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“And the Winner Is…” The 2019 Dora Mavor Moore Award Recipient List


GENERAL THEATRE DIVISION  


2019 DORA MAVOR MOORE AWARD
Outstanding Production

General Theatre

School Girls; Or, The African Mean Girls Play

Obsidian Theatre in association with Nightwood Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

General Theatre

Charlotte Corbeil-Coleman

Guarded Girls

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

General Theatre

Nina Lee Aquino

School Girls; Or, The African Mean Girls Play

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

General Theatre

Virgilia Griffith

Harlem Duet

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

General Theatre

Amaka Umeh

The Wolves

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

General Theatre

Scenic Design: Ken MacKenzie

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

General Theatre

Gillian Gallow

Orlando

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

General Theatre

Michelle Ramsay

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

General Theatre

Thomas Ryder Payne

The Royale

 


INDEPENDENT THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Independent Theatre

The Runner

Human Cargo with the support of Theatre Passe Muraille

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Independent Theatre

Christopher Morris

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Independent Theatre

Daniel Brooks

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Independent Theatre

Augusto Bitter

CHICHO

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Independent Theatre

Ensemble of The Wonder Pageant

Coal Mine Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Independent Theatre

Scenic Design: Anahita Dehbonehie

Hand to God

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Independent Theatre

Melanie McNeill

Space Opera Zero!

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Independent Theatre

Patrick Lavender

The Nether

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Independent Theatre

Ben McCarthy

The Scavenger’s Daughter


MUSICAL THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Musical Theatre

Next to Normal

The Musical Stage Company presented by David Mirvish

2019 DORA MAVOR MOORE AWARD
Outstanding New Musical

Musical Theatre

Writer: Sarah Wilson, Mike Ross; Composer: Mike Ross

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Musical Theatre

Chris Barillaro

Kiss of the Spider Woman

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Musical Theatre

Kerry Gage   

Mary Poppins

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

Musical Theatre

Ma-Anne Dionisio  

Next to Normal

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

Musical Theatre

Peter Fernandes     

Rose

 

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Musical Theatre

Scenic Design: Lorenzo Savoini

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Musical Theatre

Anna Treusch

Under the Stairs

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Musical Theatre

Japhy Weiderman

Dear Evan Hansen


OPERA DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Opera

Eugene Onegin

Canadian Opera Company

2019 DORA MAVOR MOORE AWARD
Outstanding New Opera

Opera

Writer: Daniel MacIvor; Composer: Rufus Wainwright

Hadrian

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Opera

Robert Carsen

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Opera

Topher Mokrzewski

Kopernikus

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Opera

Gerald Finley

Otello

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Opera

Ensemble of Kopernikus

Against the Grain Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Opera

Scenic Design: Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Opera

Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Opera

Christine Binder, based on the original design by Jean Kalman

Eugene Onegin

 


THEATRE FOR YOUNG AUDIENCES DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Theatre for Young Audiences

New Owner

Harbourfront’s Junior Festival presents The Last Great Hunt

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Theatre for Young Audiences

Chanda Gibson

Les Zinspirés: L’âge de raison

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Theatre for Young Audiences

Ensemble of Les Zinspirés: L’âge de raison

Théâtre français de Toronto

2019 DORA MAVOR MOORE AWARD
Outstanding Achievement in Design

Theatre for Young Audiences

Scenic Design: Anahita Dehbonehie

The Little Prince: Reimagined


DANCE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Dance

Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Dance

Jera Wolfe

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Dance

Andrea Nann

A Crazy Kind of Hope (All of Our Dreaming)

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Dance

Ensemble of Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Dance

Eliot Britton

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Dance

Ėtienne Boucher

Frame by Frame


TOURING DIVISION


2019 DORA MAVOR MOORE AWARD

Outstanding Touring Production

Grand Finale

A Hofesh Shechter Company production presented by Canadian Stage

 

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Nominations Announced for the 40th Anniversary Dora Mavor Moore Awards

Congratulations to all of the nominees for the Dora Awards 2019! And thank you to everyone for an incredible season of the arts. We can’t wait to see what 19/20 brings.

– ITGR


Nominations Announced for
40th Anniversary Dora Mavor Moore Awards
!

Soulpepper Theatre tops General Theatre Division with 14 nominations.

The Musical Stage Company & Young People’s Theatre tie in Musical Theatre Division with 14 nods each.

Coal Mine Theatre front runner in Independent Theatre Division with 10 noms.

Canadian Opera Company leads in Opera Division with 33 nods.

DanceWorks flies highest with 13 taps in Dance Division. 

Solar Stage heads Theatre for Young Audiences Division with 10 noms.

Toronto (May 28, 2019) – At a press conference held May 28 in the Davies Takacs Lobby of the Elgin and Winter Garden Theatre Centre, the Toronto Alliance for the Performing Arts (TAPA) announced 282 nominations for the 40th Anniversary Dora Mavor Moore Awards, which recognize excellence in professional theatre, dance and opera in Toronto. On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented.

As TAPA announced in April of 2018, all performance categories for the Dora Mavor Moore Awards for the 2018-19 season are gender neutral. All former binary male and female titles have been replaced with gender inclusive designations as applicable to “Outstanding Performance” categories. Notably, the Doras are the first professional theatre, dance and opera awards show in Canada to adopt a fully gender-inclusive policy. Other changes to the Dora Awards include new stand-alone Divisions for Musical Theatre, Opera and Touring.

For the 2018-2019 season, running May 2018 to May 2019, 108 producing companies registered 219 eligible productions. Below are some nomination highlights.

GENERAL THEATRE DIVISION:

In the General Theatre Division, Soulpepper Theatre Company heads the nominations list with 14 taps over 5 productions. Soulpepper also earns 11 nominations in the Musical Theatre Division, bringing its grand total to 25.

