Tomorrow's Child poster

October 5-7

TOMORROW’S CHILD

Ghost River Theatre production
Adapted from Ray Bradbury’s short story by Eric Rose, Matthew Waddell and David van Belle
Featuring Anna Cummer, Tyrell Crews and David van Belle
Direction and Sound Design by Eric Rose and Matthew Waddell

Tomorrow’s Child

October 25 – November 5, 2017

Venue: West End Cultural Centre – 586 Ellice Avenue


“…your ears receive the audio equivalent of a five star dinner.” – Stephen Hunt, Calgary Herald

“…an intriguing immersive experience combined with compelling storytelling.” – Jessica Goldman, CBC Radio

“Fucking awesome.” – Audience member.

 

An unforgettable audio experience created for a blindfolded audience.

Adventurous theatre goers will have their curiosities satisfied! Audience members are blindfolded and individually guided into the performance space. The story surrounds them through a thrilling 10-channel sonic landscape created by long-term Ghost River collaborator Matthew Waddell with the latest in sound technology.

The auditory feast introduces listeners to Peter and Polly Horn- two new parents in the imagined retro-future of 1988 who must confront the realities of their newborn son – who has been born into another dimension. Will they accept the divide between parent and child? Or find another solution?

This ain’t no radio play- the quirks of 50s sci-fi are reimagined for an immersive audio-experience created for a blindfolded audience. As the first installment of Ghost River Theatre’s Six Senses Performance Series, Tomorrow’s Child explores how being deprived of sight – our primary gateway in the world – primes us for a unique performance experience.

Theatre Projects Manitoba is thrilled to shake it up as we travel to a new venue and welcome fresh audience members to this theatrical experience. The story will charm lovers of science fiction, new parents and especially individuals with lived experience of Autism Spectrum Disorder. We are specifically excited to welcome members of the Deaf and hard of hearing communities, and blind or visually impaired audience members by offering complimentary companion tickets. Please contact the Theatre Projects office so we can help you with your accessibility needs.

Tomorrow’s Child is an unforgettable sonic journey that has to be heard to be believed.

 

 

$5 High School Student Matinees

Tuesday, October 24th; Thursday, October 26th; and Thursday, November 3rd at 1pm call 204.989.2400 to book seats for your class!

 

 

Wednesday, October 25 8pm Opening Night

Thursday, October 26, 8pm

Friday, October 27, 8pm

NO SHOW SATURDAY OCT 28

Sunday, October 29, 4pm and 7pm

Tuesday, October 31, 7pm Students Night

Wednesday, November 1, 8pm

Thursday, November 2, 8pm

Friday, November 3, 7pm and 9pm

Saturday November 4, 7pm and 9pm

Sunday, November 5, 4pm

Ghost River Theatre-logo-blackwecc logo 2

Based on the short story “Tomorrow Child” by Ray Bradbury, originally published as “The Shape of Things” © 1947; renewed 1975 by Ray Bradbury. Performed by permission of Don Congdon Associates, Inc.

A-Short-History-of-Crazy-Bone

November 17-27

A SHORT HISTORY OF CRAZY BONE

Written by Patrick Friesen

Directed by Andraea Sartison

Featuring Tracey Nepinak as Crazy Bone

A Short History of Crazy Bone

March 28 – April 8, 2018

Venue: Théâtre Cercle Molière – 340 Provencher


“Almost like it happened a long time ago and I was remembering…And then I wonder… was I being dreamed?”

This long poem-turned-monologue awakens Crazy Bone, a middle aged Woman living on the edge of the world, at the edge of time, wandering the mid-path of her life, finding her way back to herself.

Crazy Bone lives on the edge of the world, at the edge of time, wandering the mid-path of her life, on the outskirts of a small town. She is caught in her own monologue, soul-talking, listening to herself, to the river. Crazy Bone is a trickster, a fool, a wild woman laughing, a campesino, who through loss is finding her way back to herself. In the forest she has her own rituals to place her feet on the earth again, though sometimes she floats or spins on her toes, blurts a curse or licks blood. Society has dismissed her presence as irrelevant, but Crazy is cleverly confident, and tests the reader. In her rambling, she references writers, singers, artists, theologians, tightrope walkers, philosophers, not as experts but as guides along the way. You won’t forget her voice after she has passed you on her way to the river.

 

Choreography Tanja Woloshen

Set Design Linda Beech

Lighting Design Itai Erdal

Sound Design Andrew Balfour

Costume Design Claire Thérèse Friesen

with David Arial, Zorya Arrow, Arne MacPherson and Tracy Penner

Stage Manager Jane Buttner

About Patrick Friesen

Patrick Friesen’s career spans three decades. He has published more than a dozen books of poetry, a book of essays and, with P. K. Brask, co-translations of several Danish poets, including Ulrikka Gernes. A lover of collaboration and live performance, Friesen has also written stage and radio plays, text for dance, and has recorded two CDs of spoken word and improv music with Marilyn Lerner.  His play, The Shunning, first produced by Prairie Theatre Exchange, was staged by the Royal Manitoba Theatre Centre in 2011.  His upcoming play, also called a short history of crazy bone, will be produced by Theatre Projects Manitoba in 2018.

