Stratford Ontario - Shakespeare's Canadian Home

Stratford is a Southwestern Ontario town that is situated on the banks of the Avon river. Both the city and the river were named after England's Stratford - upon - Avon of Shakespearean fame. According to the 2006 census, the town's population is just over 30,000.

Originally a railway junction, Stratford became a furniture manufacturing centre for Ontario. In 1933 there was a furniture strike that marked the last time the Canadian army was deployed to break up a strike.

Stratford has a rich history, but it is the attractions found there today that make it a popular tourist destination. Here are just a few:

1. Stratford Shakespeare Festival: The addition of this attraction was really a no brainer. The annual Shakespeare festival is synonymous with the city. This festival which runs from April to November is incredibly popular. Theatre-goers, actors and playwrights flock to the city to take part. Many of the best Canadian and American actors have graced the stage at Stratford. It was one of the first, and still one of the most popular arts festivals in all of Canada.

Although the festival's major mandate is to present the works of Shakespeare, in actuality Shakespeare only makes up a about a quarter of the theatrical offerings each year. The rest of the shows run the gamut from greek tragedies to contemporary comedies.

The arrival of the festival in 1953 was indeed timely. Having once been a popular railway junction, Stratford had fallen onto tough times when the railway yards were removed. The arrival and success of the festival transformed Stratford into Canada's ultimate arts getaway.

2. Stratford Summer Music Festival: What is a perfect pairing with Shakespearean theatre? Classical music of course. You can get your fix of both in Stratford. Known for the world class talent they bring to their theatre stages, Stratford strived to stay well rounded. In 2001 the first Summer Music Festival took place and was a resounding success.

Held during a three week stretch in July and August, this event features both indoor and outdoor musical performances. The festival's goal is to bring Stratford some of the world's most respected classical musicians. 2009 saw Cameron Carpenter take the stage. Carpenter is a masters trained organist from the Juilliard School in New York.

3. Stratford Fairgrounds: Stratford has transformed it's annual fairgrounds into a complete recreation complex. The Stratford Fairgrounds is home to a number of events. It is home to the Stratford Farmer's market which is open every Wednesday of the week. You can visit the market and taste the freshest produce, meats and cheeses from the local area.

The Fairgrounds is also home to the annual fall fair of course. Regular events throughout the year are hosted there as well, Bingo nights and Rotary Minor Hockey are big draws. In the Spring you can check out the Stratford Home Show.

Stratford is the arts capital of Ontario, if not all of Canada. Anyone who visits the music or theatre festivals will leave with a sense of satisfaction. You might also get to see Canada's next worldwide celebrity.

If it isn't festival season, don't be afraid to visit Stratford. You can sample many of the great restaurants that showcase local produce or you can spend a day in some of their idyllic parks - including the wonderful Japanese gardens.

For More Info: Ontario.

A jaundiced eye on the 2009 Stratford Festival Playbill

We scanned the Stratford Festival's announcement of its 2009 season with interest. If 2008 was a lineup loses a lot of money, as reported, the institution in 2009 to do better? (See my last article, "The leadership debacle at the Stratford Festival, artistic director of the fiasco at the Stratford Festival and its fatal consequences.)

More selfishly, how many of the shows I personally would like all the way from Rochester Trekto see New York in 2009? If we compare this year's lineup with next year and judge:

Hamlet (2008) vs. Macbeth (2009) (both at the Festival Theatre)

There is a box-office draw. Hamlet is the best known and most popular game in the world, and Ben Carlson gives a good performance. (See my review of this year's Hamlet.) But Macbeth is not that long, and witches and woodland on the move.

I will show the 2009? Maybe. Macbeth is low on my list of favorite Shakespeareplays.

Romeo and Juliet (2008) vs. A Midsummer Night's Dream (2009) (both at the Festival Theatre)

The show will draw in more likely 2009. Both appeal to romantics, but people expect, and probably will, as many of the effects Lion King-style special A Midsummer Night's Dream. production and the 2008 Romeo and Juliet is a disaster.

I will show the 2009? I hope so. It's not my favorite Shakespeare comedy because I do not laugh at his jokes right now. But I amwilling to give him a fair chance.