Soulpepper’s The Royale garners 7 nods including Outstanding Production, Outstanding Direction for Guillermo Verdecchia, Outstanding Performance in a Featured Role for both Christef Desir and Sabryn Rock, Outstanding Scenic/Projection Design for Ken MacKenzie, Outstanding Lighting Design for Michelle Ramsay and Outstanding Sound Design/Composition for Thomas Ryder Payne. Soulpepper’s Orlando sees 4 nods: Outstanding Performance in a Leading Role for Sarah Afful, Outstanding Performance in a Featured Role for Alex McCooeye, Outstanding Costume Design for Gillian Gallow and Outstanding Lighting Design for Lorenzo Savoini. Single taps go to The Virgin Trial for Outstanding New Play to Kate Hennig, Ma Rainey’s Black Bottom for Outstanding Performance in a Leading Role to Lovell Adams-Gray and Wedding at Aulis for Outstanding Costume Design to Michelle Tracey.

Crow’s Theatre earns second spot overall in the Division with 10 nominations over 4 productions, 6 of them for Middletown: Outstanding Production, Outstanding Direction for Meg Roe, Outstanding Performance in a Leading Role for Gray Powell, Outstanding Performance in a Featured Role for Jeff Meadows, Outstanding Scenic/Projection Design for Camellia Koo and Outstanding Lighting Design for Kevin Lamotte. The Wolves, produced by The Howland Company and Crow’s Theatre, sees Amaka Umeh earn a tap for Outstanding Performance in a Featured Role and Sarah Doucet one for Outstanding Costume Design. Kimberly Purtell earns a nod for Outstanding Lighting Design for We Are Not Alone and Julie Fox gets one for Tartuffe (in a co-presentation with Canadian Stage).

Obsidian Theatre follows with 9 nods over 2 productions, 7 of them for School Girls; Or, The African Mean Girls Play, tying Soulpepper’s The Royale for top spot for a production in the General Theatre Division. Obsidian also earns 1 nomination in the Independent Theatre Division for a grand total of 10 nods. School Girls taps are: Outstanding Production, Outstanding Direction for Nina Lee Aquino, Outstanding Performance in a Leading Role for Natasha Mumba, Outstanding Performance in a Featured Role for Bria McLaughlin, Outstanding Scenic/Projection Design for Rachel Forbes, Outstanding Costume Design for Joanna Yu and Outstanding Sound Design/Composition for Reza Jacobs. Obsidian’s Oraltorio: A Theatrical Mixtape sees nods for Outstanding Direction to Mumbi Tindyebwa and Outstanding Sound Design/Composition to DJ L’Oqenz.

Other Outstanding Production taps in the General Theatre Division go to bug (Luminato) and Secret Life of a Mother (The Theatre Centre), both of which earn 4 taps in total including Outstanding New Play for Yolanda Bonnell and Hannah Moscovitch, respectively. Bonnell is also up for Outstanding Performance in a Leading Role in bug while Maev Beaty is nominated for Outstanding Performance in a Leading Role for Secret Life of a Mother. Luminato’s total nomination count is 5: 4 in General Theatre and 1 in Touring, while the Theatre Centre’s grand total is 6 including 2 in the Independent Theatre Division.

Other Outstanding New Play nominees are Charlotte Corbeil-Coleman for Tarragon Theatre’s Guarded Girls (which also earns Vivien Endicott-Douglas a nod for Outstanding Performance in a Leading Role) and the team of Lisa Karen Cox, Maggie Huculak, Raha Javanfar, Amy Nostbakken, Norah Sadava and Cheyenne Scott for Now You See Her, a Quote Unquote Collective, Nightwood Theatre and Why Not Theatre co-production.

Additional Tarragon nods include Outstanding Performance in a Leading Role to Virgilia Griffith for Harlem Duet, which also sees Allen Booth earn an Outstanding Sound Design/Composition tap. Stephanie MacDonald earns a tap for Outstanding Performance in a Featured Role for New Magic Valley Fun Town, bringing Tarragon’s total nominations to 5.

Other notable taps include, for Canadian Stage, Outstanding Direction to Brendan Healy for Every Brilliant Thing, and Outstanding Performance in a Featured Role to Jenny Young for Romeo and Juliet. Canadian Stage’s total count in General Theatre is 3 plus 3 in Touring for a total of 6. 

MUSICAL THEATRE DIVISION:

In the Musical Theatre Division, The Musical Stage Company and Young People’s Theatre (YPT) tie in leading the pack with 14 nods each, for two productions each. Soulpepper rounds up 11 nods for its production of Rose, and David Mirvish tallies in at 9 for Dear Evan Hansen.

The Musical Stage Company’s nods comprise 10 for Next to Normal and 4 for Dr. Silver: A Celebration of Life, co-produced with Outside the March.

Next to Normal nominations are Outstanding Production, Outstanding Direction to the team of Philip Akin and Tracey Flye, Outstanding Musical Direction to Lily Ling, Outstanding Performance in a Leading Role to each of Ma-Anne Dionisio and Stephanie Sy, Outstanding Performance in a Featured Role to both Brandon Antonio and Louise Pitre, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Steve Lucas and Outstanding Costume Design to Alex Amini.

Dr. Silver: A Celebration of Life nabs nods for Outstanding New Musical to Anika Johnson and Britta Johnson, Outstanding Original Choreography to Barbara Johnston, Outstanding Performance in a Leading Role to Bruce Dow and Outstanding Performance in a Featured Role to Peter Deiwick.

Young People’s Theatre’s 14 nods in this division are comprised of 9 for Mary Poppins and 5 for Under the Stairs. With an additional 3 taps in the Theatre for Young Audiences Division, YPT’s total nomination haul is 17.

Mary Poppins earns taps for Outstanding Production, Outstanding Direction to Thom Allison, Outstanding Musical Direction to Wayne Gwillim, Outstanding Original Choreography to Kerry Gage, Outstanding Performance in a Leading Role to Vanessa Sears, Outstanding Performance in a Featured Role to Jade Repeta, Outstanding Scenic/Projection Design to Brandon Kleiman, Outstanding Costume Design to Bill Layton and Outstanding Lighting Design to Jason Hand.

Under the Stairs earns nods for Outstanding New Musical to writer Kevin Dyer and composer Reza Jacobs, Outstanding Original Choreography to Viv Moore, Outstanding Scenic/Projection Design to Teresa Przybylski, Outstanding Costume Design to Anna Treusch and Outstanding Lighting Design to Michelle Ramsay.

