Tag Archives: Shirley Barrie

Director Call for “Queen Marie” (interviews start May 22)

The 2017/18 season is Alumnae Theatre Company’s 100th – if you can believe it – and in recognition of our history, the season will feature Canadian plays written by women and directed by women.

For the last production of the season, we proudly present Queen Marie (running April 13-28, 2018), by award-winning playwright (and company member) Shirley Barrie.

 

To direct this large-cast, humorous play with music, song and dance, we are seeking an experienced director – either union or non-union.

 

Queen Marie features the traumas and triumphs of Marie Dressler (1868?–1934), a tenacious, flamboyant actor and comedienne from rural Cobourg, Ontario who became internationally famous.  She had a long and checkered career starting at age 14 – performing in roadshows, vaudeville, Broadway, and films including a 1914 silent with Charlie Chaplin, a 1932 “talkie” with Greta Garbo (Anna Christie), and earning a Best Actress Oscar in 1930 for her dramatic role in the film Min and Bill.

 

In a quote attributed to her, she said:  “I’m too homely for a prima donna and too ugly for a soubrette.”

Unlucky in love, she inspired lifelong loyalty in her friends, and was fearless in taking on injustice.

http://projects.latimes.com/hollywood/star-walk/marie-dressler/

Queen Marie was first produced by 4th Line Theatre (Millbrook, Ont.) in 2012.

http://www.shirleybarrie.ca/writing/plays-for-adults/queen-marie

Applications to direct the play for Alumnae Theatre Company are being currently accepted:

Both non-union and union directors are welcome to apply. CAEA directors will be considered under Amateur Policy Contract. Cast is non-union.

We are also seeking a non-union Music Director and Choreographer.

 

Please submit your résumé with a 2-3 sentence statement explaining why you wish to direct Queen Marie to:  queenmarieATC@gmail.com with subject heading: QM Director Call

 

If chosen for an interview, you will be given access to the script and asked to prepare an outline of your vision for the production.

 Interviews begin May 22 and continue as necessary.

http://www.alumnaetheatre.com/directors.html

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Shirley Barrie to be honoured with Playwrights Guild of Canada Lifetime Membership Award

From the PGC website https://www.playwrightsguild.ca/news/shirley-barrie-be-honoured-pgc%E2%80%99s-2015-tom-hendry-awards

Shirley Barrie

Shirley Barrie

Playwrights Guild of Canada is proud to announce that Shirley Barrie will be awarded PGC’s Lifetime Membership Award.

She was selected as PGC’s Lifetime Membership Award recipient for her outstanding body of work as a Canadian playwright, in addition to her years of service to Playwrights Guild of Canada. Shirley was the president of PGC from 2009 – 2011, but she served on the board in various positions for 8 years. Shirley’s work is expansive, multifaceted and truly unique, including award-winning plays such as Straight Stitching, Carrying the Calf, and Revelation. Her extensive use of female historical characters (Beautiful Lady, Tell Me…, Queen Marie, etc.) is particularly noteworthy. As a producer, she co-founded the Tricycle Theatre in London, England with Ken Chubb and from 1989 to 2003 she was co-artistic director with Lib Spry of Straight Stitching Productions. Shirley’s most recent play, I am Marguerite, premiered at the Alumnae Theatre in 2015. She has recently been nominated for Best Toronto Playwright in NOW Magazine’s 2015 Best of Toronto Reader’s Choice Awards. Her creativity and diversity of artistic expression is greatly admired by her fellow playwrights.

 *****

Alumnae Theatre Company is delighted that one of its members is so honoured.  In addition to the credits listed above, Shirley’s play The Pear is Ripe was produced at Alumnae Theatre in 2001 – one of our first member-written plays to grace the Main Stage.  Measure of the World was part of Fireworks 2013, and most recently, Shirley dramaturged Chloe Whitehorn’s Divine Wrecks, which is part of this year’s FireWorks series in November.

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Decorating the lobby with “I Am Marguerite” costumes

When the run of a show ends, the theatre lingo for dismantling the set, putting away the lights, props and costumes, cleaning the dressing rooms, etc. is “the strike”. If you’re lucky, it can turn into a “strike party”.

After I Am Marguerite closed on April 25, producer Ramona Baillie had the idea to re-dress the mannequins which stand atop old firemen’s lockers (you knew that Alumnae Theatre was a working firehall until 1971, right? Check it out: http://www.alumnaetheatre.com/history.html ) in the lobby.