 

Tuesday, March 27, 7pm PWYD preview

Wednesday, March 28, 8pm Opening Night

Thursday, March 29, 8pm

Friday, March 30, 8pm

Saturday, March 31, 8pm

Sunday, April 1, 1 pm

Tuesday, April 5, 8pm

Wednesday, April 4, 8pm

Thursday, April 5 8pm

Friday, April 6, 8pm

Saturday, April 7, 3pm and 8pm

Sunday, April 8, 2pm

 

 

Leadership

Ardith Boxall – Artistic Director

Ardith Boxall – Artistic Director Ardith Boxall is an actor and director. In 2005, after a year as associate artist, Ardith was appointed the Artistic Director of Theatre Projects Manitoba, a company dedicated to new plays and the development of local artists. Prior to this, she worked primarily as a freelance actor for stage, film and television, a drama instructor, and was an emerging director. A graduate of the University of Winnipeg with an honours degree in Theatre and Drama, Ardith continued her studies at the National Voice Intensive at Simon Fraser University, and mentored in directing under several of Manitoba’s finest theatre practitioners.

Since the company’s founding by Harry Rintoul and members of the community in 1990, Ardith has maintained strong ties with Theatre Projects. Several acting, assistant directing and directing credits at TPM over the years have reinforced the need to preserve the Company as a professional theatre for artists in our region. Selected TPM credits include Ce Weekend la, Live With It, I Do…Do You? The Monster Trilogy, Age of Arousal and three instalments of In the Chamber (2006, 2007 and 2009).

Selected acting credits include, Shakespeare’s Dog at the Manitoba Theatre Centre/National Arts Centre, Zaidie’s Shoes and The Norbals at Prairie Theatre Exchange, Crave with English Suitcase and The Darling Family with Graham Ashmore at the Winnipeg Fringe Festival. Ardith won a Blizzard Award in 2004 for her performance in Jeffrey Erbach’s feature film, The Nature of Nicholas. She has appeared in Canadian films such as The Stone Angel and Milgaard. In 2009, Ardith was nominated by her peers for the Making A Mark Award which applauds established artists who are receiving critical recognition for excellence in their art practice in Winnipeg and beyond.

As the Company enters its 22nd season this year, Ardith continues to oversee the activities of TPM, programming the seasons, gathering artistic teams, and seeding new production to carry the Company into the future. Maintaining the original mandate of the Company while expanding the artistic mission to include contemporary Canadian plays, Ardith is determined to promote the activities of TPM on a national scale. This includes advocating for the dissemination of Manitoba plays in the greater Canadian theatre community.  Ardith is a member of the Board of Directors for the Professional Association of Canadian Theatres.

Rea Kavanagh – General Manager

Rea has been working in the arts for 20 years as a producer, writer, actor and musician.  Her first professional stage experience was with Theatre Projects Manitoba in the 1997 installment of Short Shots and returned as the Artistic Associate in 2005. Since starting with TPM, Rea has focused on collaborations with artists and members of the community, leading to involvement with The Manitoba Historical Society, The University of Manitoba Archives, The Manito–Ahbee Festival of All Nations and the adoption of the Times Change(d) High and Lonesome Club as a venue.

Her writer/performer credits include Grow Op and Floodgates (commissioned for TPM’s 2nd installment of In the Chamber) as well as cabaret pieces CockBlock and Woodchick.  In 2009 she was thrilled to join Grant Guy’s object puppet company Adhere and Deny for an interpretation of Paradise Lost. As a musician she was the bass player of pink punk band Shrimp, who put out two albums – Peel N Eat and Smell My Finger. Two of their songs were adapted for Daniel MacIvor’s play A Beautiful View.

She has worked in film and television as an actor and stunt performer and served several terms as the Vice President for ACTRA Manitoba. She is also a founding member and the Past Chair of PAL (Performing Arts Lodges) Winnipeg. Anyone have a building they want to donate?

 

Andraea Sartison – Associate Artistic Director

Andraea is a theatre creator and producer, specializing in devised theatre and interdisciplinary collaboration. Her relationship with TPM flourished when her company, One Trunk Theatre, was in residence for a period of two years, during which she co-created (together with Gwendolyn Collins and Claire Thérèse) and directed I Dream of Diesel, which premiered as part of TPM’s 25th Anniversary Season.

Sartison headshot

With the support of the Canada Council for the Arts, she has taken an 18 month position as Associate Artistic Director during which she will participate in all aspects of the company’s season from both administrative and artistic perspectives. Specifically, she will be working with the University representatives in the development of a new collective collaboration, working on research and development for a province-wide theatrical investigation, preparing the world premiere of a new Canadian play, and producing the salon series.