The 11 nominations to Soulpepper Theatre Company for Rose are: Outstanding Production, Outstanding New Musical to writer Sarah Wilson and composer Mike Ross, Outstanding Musical Direction to Mike Ross, Outstanding Direction to Gregory Prest, Outstanding Original Choreography to Monica Dottor, Outstanding Performance in a Leading Role to Hailey Gillis, Outstanding Performance in a Featured Role to each of Peter Fernandes and Sabryn Rock, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Lorenzo Savoini and Outstanding Costume Design to Alexandra Lord.

The David Mirvish production of Dear Evan Hansen sees nominations for Outstanding Production, Outstanding Direction to Michael Greif, Outstanding Musical Direction to Elizabeth Baird, Outstanding Performance in a Leading Role to Robert Markus, Outstanding Performance in a Featured Role to each of Allessandro Constantini and Sean Patrick Dolan, Outstanding Scenic/Projection Design to the team of David Korins and Peter Nigrini, Outstanding Costume Design to Emily Rebholz and Outstanding Lighting Design to Japhy Weideman.

Other notable nods in the Musical Theatre Division go to Eclipse Theatre Company for its presentation of Kiss of the Spider Woman which earns a total of 6 nominations: Outstanding Production, Outstanding Direction to Evan Tsitsias, Outstanding Musical Direction to Chris Barillaro, Outstanding Original Choreography to Sara-Jeanne Hosie, and Outstanding Performance in a Leading Role to each of Kawa Ada and Tracy Michailidis.

INDEPENDENT THEATRE DIVISION:

In the Independent Theatre Division, Coal Mine Theatre takes the lead with 10 nominations, 5 of them in co-production with Studio 180 Theatre for The Nether and the others spread out over three productions. Human Cargo and Saga Collectif tie for second spot with 7 hits each, both for a single production: respectively, The Runner and Iphigenia and the Furies (On Taurian Land), making each the leading production in this division. Native Earth Performing Arts follows closely with 6 nods: 4 for Isitwendam and 2 for After the Fire in a co-production with The Theatre Centre.

Coal Mine Theatre and Studio 180 Theatre’s The Nether nods are: Outstanding Production, Outstanding Performance of an Ensemble to Katherine Cullen, Hannah Levinson, Mark McGrinder, Robert Persichini and David Storch, Outstanding Scenic/Projection Design to Patrick Lavender and Nick Bottomley, Outstanding Lighting Design to Patrick Lavender and Outstanding Sound Design/Composition to Richard Feren.

Coal Mine scores 3 hits with Hand to God: Outstanding Direction to the team of Mitchell Cushman and Marcus Jamin, Outstanding Performance of an Individual to Frank Cox-O’Connell and Outstanding Scenic/Projection Design to Anahita Dehbonehie.

Coal Mine’s The Father earns Eric Peterson a nod for Outstanding Performance of an Individual while The Wonder Pageant sees Ron Pederson, Kayla Lorette, Matt Baram, Jan Carauna, Paloma Nunez, Waylen Miki and Kris Siddiqi nominated for Outstanding Performance of an Ensemble.

Human Cargo’s 7 taps for The Runner are: Outstanding Production, Outstanding New Play to Christopher Morris, Outstanding Direction to Daniel Brooks, Outstanding Performance of an Individual to Gord Rand, Outstanding Scenic/Projection Design to Gillian Gallow, Outstanding Lighting Design to Bonnie Beecher and Outstanding Sound Design/Composition to Alexander MacSween.

The Saga Collectif 7 nods for Iphigenia and the Furies (On Taurian Land) are: Outstanding Production, Outstanding New Play to Ho Ka Kei (Jeff Ho), Outstanding Direction to Jonathan Seinen, Outstanding Performance of an Individual to Virgilia Griffith, Outstanding Costume Design to Christine Urquhart, Outstanding Lighting Design to Jareth Li and Outstanding Sound Design/Composition to Heidi Chan.

The Native Earth Performing Arts 4 nods for Isitwendam are: Outstanding Production, Outstanding New Play to Meegwun Fairbrother, Outstanding Performance of an Individual to Meegwun Fairbrother and Outstanding Scenic/Projection Design to the team of Hans Saefkow and Andy Moro with Melissa Joakim. After the Fire scores taps for Outstanding New Play to Matthew MacKenzie and Outstanding Performance of an Ensemble to Sheldon Elter, Jesse Gervais, Kaitlyn Riordan and Louise Lambert.

Other notable nods in this division include Outstanding New Play and Outstanding Performance of an Individual to Augusto Bitter for Theatre Passe Muraille’s CHICHO, Outstanding Direction to Erin Brubacher for Generous Friend’s Noor and to Leora Morris for PARADIGM productionsThe Philosopher’s Wife, and Outstanding Performance of an Individual to Catherine Fitch for Leroy Street Theatre’s Her Inside Life and to Mattie Driscoll for Cue6 Theatre’s Dry Land.

As well, Outstanding Performance of an Ensemble nods go to ARC for Human Animals, DopoLavoro Teatrale for If on a Christmas Night, Obsidian Theatre for Judas Noir, Aluna Theatre for Stones and Why Not Theatre for Wring the Roses. 

OPERA DIVISION:

In the Opera Division, the Canadian Opera Company’s (COC) productions lead with a total of 33 nominations over six productions, making the COC the leader in overall nominations as well. The COC’s Otello earns 8 taps, the most for a production in the Opera Division. The COC’s Otello, Eugene Onegin, Hadrian and La Bohème all vie for Outstanding Production, as does Against the Grain Theatre’s Kopernikus which, along with Eugene Onegin and Hadrian, sees a total of 7 nods and earns Against the Grain second spot in the Opera Division.

Hadrian also receives a nod for Outstanding New Opera for writer Daniel MacIvor and composer Rufus Wainwright as does Hook Up, a Tapestry Opera production in partnership with Theatre Passe Muraille, for writer Julie Tepperman and composer Chris Thornborrow as well as the Canadian Children’s Opera Company’s The Monkiest King for writer Marjorie Chan and composer Alice Ping Yee Ho.