 

"I Am Marguerite" - Damienne costume (worn onstage by actor Heli Kivilaht), designed by Peter DeFreitas/Toni Hanson. On display in lobby at Alumnae Theatre after the show's run, April 10 - 25, 2015. Photo: Shirley Barrie (the playwright)

“I Am Marguerite” – Damienne costume (worn onstage by actor Heli Kivilaht), designed by Peter DeFreitas/Toni Hanson. On display in lobby at Alumnae Theatre after the show’s run, April 10 – 25, 2015. Photo: Shirley Barrie (the playwright)

The mannequins wear costumes from past productions – currently sporting gowns from Pride and Prejudice and Lady Windermere’s Fan, and a suit from The Love Of The Nightingale.

So I Am Marguerite costume designers Peter DeFreitas and Toni Hanson, assisted by Donna Langevin (whose son James Langevin was the production’s composer) re-dressed the mannequins in Marguerite costumes, and their antics – including clambering atop the 7-foot tall lockers – were captured by Marguerite playwright Shirley Barrie.  Enjoy!

"I Am Marguerite" costume designer Peter DeFreitas dresses a mannequin atop the old firemen's lockers in Alumnae Theatre lobby after the show run, April 25, 2015. Photo: Shirley Barrie (the playwright)

“I Am Marguerite” costume designer Peter DeFreitas dresses a mannequin atop the old firemen’s lockers in Alumnae Theatre lobby after the show run, April 25, 2015.
Photo: Shirley Barrie (the playwright)

Costume designer Peter DeFreitas dresses a mannequin in Eugène costume from "I Am Marguerite" (worn onstage by actor Christopher Oszwald). On display in lobby at Alumnae Theatre after the show's run, April 10 - 25, 2015. Photo: Shirley Barrie (the playwright)

Costume designer Peter DeFreitas dresses a mannequin in Eugène costume from “I Am Marguerite” (worn onstage by actor Christopher Oszwald). On display in lobby at Alumnae Theatre after the show’s run, April 10 – 25, 2015. Photo: Shirley Barrie (the playwright)

"I Am Marguerite" - Queen of Navarre costume (worn onstage by actor Sara Price), designed by Peter DeFreitas. On display in lobby at Alumnae Theatre after the show's run, April 10 - 25, 2015. Photo: Shirley Barrie (the playwright)

“I Am Marguerite” – Queen of Navarre costume (worn onstage by actor Sara Price), designed by Peter DeFreitas. On display in lobby at Alumnae Theatre after the show’s run, April 10 – 25, 2015. Photo: Shirley Barrie (the playwright)

"I Am Marguerite" - Marguerite costume (worn onstage by actor Daniela Pagliarello), designed by Peter DeFreitas/Toni Hanson. On display in lobby at Alumnae Theatre after the show's run, April 10 - 25, 2015. The ladder in photo is temporary! Photo: Shirley Barrie (the playwright)

“I Am Marguerite” – Marguerite costume (worn onstage by actor Daniela Pagliarello), designed by Peter DeFreitas/Toni Hanson. On display in lobby at Alumnae Theatre after the show’s run, April 10 – 25, 2015. The ladder in photo is temporary! Photo: Shirley Barrie (the playwright)

"I Am Marguerite" costume designer Toni Hanson dresses a mannequin in the costume of Jean-François de Roberval (worn onstage by actor Chris Coculuzzi),  On display in lobby at Alumnae Theatre after the show's run, April 10 - 25, 2015. Photo: Shirley Barrie (the playwright)

“I Am Marguerite” costume designer Toni Hanson dresses a mannequin in the costume of Jean-François de Roberval (worn onstage by actor Chris Coculuzzi), On display in lobby at Alumnae Theatre after the show’s run, April 10 – 25, 2015. Photo: Shirley Barrie (the playwright)

 

Donna Langevin (mother of "I Am Marguerite" composer James Langevin) shakes a sleeve of mannequin dressed in the costume of Jean-François de Roberval (worn onstage by actor Chris Coculuzzi).  Lobby of Alumnae Theatre, after the show's run, April 10-25, 2015.  Photo:  Shirley Barrie

Donna Langevin (mother of “I Am Marguerite” composer James Langevin) shakes a sleeve of mannequin dressed in the costume of Jean-François de Roberval (worn onstage by actor Chris Coculuzzi). Lobby of Alumnae Theatre, after the show’s run, April 10-25, 2015. Photo: Shirley Barrie

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“I Am Marguerite” post-matinee Talkback, April 19

After yesterday’s matinee (Sunday April 20), patrons were treated to a Talkback with the cast, director Molly Thom, and playwright Shirley Barrie. Everyone was asked by producer Ramona Baillie to introduce themselves. What follows is a rough transcript – as fast as I could scribble – of the Q&A. Warning: may contain spoilers if you haven’t seen the show!

