheatre.com, or you can reserve seats by phone (416-364-4170 xtn 1) or email  reservations@alumnaetheatre.com and pay cash on arrival.  Showtimes:  8pm Wed – Sat; 2pm Sun.  Tickets are $20 Thu – Sat; 2-for-1 on Wednesdays; and PWYC for Sunday matinees.  No service charge on cash sales at Box Office.  Feeling spontaneous?  Spin by the T.O. Tix booth in Yonge/Dundas Square on a Thursday, Friday or Saturday, and pick up half-price same-day tickets (+ service charge).

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“The Lady’s Not For Burning” first read-through, Nov 9

Saturday November 9 was a very busy day at Alumnae Theatre – every space in the building was in use!  Up in the 3rd floor Studio, the FireWorks plays were teching (opening Wed Nov 13).  The lobby was the site of the New Ideas Festival ‘Creative Exchange’ – think speed dating for the writers whose plays have been selected to be produced in March, and the hopeful director applicants!  Also on the main floor, it was load-in day for Alexander Showcase Theatre, who are renting Alumnae’s main stage for their production of Arthur Miller’s The Crucible, which runs Nov 14 – 24 (see http://www.alexandershowcasetheatre.com/new-shows/the-crucible-2/ for info & tickets). And in the second floor rehearsal space, I was invited to the first read-through of Alumnae Theatre Company’s January show, Christopher Fry’s medieval comedy The Lady’s Not For Burning.

Director Jane Carnwath told us (the cast, designers, production folks) that she has wanted to direct this play for years.  It is written in 3 acts (which run about 30-40 mins each), and will be performed with TWO intermissions.

English playwright Christopher Fry (1907 – 2005) wrote it in 1948, and the script hints at the post-WWII events of its day.  Although often described as a “verse comedy”, The Lady’s Not For Burning is only “very loosely” iambic pentameter.  Its meter and rhythm combine soaring imagery with colloquialism/vernacular:   “Savour the language,” Jane advised the cast, “don’t belabor it!”  This production will be our modern vision of the period (1400’s) – there will not be strict accuracy in costumes, language, etc.  Jane also mentioned that she thinks Jennet really is a witch, but doesn’t know it!

Set designer Ed Rosing passed around his drawing, which shows his concept of the town built around a ruined stone arch seen at upstage centre.  Buildings will be shown on a backdrop visible through the arch, in the style of old paintings before perspective was in fashion.  The design incorporates period heraldry devices and torn flags.

Lighting designer Jennifer Fraser warned that she tends to design very tightly, meaning that actors have to hit their marks, but promised “You will look beautiful!”.

So what is the play about?  The big themes are redemption and loss of grace – yet it’s not religious.  And guess what?  It’s about hanging and witch-burning, but it manages to be funny and outrageous!  So much hilarity in the room during the read-through.  The plot concerns Thomas, a disillusioned former soldier (Chris Coculuzzi) who wants to be hanged; Jennet (played by Andrea Brown**) who’s accused of witchcraft because someone thinks she turned a man into a dog; and all the village personalities who contribute to the mayhem, including the blustering but ineffectual Mayor (actor Thomas Gough was absent; the role was read by co-producer Ellen Green); his by-the-book clerk Richard* (Chris Whidden); the Mayor’s officious sister Margaret (Carol McLennan); Margaret’s battling sons Nicholas (Ryan Armstrong) and Humphrey (Reece Presley); the girl they fight over (Elsbeth McCall); the befuddled village Chaplain (Peter Higginson); Justice Tappercoom (Rob Candy); and Ian Orr as Matthew Skips, a rag & bone man whose death may have been greatly exaggerated.


–          “Your ding dong rocks me” – Carol’s sly reading of protective mama MARGARET DEVIZE made me guffaw.  (Oh, she’s talking about the church bells, which have just rung)

–          “You can go down to the dinner of damnation on my arm.” – THOMAS, to Jennet.

         “I’ll dine elsewhere.” – JENNET’s response.

–          “Blow your nose, Tyson, and avoid lechery.” – JUSTICE TAPPERCOOM’s advice to the MAYOR.

–          “Legal matters and such are Greek to me.  Except of course that I understand Greek.” – CHAPLAIN

–          “Mother, I make it known publicly: I ‘m tired of my little brother.  Can you give him to some charity?” – HUMPHREY

–          “…I bark my brain on shadows sharp as rock…” – JENNET (her father was an alchemist who “broke on the wheel of a dream”)

–          “How can they confuse my voice with a peacock’s?  Don’t they know I sing bass in Satan’s madrigal choir?” – THOMAS

–          “I am such a girl of habitI’ve got into the way of being alive.” – JENNET

See?  Funny AND poetic.  And those are just the lines I managed to scribble down – there were some glorious speeches full of imagery (Jennet has a lovely one about jonquils and pearls of dew) that I couldn’t write down fast enough.  Catch The Lady’s Not For Burning when it opens on the main stage, January 24, and runs to February 8, 2014.

*busy actor Chris Whidden is also playing another character named Richard (in the FireWorks play Theory, Nov 13 – Dec 1).  When he pointed this out, Chris Coculuzzi joked, “So you’re playing a couple of Dicks?”  Ba-dum-dum.

** Andrea Brown is playing witches in two consecutive productions,  starting Nov 14 as [accused witch] Elizabeth Proctor in Alexander Showcase Theatre’s production of The Crucible.

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