Otello garners the following additional hits: Outstanding Direction to David Alden, Outstanding Musical Direction to Johannes Debus (who also earns the same for the COC’s Elektra and Eugene Onegin), Outstanding Performance of an Individual to both Gerald Finley and Tamara Wilson, Outstanding Scenic/Projection Design and Outstanding Costume Design to Jon Morrell, and Outstanding Lighting Design to Andrew Cutbush.

Additional Outstanding Direction nods go to the team of Joel Ivany and Matjash Mrozewski for Kopernikus, John Caird for La Bohème, Robert Carsen for Eugene Onegin and Jessica Derventzis for Opera 5’s Il Barbiere di Siviglia. Outstanding Musical Direction nods also go to Bernard Labadie for the COC’s Cosi fan tutte and to Topher Mokrzewski for Kopernikus.

Joining the race for Outstanding Performance of an Individual are Ambur Braid for Hadrian, Angel Blue for La Bohème, Christine Goerke for Elektra, Thomas Hampson for Hadrian and Tracy Dahl for Cosi fan tutte. Johnathon Kirby wades in for his role in Il Barbiere di Siviglia.

As well, Outstanding Performance of an Ensemble nods go to Cosi fan tutte and Eugene Onegin as well as Kopernikus, Opera 5’s Open Chambers: Hindemith & Shostakovich, along with the Canadian Children’s Opera Company’s The Monkiest King and The Snow Queen. 

DANCE DIVISION:

In the Dance Division, DanceWorks hits top spot with 13 nominations including 5 for Blood Tides (DanceWorks / Kaha:wi Dance Theatre), 5 for No Woman’s Land (DanceWorks / Jaberi Dance Theatre) and 3 for The art of degeneration (DanceWorks / Louis Laberge-Côté). All of them are up for Outstanding Production as well as Outstanding Original Choreography: Roshanak Jaberi for No Woman’s Land, Louis Laberge-Côté for The art of degeneration and Santee Smith with Jahra Wasasala and Marina Acevedo for Blood Tides. Additionally, Louis Laberge-Côté is tapped for Outstanding Performance of an Individual while Blood Tides and No Woman’s Land are up for Outstanding Performance of an Ensemble.

The National Ballet of Canada dances into the runner-up slot with 7 nods including 5 for Frame by Frame: Outstanding Production, Guillaume Côté for Outstanding Original Choreography, Jack Bertinshaw for Outstanding Performance of an Individual, Antoine Bédard for Outstanding Sound Design/Composition and Étienne Boucher for Outstanding Lighting Design. Hannah Fischer vies as well for Outstanding Performance of an Individual for Paz de la Jolla while Anna Karenina earns a nod for Outstanding Performance of an Ensemble.

Third place goes to Red Sky Performance with 4 taps, all for Trace: Outstanding Production, Outstanding Original Choreography for Jera Wolfe, Outstanding Sound Design/Composition for Eliot Britton and Outstanding Lighting Design for Alexis Bowles.

Additional Outstanding Performance of an Individual nods go to Dreamwalker Dance Company’s Andrea Nann, nominated twice for her company’s All of Our Dreaming program: once for the piece A Crazy Kind of Hope and the other for In a Landscape. Evelyn Hart and Johanna Bergfelt are also nominated for the same for Citadel + Compagnie’s Four Old Legs and SKOW, respectively. José Maldonado earns a tap in this category as well for Esmeralda Enrique Spanish Dance Company’s El Caudal Que Yo Tengos from its show Impulso.

Joining the Outstanding Performance of an Ensemble race are Dreamwalker Dance Company for Dual Light: Brendan and Yuichiro (from All of Our Dreaming), Esie Mensah Creations for Shades, Peggy Baker Dance Projects for who we are in the dark and Toronto Dance Theatre with two entries: Slow Dance and This Shape, We Are In. 

THEATRE FOR YOUNG AUDIENCES DIVISION:

The Theatre for Young Audiences Division sees Solar Stage lead the pack with 10 nods over four productions followed by Théâtre français de Toronto and Why Not Theatre in a tie with 5 each, both for one production. Why Not Theatre’s Eraser and Théâtre français de Toronto’s Les Zinspirés: L’âge de raison each come out on top with the most nominations for a production in this Division. (With 3 in General Theatre and 1 in the Independent Theatre Division, Why Not’s total nods come to 9.)

Eraser sees taps for Outstanding Production, Outstanding Direction for the duo of Bilal Baig and Sadie Epstein-Fine, Outstanding Performance of an Ensemble, Outstanding Achievement in Design for Maddie Bautista (sound design) and Outstanding New Play for the team of Bilal Baig, Sadie Epstein-Fine with Christol Bryan, Marina Gomes, Yousef Kadoura, Tijiki Morris, Anthony Perpuse and Nathan Redburn.

Les Zinspirés: L’âge de raison scores nods for Outstanding Direction for Chanda Gibson, Outstanding Performance of an Ensemble, Outstanding Achievement in Design to each of Simon Rossiter (lighting design) and Glenn Davidson (scenic design) and Outstanding New Play for the team of Olivia Cyr, Mariam Guira, Errine Jean Charles, Cathlin Jiaqi Han and Abigail Morin; Coached by: Krystel Descary, François Macdonald, Marie-Claire Marcotte, Pierre Simpson and Donald Woo.

Other Outstanding Production nods go to Harbourfront Centre for both We Are All Treaty People and New Owner as well as to the Wee Festival’s KNOCK! and Young People’s Theatre’s The 26 Letter Dance.

Both Shakespeare in Action’s Suddenly Shakespeare and Puzzle Piece’s The Little Prince: Reimagined garner 4 hits: Suddenly Shakespeare’s are Outstanding Direction to Michael Kelly plus 3 taps for Outstanding Performance of an Individual to each of Chris George, Alexandra Montagnese and Mussie Solomon; while Puzzle Piece’s are Outstanding New Play to Richard Lam, Outstanding Performance of an Individual to each of Kira Hall and Richard Lam, and Outstanding Achievement in Design to Anahita Dehbonehie (scenic design).

Additional taps for both Outstanding New Play and Outstanding Performance of an Individual go to Makambe K Simamba for b current performing arts Our Fathers, Sons, Lovers and Little Brothers which also sees Donna-Michelle St. Bernard earn a nod for Outstanding Direction for a total of 3 hits for the show.