 

Q:           What happens to Marguerite? What’s the end of the story?

A (Shirley Barrie):   Marguerite did go back to France. Some stories report that she taught young girls. Enough people wrote about her that her story has endured for more than 4 centuries.

 

Q:           If this version of the play is “stripped down”, what was left out?

A (Shirley Barrie):   In other versions there was more talk, more backstory, more about the Queen of Navarre’s court, and how Marguerite might have had knowledge of the New World. Molly called all that “diversions”!

 

Q:           Was this originally a radio play?

A (Shirley Barrie):   Yes, the first version of this story was done as a radio play. It was much more straightforward – Marguerite was in France telling her story to the little girls.

 

Q:           Is this the last version?

A (Shirley Barrie):       Every time I wrote the story, I thought it was “the last”! But yes, I think I’m done now.

 

Q:           Was Jean-François in France when Marguerite returned?

A (Shirley Barrie):     Yes, he was there. He became a Calvinist – he had those extreme religious tendencies anyway – and was murdered in Paris a few years later. Outside a Calvinist church. He was never punished for abandoning Marguerite – it was fairly acceptable behaviour for the time and place, much the way honour killings are regarded today.

A (Molly Thom – director):   You’ll all be glad to know that his settlement [in Canada] was a disaster!

 

Q (Ramona Baillie – producer):   Last Wednesday, we performed a matinee for 130 students from Karen Kain School of the Arts, who are studying the “New France” settlement. The teachers said Jean-François might have been Marguerite’s uncle, not her brother?

A (Shirley Barrie): There are different reports of their relationship. As a writer, I had to choose one, and thought the brother/sister dynamic was better.

 

Q:           Daniela, what discoveries did you make as an actor playing this character?

A (Daniela Pagliarello, actor who plays Marguerite):   It’s a tough role. At first I thought “Oh, I can’t do this” – switching from past to present; going crazy… I discovered I could. There are very few roles like this for a young performer; I want to thank Shirley for writing this amazing part. It’s been scary, but great!

 

Q:           The music and soundscape of this play are wonderful! Can you talk about that?

A (Molly Thom – director):   We had a composer [James Langevin-Frieson] who did the songs and the dance music. Then our sound designer [Angus Barlow] manipulated the music, and added sound effects like the seagulls, waves crashing, wolves howling, etc. It really made the place come alive. Oh, but unfortunately the fog machine wasn’t working today. Normally when the phantoms appear at the start of the show, they’re coming through fog!

Daniela Pagliarello as Marguerite, Christopher Oszwald as Eugène.  Photo:  Bruce Peters.

Daniela Pagliarello as Marguerite, Christopher Oszwald as Eugène.     Photo: Bruce Peters.

Q:           What does Eugène do for a living? Why would her brother object to him marrying Marguerite?

A (Christopher Oszwald, actor who plays Eugène):   He’s a nobleman and a musician. Well, he’s the younger son of minor nobility, and the costume design kind of indicates that he’s not so noble. He planned to go on this expedition to the New World and make his fortune writing songs about it.

A (Shirley Barrie):   Eugène is the “spare, not the heir”, so he has to make his own way in the world.

 

Q (to Christopher Oszwald): Is that your real hair? [Ed note: much laughter from cast & audience]

A (Christopher Oszwald):   Yes, it is.

 

Q:           What was the audition process like?

A (Molly Thom):   About 150 actors sent resumés. We discarded about 100. I wanted actors with classical experience who could handle text.

 

Q:           Shirley and Molly, you’ve worked together many times before. What’s your next collaboration?

A:            Nothing planned at the moment. Yet.

 

Sara Price as the Queen of Navarre.  Photo:  Bruce Peters

Sara Price as the Queen of Navarre. Photo: Bruce Peters

Q:           The costumes are gorgeous.

A (Ramona Baillie):   Peter DeFreitas and Toni Hanson designed them. For instance, Peter just took some black velvet and gold braid and created the Queen of Navarre’s gown.