Two Solar Stage shows also earn 3 nods apiece: Ugly Duckthing nods include Marty Stelnick for Outstanding New Play and Outstanding Achievement in Design (puppetry design) as well as Outstanding Performance of an Ensemble; Treasure Island gets on board with Outstanding Performance of an Ensemble, Outstanding Performance of an Individual for Faly Mevamanana and Outstanding Achievement in Design for Marysia Bucholc (scenic design). Other notable Solar Stage nods include Outstanding Performance of an Ensemble for A Merry Munsch Pyjama Party! with the duo of Dahlia Katz and M. John Kennedy up for Outstanding Direction.

Other notable nods include Outstanding Performance of an Individual to Morgan St. Onge for Roseneath Theatre’s Head à Tête, and Outstanding Performance of an Ensemble for both the WeeFestival’s Tweet Tweet and Young People’s Theatre’s Antigone: . 

TOURING DIVISION:

Canadian Stage leads in the Outstanding Touring Production award race with 3 out of the 5 nominations: Hofesh Shechter Company’s Grand Finale, Akram Khan Company’s XENOS and Kidd Pivot’s Revisor. Also in the ring are Luminato with Teac Damsa’s Swan Lake / Loch na hEala and Aluna Theatre with Wilson Pico’s Los Materiales de la Ira y el Amor presented at its RUTAS International Multi-Arts Festival. (This award will be given out in advance at a special invitation-only reception honouring all the nominees.)

***

See the accompanying complete list of nominees. The full list is also available online at tapa.ca as of 1pm today. Of note, the following and various designers all received 3 nominations: Gillian Gallow, Jason Hand, Thomas Ryder Payne and Lorenzo Savoini.

Twitter – @doraawards : #DoraAwards   #DORAS2019                #theatreTO

SPECIAL PRIZE ANNOUNCED:

For the fifth year in a row, the Pat and Tony Adams Freedom Fund for the Arts will provide a cash prize of $1,000 each to the recipients of Outstanding Performance in a Leading Role in the General Theatre Division and Outstanding Performance in a Featured Role in the General Theatre Division

ANCILLARY AWARDS PRESENTED:

In addition, the recipients of the Pauline McGibbon Award, George Luscombe Mentorship Award and Leonard McHardy and John Harvey Award were bestowed at the press conference.

The recipient of the 2019 Leonard McHardy and John Harvey Award is the extraordinarily talented arts producer Sherrie Johnson who was recently appointed Executive Director for Crow’s Theatre after serving as Executive Producer at Canadian Stage for six years. The award recognizes the important work of theatre, dance and opera administrators and is named after the founders of Toronto’s Theatrebooks (1975 to its closure in 2014). The winner receives a plaque and a cheque for $1,000 through the generous sponsorship of the late Elizabeth Comper. Recipients of the LMJH Award have at least 10 years of demonstrated commitment to the performing arts, in addition to having made an impact on the industry in Toronto.

The recipient of the George Luscombe Mentorship Award is Jacquie P.A. Thomas, founding Artistic Director of Theatre Gargantua since 1992. Named in honour of Toronto Workshop Productions’ revolutionary theatre founder and artistic director, the award is administered by TAPA and comes with original artwork by Theo Dimson, a copy of the book Conversations with George Luscombe: Steven Bush in conversation with the Canadian Theatre visionary and a $500 prize. Ms. Thomas has maintained an unwavering commitment to producing original Canadian theatre and to the development and support of the artist, including young and emerging artists. A pioneer of Canadian multi-disciplinary devised theatre, she has created numerous socially relevant, award-winning works. This year, Jacquie P.A. Thomas celebrates her 27th season as the Artistic Director of Theatre Gargantua, one of the longest serving female Artistic Directors in the country.

Toronto-based scenic artist Ksenia Ivanova is the recipient of the 2019 Pauline McGibbon Award, created in honour of former Lieutenant Governor Pauline McGibbon for her support and patronage of the arts. It includes a $7,000 prize and a medal designed by Dora de Pédery-Hunt. The award is presented to an Ontario-resident professional artist in the early stages of their career who displays unique talent and has the potential for excellence. Every three years, the award goes to a designer, then to a director, and the third year to a production craftsperson. Born in St. Petersburg, Russia, Kesia moved to Canada in 2010 and enrolled in Humber College’s Theatre Production program. Since graduating in 2013, she has contributed scenic work to more than 100 productions across Ontario for companies such as Tarragon Theatre, the Stratford Festival, Soulpepper, Crow’s Theatre, Factory Theatre and Coal Mine Theatre. Though still in the early stages of her career, she has embraced her role as a teacher and mentor, leading her teams with a commitment to creativity that will ensure a strong next generation of theatre creators.

JON KAPLAN AUDIENCE CHOICE AWARD VOTE:

TAPA’s third annual Jon Kaplan Audience Choice Award in honour of the beloved, long-time NOW Magazine theatre critic will be given out at the Dora Awards show and ceremony on June 25. The Jon Kaplan Audience Choice Award is co-sponsored for the third year in a row by NOW Magazine and Yonge-Dundas Square. The public is invited to choose a winner and vote for their favourite show from the list of nominees for Outstanding Production – or they can choose their own! Theatre, dance and opera fans can cast their votes online at at nowtoronto.com/jonkaplan-audience-choice-award May 31 at noon through to June 19 at 12 midnight. …The winner receives a special plaque from NOW Magazine.

***

40th ANNIVERSARY DORA MAVOR MOORE AWARDS:

On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented. Fresh from touring his new solo show BOOMX, the incomparable Canadian theatre artist Rick Miller hosts this very special celebratory evening. A director, actor, comedian, musician and playwright, Mr. Miller is well-known across the country for his widely acclaimed one-man shows that include MacHomer, BOOM and Bigger Than Jesus (for which he won a 2006 Outstanding Performance Dora). The 40th Anniversary Dora Awards are penned by actor and writer Diane Flacks, currently starring in the title role of Nathan the Wise at the Stratford Festival, and directed by Ed Roy, recipient of Pauline McGibbon and Dora Awards for directing.

Tickets go on sale May 28 through the Sony Centre Box Office at 1 Front Street East or call 416.368.6161 x 1 or book online at the Ticketmaster website: https://www.ticketmaster.ca/event/100056B7E690656E 

In honour of the 40th Anniversary of the Dora Mavor Moore Awards, an Early Bird special price is being offered: Just $40 for both the Awards Show and After-Party! The Early Bird offer expires on Tuesday June 11 at 5pm, after which regular ticket prices will be in effect.

After June 11 at 5pm, ticket prices are:

Regular Tickets (Awards Show & After-Party) are $90.00 (+HST & Ticketmaster fees)

Student, Senior and Artsworker Tickets (Awards Show & After-Party) are $70 (+HST & Ticketmaster fees)
Pre-Show VIP Reception Tickets (includes Awards Show & After-Party) are $190 (these are only available by emailing Scott Dermody at scottd@tapa.ca to reserve)
After-Party ONLY Tickets (purchase at the door beginning 10:30pm) are $20.


40th Anniversary Dora Mavor Moore Awards

– Toronto’s Theatre, Dance and Opera Awards –

Tuesday June 25, 2019

Hosted by the multi-talented, multi-award-winning Rick Miller

Written by Diane Flacks, Directed by Edward Roy,

Musical Direction by Evelyne Datl, Lighting and Production Design by Andrea Lundy, Produced by Jacoba Knaapen

At the Sony Centre for the Performing Arts, 1 Front Street East, Toronto, ON M5E 1B2

6:00pm-7:00pm Pre-Show VIP Cocktail Reception in the Lower Lobby of the Sony Centre for the Performing Arts

7:30pm Dora Mavor Moore Awards Show in the Sony Centre

10:30pm After-Party in and around the Sony Centre for the Performing Arts

TICKETS ON SALE May 28, 2019

For both Early Bird and Regular tickets, visit the Sony Centre Box Office at 1 Front Street East

or call 416.368.6161 x 1 or book online at https://www.ticketmaster.ca/event/100056B7E690656E 

EARLY BIRD DISCOUNT!
Awards Show & After-Party
$40 for the 40th
Offer expires Tuesday, June 11, 5:00pm

Regular Tickets (Awards Show & After-Party): $90.00 (+HST & Ticketmaster fees)

Student, Senior, Artsworker Tickets (Awards Show & After-Party): $70 (+HST & Ticketmaster fees)

Pre-Show VIP Reception Tickets (includes Awards Show & After-Party): $190
(email Scott Dermody at scottd@tapa.ca to reserve)

After-Party ONLY Tickets (purchase at the door beginning 10:30pm): $20

For information visit http://tapa.ca
Twitter: @doraawards   #DoraAwards #DORAS2019 #theatreTO

Keeping Up With Kat – Artist Profile: Kat Sandler on her Dora Award Nominated “Mustard” & Upcoming Fringe Show “Bright Lights” (and pretty much #killingit in the Toronto Theatre scene)

Interview by Brittany Kay

What a true honor it was to sit down for a coffee with fast-paced, keeps-you-on-the-edge-of-your-seat, sassy and fierce Kat Sandler. We spoke about her 7 Dora nominations for Mustard, her upcoming Toronto Fringe show Bright Lights, and the inspiration you can find from your everyday.

Brittany Kay: I had the best time seeing Mustard.

Kat Sandler: Thanks dude. Yeah, it was the loveliest process. We really felt like a family.

BK: And you could definitely see that on stage.

KS: Thank you.

BK: What has been your journey getting to where you are now?

KS: Total journey? From the beginning? I started as an 8-year-old organizing my cousins into plays at the cottage and like a little tyrant, I would force the girls to be boys and vice versa and all of my family to kiss each other. It went really well. They got really good reviews from my extended family, who were probably drunk, let’s be honest.

BK: Amazing.

KS: Then I went to a super academic high school, UTS, where they didn’t really have a drama program. We did get to do the Sears Drama Festival… Man, the people at that school were fucking smart. They kind of ruined me for regular people. The world mathlete winner was in that class. They’ve gone on to be crazy politicians. Our final grade 12 projects were like, make a rocket or a robot that will cure cancer and I was like, “I’d like to write, direct, produce, and star in a play.” Everyone was like, “A play? Why?” We rented out what was once called the Pour Alex, which is now Poutineville. It was a dilapidated old tiny theatre that we were way overcharged for probably because we went in and were like,“We have this money from our parents, maybe can we have this?” And they were like, “Yes, that will be $2000 a week,” and we were like, “Yes, that’s totally fair. Here’s our money.” We rented it for three days and it sold out and I was like, “Yes, now I’m a theatre wizard and I will go to Queens, I guess, and be a star.”

I thought I really wanted to act. I always wrote. I wrote fiction and short stories. I think I wrote one movie in grade 6 and one play that we did as a reading and I thought I was hot shit. (laughs)

When I went to Queens, I mostly acted and directed. The cool thing about Queens is that you kind of make your own program. It’s not a conservatory program so you can pick and choose the classes that you think will build you as an artist in the way that you want, if you want to be an artist. Then I had my own shitty company there, called 9 Lives, which I thought was so clever because my name is Kat. No one will ever come up with a better company name than 9 lives. (laughs) That was another one where they were like you have to do a directing scene for your final project and I was like, “Cool, can we just rent a theatre and I’ll do a full-on production of The Goat, or who is Sylvia? And then I graduated and I was like, “Fuck that, I’m going to be an actor. I think I want to be really famous and be an actor.” And then, basically, I didn’t do that great of a job at that. I worked a lot with Theatre Gargantua who I think are really amazing, which is crazy because I had no business doing physical theatre at all. I can move and I can sing so I think I just duped them for 4 years.

BK: How did Theatre Brouhaha come to be?

KS: In that after school time period, my really close friend Tom McGee (we were valedictorians together at Queens), and I spent a lot of time going to theatre. We thought it was great but it wasn’t really geared at our generation and yet at the same time, people keep saying, “Oh your generation doesn’t see enough theatre and that’s why it’s dying.” Why would we see it if you don’t market it to us and talk about subjects that don’t excite us as young people? This is when I was 22/23 and the weird thing about our generation is that we remember pre and post Internet, so there was all of this technology and pop culture that just wasn’t talked about as much.