 

Q:           This is a question for all the cast. Do you have other jobs?

A (Sara Price, actor who plays the Queen of Navarre): Well, I haven’t made any money at acting! So I’m a supply teacher.

A (Christopher Oszwald): I just recently graduated from university. I have a part-time job.

A (Chris Coculuzzi, actor who plays Jean-François ):   I’m a full-time high school teacher.

Jean-François de Roberval (Chris Coculuzzi) dodges an attack from his sister Marguerite (Daniela Pagliarello).  Photo:  Bruce Peters

Jean-François de Roberval (Chris Coculuzzi) dodges an attack from his sister Marguerite (Daniela Pagliarello).    Photo: Bruce Peters

[Ed note: when pressed by other cast members, Chris admits to also running another theatre company, Amicus Productions.  “And don’t they have a show opening soon?” prompted Heli Kivilaht. They do – it’s “The Madwoman of Chaillot”, opening April 30. See inserts in your “I Am Marguerite” programs!]

A (Heli Kivilaht, actor who plays Marguerite’s nurse Damienne): I was a professional actor many years ago. Didn’t make much money, and became a teacher, which I loved. Now retired, and have been getting back into acting for the last 3 years or so.

A (Daniela Pagliarello): I’m an actor, a dancer, an artist. I run a gallery – it’s called Nowhere Gallery – on Dundas West. It’s a crazy wonder of a world, with a performance space as well as display space. We wanted a home for young up-and-coming artists of all disciplines.   [Reluctantly adds:]  I also have a “paying” job.

 

Q:   This is a very intense play. How do you prep and how do you decompress?

A (Sara): I start my prep at home.   Some physical work, some voice work. And when I get to the theatre, when I’m getting into my costume, sometimes I pretend I’m the Queen being dressed [by servants]. Before we go on, there’s a bench backstage that Heli and I hang out on. To decompress, it’s pretty simple. I take off the costume!

A (Christopher O.): I’m an anti-Method actor. To prep, I find my voice, find the resonance in my head and stomach. To decompress, I get out of costume.

A (Chris C): Nothing. Life is acting; everyone is always acting. When I walk into a classroom, I’m playing a role.

Heli Kivilaht as Damienne.  Photo:  Bruce Peters

Heli Kivilaht as Damienne (Marguerite’s nurse).     Photo: Bruce Peters

A (Heli): Well, I make sure I know the damn lines! My husband helped me put them on tape, so I review before each show. Plus we [the cast] have a fight call warmup and a choral warmup. And I improv in my head, like “Damn that Marguerite, why won’t she get dressed?”, and things like that. He [Chris C as Jean-François] gets the worst of it, though. You wouldn’t like to hear what I say about him!

A (Daniela):   I warm up my voice and spine. And I listen to aggressive 90’s hip hop, because I have to be crazy at the start of the play. To decompress, I listen to aggressive 90’s hip hop!

 **********************

I Am Marguerite’s final week runs Wed – Sat at 8pm, closing on April 25. Tickets for Wednesday are 2-for-1; all other nights $20. Purchase online at http://www.alumnaetheatre.com/i-am-marguerite.html , or reserve by calling 416-364-4170 Box 1 / e-mailing reservations@alumnaetheatre.com , and pay cash at the door. Box Office does not accept credit or debit cards for in-person sales.

"I Am Marguerite" cast in costumes.  Caricature by Peter DeFreitas.

“I Am Marguerite” cast in costumes. Caricature by designer Peter DeFreitas.

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“I Am Marguerite”: A view from the booth

At last Sunday’s I Am Marguerite matinee, Fight Director Naomi Priddle Hunter watched the show from the sound/lighting booth, and took some pictures (“strictly amateur”, she describes them!) by pressing her camera up against the booth window.

Marguerite (Daniela Pagliarello) and the Queen of Navarre (Sara Price).  Photo shot from booth on Apr 12, 2015 by Naomi Priddle Hunter.

Marguerite (Daniela Pagliarello) and the Queen of Navarre (Sara Price). Photo shot from booth on Apr 12, 2015 by Naomi Priddle Hunter.

Eugène (Christopher Oszwald) courts Marguerite (Daniela Pagliarello) in "I Am Marguerite".  Photo taken from booth, Apr 12, 2015 by Naomi Priddle Hunter.

Eugène (Christopher Oszwald) courts Marguerite (Daniela Pagliarello) in “I Am Marguerite”. Photo taken from booth, Apr 12, 2015 by Naomi Priddle Hunter.

She captured a unique perspective, and you can really get the full effect of Marysia Bucholc’s set design in these shots. Plus, Naomi caught stage manager Kelsey Rutledge in action!

"I Am Marguerite" stage manager Kelsey Rutledge calling the show, Sun Apr 12, 2015.  Photo:  Naomi Priddle Hunter

“I Am Marguerite” stage manager Kelsey Rutledge calling the show, Sun Apr 12, 2015. Photo: Naomi Priddle Hunter

That was also the show on which the headphones (the communication link between Kelsey, her assistant stage manager backstage, Kimberly de Jong, and sound operator Gabrielle D’Angelo) stopped working, but luckily Naomi was able to do a quick fix and  get them running again.

 

I Am Marguerite continues its run – a world premiere! – to April 25. Performances are Wed – Sat at 8pm; Sunday April 19 at 2pm. Tickets are 2-for-1 on Wed; $20 each on Thu/Fri/Sat; PWYC on Sun. Reserve by e-mailing reservations@alumnaetheatre.com and pay cash on arrival, or purchase online in advance at http://www.alumnaetheatre.com/tickets.html

Remember – this Sunday’s matinee is followed by a Talkback with cast, director Molly Thom, the designers, and playwright Shirley Barrie.

 

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Playwright Shirley Barrie on telling the story of “I Am Marguerite”

It’s not every day that audiences have the opportunity to hear the playwright of the play they are about to see, talk about the journey of getting it to the stage.  But on Sunday April 12, prior to the 2pm matinee performance of I Am Marguerite (which just opened on Friday), about 30 lucky people in Toronto got that opportunity.  And for FREE! Picture

Introduced with the reading of her bio by Ellen Green, Shirley Barrie is an award-winning playwright, has co-founded two theatre companies (one in London, England; one in Toronto), is a Past President of the Playwrights Guild of Canada, and many of the plays she’s written are about fascinating women in history – for example:  Beautiful Lady, Tell Me… (the notorious 1909 murder of Ethel Kinrade in Hamilton, Ont.), and Queen Marie (the Ontario-born comic actress Marie Dressler, a star of vaudeville and silent films).

As Shirley herself admits, she is “attracted to stories of women who refuse to play by the rules.”   The genesis of I Am Marguerite goes back to about 1989.  What we see onstage today is the fourth time Shirley had written Marguerite’s story, in one form or another: a testament to the compelling power of the story – it kept drawing her back.

The first version was a radio play, which was broadcast in 1990.  It was very different – in that version, an older Marguerite, now returned to France, tells her story to a group of schoolchildren.

The second version came about because Shirley felt that she had “not done justice” to Marguerite, so started on a stage play.   Trying to expand her options for production, she actually wrote the play so that it could be performed by two or by five actors.  In retrospect, “not a particularly good idea”!  However, the play was produced with 2 actors in Prague (1993), and with 5 actors in Cornerbook, Nfld (1997).

In 2003, Shirley participated in an intensive workshop with Tapestry New Opera Works (https://tapestryopera.com ), and had to come up with a libretto for one of the assignments.  She wrote a brief lyric scene about Marguerite de Roberval. Then director Molly Thom, who has worked with Shirley for about 15 years and directed several of her plays, commissioned Shirley to write an opera libretto based on a pared-down version of the story in the play.

Around 2012, after the opera project had stalled, Molly challenged Shirley to adapt the libretto into a stage play. Shirley was initially reluctant to re-visit the story she’d worked on for so long, but decided she would do it differently this time.  “I wanted to play with the actors’ voices, with repetition,” she explains, “and with the rhythm of language and the separation of thoughts.”  She also wanted actions speak as loudly as words. Having seen the script, I can attest that the resulting work looks quite different on the page; the format does not look like a standard play.