We also live in this golden age of television content. There’s so much constant access to incredible stories, wonderful characters, beautiful story arcs, fast-paced high-stake plots. It’s an embarrassment of riches of art that we get to see for free or for 9.99 a month. It’s kind of ridiculous to expect people to come and see something live when you don’t have to. You have to give them the incentive to do that. And this is how Theatre Brouhaha came to be.

And what is Brouhaha? What is that? It’s kind of like a hot fun mess. It’s a commotion. It’s something that makes you sit up and take notice. I remember one reviewer that was like, “Theatre Brouhaha pretends to have the same mandate that every new theatre company does which is challenging the audience and creating something new,” but we really thought we were, which, of course, we weren’t. We weren’t re-inventing the wheel. I don’t want to go see a play, I want to have an experience. I want to go to an event. I want to go to a party. We always used to say that if we could make something appeal to my sister’s douchey ex-boyfriend, then that would probably be great because that guy does not want to go to theatre. I think that’s where Brouhaha started. The very first show we ever did was LOVESEXMONEY – those are things that we, as people, think about and it’s also a bang-on title. It was about this girl who was selling her virginity online. We rented out the Factory Theatre. I remember a tech being there and asking us, “What are you hoping to do here?” and we said, “We’d like to break even.” He just laughed, like a full on belly laugh at us for, like, a long time. We had a really smart producer, Taylor Graham, who sold it through Groupon around Valentines Day and we sold out.

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Gwen Cumyn and Scott Clarkson in LOVESEXMONEY

We just kept trying to create theatre by putting audiences first. If I come up with an idea for a show and I can’t sell it to you in a sentence, just like the way you would with a TV log line then how can I expect people to come? Tell me what it’s about and why I shouldn’t go home and watch Breaking Bad because I know that shit is going to be amazing. What’s the hook? And once there’s the hook, what’s the image? What’s the situation? I guess since 2012, we’ve done 10 shows, and because we never really have any money, we don’t really have a responsibility to anyone but our audiences, and ourselves, which is hard and also awesome. It means we get to do exactly what we want and the only confines are how much time we have for rehearsal and everyone’s schedules.

BK: So how would you categorize what you do?

KS: I’m a playwright and director mainly and slowly moving to television. I’m making some TV moves maybe? Is that the cool way to say it? People keep saying why don’t you do TV? But you can’t just like do it. You have to know what you want there and go at it smart. For a while, I didn’t know what my voice was and now I know what it is and I know what I want to talk about and how I want to do it and what my style is. I think that’s what TV wants. They want original voices. You can go and be in a room and mimic someone’s style but to have your own is a bigger deal… I hope.

BK: What kind of stories do you want to tell?

KS: I mean, the same stories. I’m fascinated by people. I’m so inspired by actors. I have a list on my phone of just shit that I hear people say. Now people tell me too. They’re like, “I overheard this thing that I thought maybe you could use in a play.” Great, give it to me. I want it. For me, usually, I start with a situation. What’s something that is inherently interesting?

BK: Where else do you find inspiration for your work?

KS: TV. Film. Everywhere. The Internet. You can’t make up the shit that happens in real life. No writer could write Trump. Now they will, but you can’t make that guy up, it’s too good. The shit that he says is unreal. It’s such beautiful dialogue. And it’s real. It’s crazy. It’s totally nuts. It’s taking a moment in real life and then jotting it down and maybe using it for something later.

BK: What’s your process for writing? How do you keep motivated?

KS: If I don’t have a deadline, I won’t do it. I write to produce, usually. I don’t have pet projects that have been sitting in my life for 10 years. There’s a couple we can’t afford to do because there’s too many people. I’ll want to do a thing at a certain time, and then I’ll come up with the thing. The thing will be based around who’s available and what I’ve seen in the news.

I also never know the ending when I begin writing. It’s only when I get there. I almost don’t like knowing. I find that if I know, then the audience knows. If I know what happens, then I’m going to telegraph what happens. If I don’t, then I’m writing to get to what happens. It’s like when you can’t put down a good book because you’re like, “What the fuck happens in here?” My process is all over the place. It’s a brouhaha. And there’s usually whiskey involved.

BK: That’s the way to do it.

KS: The first script is always garbage. It’s just a diarrhea throwaway script and slap an ending on it and sometimes I don’t even write one. I just write ‘insert end’. Then I’ll read it with people and that’s where the process starts for me. The audience is so important to me. The first people who read it are the first audience you get and I think that actors are horribly underused. Everyone has an actor friend that wants to read a new script. Actors read more plays than everyone. They’re great at focusing on a character so that I can say, “Does it make sense when your character says that?” When I’m thinking about six characters, they are only thinking about one. I like more opinions and feedback. You can’t be precious and have hurt feelings, which, of course, we all do anyway. I think ultimately more brains are better as long as there is one brain at the end that says, “No, no, no, yes to that.”

Bright Lights in this year’s Fringe is about an alien abduction support group. I like writing and directing together because, for me, I’m never done working on the script. I don’t usually write a lot of stage directions because I know I’ll just figure it out. It’s such a collaborative process in the room with the actors, which is why casting is 98% of my job. Who do I want to be locked with in a room? Our group for the Fringe is the most punch-upy room I’ve ever been in. Everyone’s a writer. Everyone is funny. We talk about jokes, like where is the second beat of the joke? You definitely can’t overwork comedy but comedy is work. Which is so crazy. Comedy is way harder than drama. I also think there’s comedy in everything. It’s when we chose to let it out.

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Photo by John Gundy. L-R: Peter Carlone, Heather Marie Annis, Colin Munch, Amy Lee, Chris Wilson

BK: Do you ever have a dramaturge?

KS: Tom McGee is my long lifetime dramaturge. He asks me important questions. Stories have to be a conversation. I know some people can do it in a vacuum and I can’t. I’m a social writer.

BK: So you’re nominated for 7 awards at the Doras for your play Mustard that just premiered at the Tarragon. Congrats lady! Very exciting! Talk to me about the creation of Mustard.

KS: Yeah, it’s fucking crazy. It’s nuts. I’m happy for everyone. I think I wanted to write a play about an imaginary friend for a long time because I had one. I was really fascinated by the idea of where they went when they go away. My father created this character for me as a child and one day, when I was hurt, I cried out for that character instead of him. My dad sent that friend away and I never saw him for a long time because my dad was jealous of his own creation. Where do they go when we don’t need them anymore?

When I was in the Tarragon unit, they wanted something that fit their mandate. I thought this play would fit because it’s about family and belonging and addiction. I thought it would work and I wrote it and they picked it.

BK: How do you feel about the Dora nominations?

KS: I feel great. I think it’s interesting that people have been saying that this is my first professional production. Okay… but when you start charging people money for your stuff, that’s kind of when you are a professional. I think that independent and professional theatre doesn’t need to be so far a part in terms of the way people look at them. I think that creating that animosity between the two worlds is kind of unnecessary. In truth, out of the twelve plays that I’ve written, Mustard is only the third that has been eligible for the Doras. Either we were too rushed to get our shit together to invite Dora jurors or couldn’t afford to pay the fee to apply to TAPA. A lot of people don’t know that you pay to have those people come. You pay for your TAPA membership, which is totally valid. It’s funny because last year at the Doras they made a joke about how their independent jurors had to see one billion plays and only half were written by Kat Sandler, and I was like and none of them were eligible.

It’s really nice to get a nod. What’s amazing about these Doras, is that so many people in the indie community are nominated, which is really awesome and all for incredibly deserving work. So yeah, of course it feels nice to get to go as a nominee and not as a presenter.

BK: What are you going to wear?

KS: I’m coming straight from rehearsal. If it’s going to be this hot, I will probably wear a whisper of a dress so that I’m not gross and sweaty. So glamorous. I’ll wear the smallest amount that I can decently get away with.

BK: Flawless. Talk to me about your team involved with Mustard.

KS: Anand Rajaram and Sarah Dodd are both nominated in their category for best actor and actress. We were so lucky with the cast. They were so incredible. Ashlie (Corcoran) (nominated for direction) gave me a lot of control and choice in the casting. It was really easy to work with her and she was super flexible and so creative and totally brilliant. I thought that way about the cast too. You throw in our two clowns (Tony Nappo and Julian Richings) and Paolo (Santalucia) bearing his bum all over the place, it just all worked magically. Michael Gianfrancesco is nominated for both set and costume design. The set was so beautiful. I couldn’t handle it. In truth, in my entire Toronto career, no one’s ever put that much money into a set, because I wouldn’t put that money into a set. For Mustard to be cool and imaginary, the house had to be so real. He did such an incredible job and it was just tacky enough.

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Anand Rajaram and Sarah Dodd in MUSTARD at the Tarragon Theatre

BK: What are you most looking forward to at the Doras?

KS: I think it’s the feeling of the community being there. You know so many people and for all its bitchiness at times, the Toronto theatre community really loves itself and each other. We really are truly supportive when someone does something good or when they’re trying to do something good. What’s also nice is you get to see everyone dressed up and not in rehearsal clothes. It’s nice to not be in booty shorts and a disgusting t-shirt with Cheetos dust falling all over the place. Everyone is drinking and happy to be there.

BK: Tell me more about your fringe show Bright Lights opening this week.

KS: Bright Lights is about an alien abduction support group that accuses their leader of being an alien. As we’ve been working on it I’ve realized it’s kind of a comment on the absurdity of law and justice and how we view it as a society. My whole family consists of lawyers and judges out west. When we fight as a family, the arguments are so ridiculous. You can’t come into that house and not get torn apart. I think that a lot of that worked its way in and because we have such hilarious, funny people it’s really coming off the page. I wanted to work with this crew of people since I started doing Fringe. I saw Morro and Jasp and was like, “Holy shit. They’re so funny.” Peter and Chris are amazing with their sketch and improv and Colin and I are buddies from way back.

It’s totally ridiculous but always about something and always with heart.

We all love Fringe so much. We feel comfortable there. It’s given us so much. My career started at Fringe with Help Yourself. It’s like the Doras. The fringe tent is Theatre Christmas!

BK: Any advice for emerging artists?

KS: Just do it. Always. Just fucking do it. You won’t know if you’re any good at it or what to do until you do it. That was our whole thing with Theatre Brouhaha. We’re just going to do plays until someone takes notice or we just shouldn’t do them anymore. Also, listen and ask for help. The worst thing that could happen is someone can say no.

Rapid Fire Question Round:

Favourite movie: Princess Bride

Favourite book: Invitation to the Game by Monica Hughes

Favourite food: Charcuterie

Favourite play: I don’t know if I can choose.

Favourite musical: My cool answer would be Book of Mormon but the little kid that ran around in her living room would say: Les Miserables.

Favourite place in Toronto: All of Toronto, Toronto is my jam. Maybe not the dark gross alleys, but the ones with graffiti are good. I like Cabbagetown.

Favourite place that you write: I write in the Dark Horse in the east end, but I’ll write anywhere that has coffee or where there are people.

Advice that you live by: Make opportunities don’t take opportunities.

Bright Lights

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Who:
Written By: Kat Sandler
Company: Theatre Brouhaha
Director: Kat Sandler
Cast: Amy Lee, Heather Marie Annis, Chris Wilson, Peter Carlone, and Colin Munch.
Dramaturg: Tom McGee

What: From Kat Sandler, Theatre Brouhaha, and the creative minds behind the Fringe smash hits Punch Up, Morro and Jasp, Peter n’ Chris, and Shakey-Shake & Friends comes a new dark comedy about survival, trust, and an alien abduction support group thrown into chaos by the suggestion that someone in their midst may not be as human as they seem.

Where: Tarragon Theatre Mainspace

When:
buy tickets  June 29th at 10:30 PM
buy tickets  July 1st at 8:45 PM
buy tickets  July 3rd at 3:30 PM
buy tickets  July 5th at 6:30 PM
buy tickets  July 6th at 12:00 PM
buy tickets  July 8th at 6:00 PM
buy tickets  July 9th at 11:30 PM

 

Connect:
Website: TheatreBrouhaha.com
Twitter: @TheatreBrouhaha