 

Daniela Pagliarello as Marguerite de Roberval in "I Am Marguerite" by Shirley Barrie, directed by Molly Thom.  A world premiere for Alumnae Theatre Company, April 10-25, 2015.  Photo: Bruce Peters

Daniela Pagliarello as Marguerite de Roberval in “I Am Marguerite” by Shirley Barrie, directed by Molly Thom. A world premiere for Alumnae Theatre Company, April 10-25, 2015. Photo: Bruce Peters

One of the things Shirley is often asked is DID THIS REALLY HAPPEN?  “The bare outlines are true,” she told us.  In fact, there are three published accounts of the event from the 16th century – one by the Queen of Navarre!  The known facts are that in 1542, Jean-François de Roberval marooned a noblewoman (accounts vary on whether she was his sister or niece, but most agree that she was related) and her lover on what is probably one of the modern-day Harrington Islands, in the Gulf of St. Lawrence, that came to be called at the time Îles de la demoiselle.   And that she was eventually rescued by a French vessel. Everything else in the play is supposition, based on clues Shirley was able to find in her research.

And don’t forget:  much of the initial research was pre-internet!  Yes, back in the distant days 25 years ago, of haunting libraries and waiting for old reference books to be found in the stacks.  Shirley first discovered Marguerite’s story in a 1970’s children’s book called Wilderness Women: Canada’s Forgotten History by Jean Johnston.  (Interesting side note:  the similarity of Peter DeFreitas’ costume design to an illustration of Marguerite in that book is quite startling)  “The story really spoke to me,” Shirley says.  One of her treasured moments was going to the National Archives in Ottawa and reading the Queen of Navarre’s Heptaméron, a wee little book bound in disintegrating leather, published in 1558!  This book of short stories contained a rather disguised and religion-slanted version of Marguerite’s tale.  “If that was the first or only account I’d come across,” Shirley confesses, “it would not have held my attention.”

 Later research – aided by the internet – led her to https://teachingmargueritederoberval.wordpress.com/ “a great site; a treasure trove of information”.

When inspired by a historical event with different versions of the story, a writer chooses one with which to make connections and “weave strands”.  It’s actually much harder to write a play when the subject is well-known – Shirley shared that her current project is a play for 4th Line Theatre about L.M. Montgomery, beloved author of the Anne of Green Gables books!

In a brief Q&A section, Ellen Green asked about Shirley’s role as the author in rehearsal for I Am Marguerite.  Director Molly Thom quickly piped up, “In my opinion, the author belongs at rehearsal.”  Shirley noted that the contracts from Playwrights Guild of Canada stipulate that the writer should be there, especially for a first production.  [This production at Alumnae Theatre Company is a world premiere.]   “I think it’s important to be there – theatre is a very collaborative process,” she adds.  “And I have a very good working relationship with Molly”.  Molly asserts that having the playwright present at rehearsals is “a gift to actors!”.

 

The talk whizzed by in about 45 minutes, until producer Ramona Baillie called time and ushered us out of the auditorium so that stage manager Kelsey Rutledge and ASM Kimberly de Jong could set up for the 2 pm matinee.    The people who had listened to the talk were joined by a whole bunch more for the matinee.

It was my first time seeing the show in full performance mode (read account of a dress rehearsal in April 1 post), and this time I seriously teared up on hearing the beautiful music (“Marguerite’s Theme”) that composer James Langevin-Frieson had created for the ending.   Read a review of the show at https://lifewithmorecowbell.wordpress.com/2015/04/11/powerful-moving-beautifully-raw-storytelling-in-i-am-marguerite/)

 

I Am Marguerite runs to April 25.  Purchase tickets in advance at http://www.alumnaetheatre.com/i-am-marguerite.html , or reserve by phone (416-364-4170 box 1) /e-mail (reservations@alumnaetheatre.com) and pay cash on arrival. Box Office does not accept in-person purchases by credit or debit card.  Wednesday tickets are 2-for-1; Sundays PWYC; Thu – Sat $20.

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Powerful, moving & beautifully raw storytelling in I Am Marguerite

life with more cowbell

Marguerite 1 Daniela Pagliarello & Christopher Oszwald in I Am Marguerite – photo by Bruce Peters

In 1542, banished from a French ship by a heartless, domineering brother, Marguerite de Roberval is set afloat on a skiff towards a remote island off the north coast of Newfoundland. With her are her faithful nurse and her lover Eugene. Left with scant provisions and in fear of never seeing home or loved ones again, they land on the Isle of Demons with the prospect of perishing in the face of cold, harsh winters and predatory wildlife.

This is the story, a little-known piece of Canadian history, brought to life on stage in an hour-long, emotionally and psychologically packed play by Shirley Barrie. This is I Am Marguerite, directed by Molly Thom – and it opened to a packed house at Alumnae Theatre last night.

The storytelling is taut and compelling, shifting in and…

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