The Taming of the Shrew (2008 at the Festival Theater) vs. Julius Caesar (2009 at the Avon Theater)

The 2009 takes a better show. A lot of people know Julius Caesar from school. And it's better that the Taming of the Shrew, to avoid some people because it can be seen as misogynistic done.

I will show the 2009? Absolutely. I love Julius Caesar, and I've never seen on stage.

All's Well That Ends Well (2008) vsCyrano de Bergerac (Edmond Rostand) (2009) (both at the Festival Theatre)

In probable popularity, a tie. Shakespeare this year is not known, but there are enough different versions of the Cyrano story over the years that the public will. But arriving in large numbers sufficient to fill the theater for the festival? I doubt it.

As for me, my interest in Cyrano's just not as high. (We liked the end of this year, so goodWell, yes.)

Love's Labour's Lost (2008) vs. Bartholomew Fair (Ben Jonson) (2009) (both at the Tom Patterson Theater)

In probable popularity, an edge to 2008. The public does not know or to play, but Shakespeare has more fans than Ben Jonson, and this year, Love's Labour's Lost is a delight.

I'll see Bartholomew Fair? I hope so. Undeterred by eye-glasses Edward II several years ago, I try another Elizabethan playwright.

Fuente Ovejuna (2008) compared toThree Sisters (2009) (both at the Tom Patterson Theater)

In probable popularity, an edge to 2009. Theater-goers who only want "fun" takes control away from seeing Chekhov. But see Chekhov before they can buy tickets to a play 400 years, the Spanish have never heard.

I will show the 2009? Maybe. We have seen a remarkable good performance of the three sisters of the Shaw Festival several years ago, and I never watch the game. But there may be anticipated. IfMartha Henry is also a director, could tip the scales in favor.

Caesar and Cleopatra (2008) vs The Importance of Being Earnest (2009) (both at the Avon Theater)

In probable popularity, an edge to 2009. Of course, Christopher Plummer is a tie, but who wants to miss Brian Bedford in drag? Stratford Festival patrons love Oscar Wilde.

For our part, we thought that the production of "The Importance of Being Earnest at the festival several years ago, Shawcould not be improved, but we love the game and can not see too often. And Bedford's killing us.

The Trojan Women (2008 at the Avon Theater) vs. Phedre (by Racine) (2009 at the Tom Patterson Theater)

In probable popularity, an edge to 2009. classical works have a strong appeal. But you might also suspect that the interest of French Canadians would pull the Racine play better.

We want to see Phedre. Our interest in the French classics was stimulated by a long time agocollege course in French literature (in translation), and we regret the lack of other promising opportunities, played by French master playwright to watch.

The Music Man (2008 at the Avon Theater) vs. West Side Story (2009 at the Theatre Festival)

In probable popularity, a tie. But most tickets are sold Theatre Festival West Side Story in the larger ones.

But probably not. West Side Story leaves me cold, as I mentioned in a previous post praiseBernstein's Wonderful Town, playing in the Shaw Festival this year.

Cabaret (2008) vs a funny thing happened on the way to the Forum (2009) (both at the Avon Theater)

In probable popularity, an edge to 2008. Sondheim A Funny Thing is a better show in my opinion, but it was a Broadway Cabaret, warm in Toronto, and on the big screen for the last ten years.

We want to see the 2009 show. A Funny Thing Happened is on the Way to the Forum is a hilariously funnyShow with a score much. And we will need something lighter after a heavy dose of the classics.

There is love (2008) vs. Ever yours, Oscar (2009) (both at the Tom Patterson Theater)

In probable popularity, an edge to 2009. The combination of Oscar Wilde and Brian Bedford will pull in

I will show the 2009? Probably not. Somehow we are not going to see shows of readings.

Hughie / Krapp's Last Tape (2008) compared to offenders (by Morris Panych)(2009)

Palmer Park (2008) vs Zastrozzi (George Walker) (2009)

Moby Dick (2008) vs. Rice Boy (by Sunil Kuruvilla) (2009) (all in the Studio Theatre)

In probable popularity, an edge to 2008. People know and like Brian Dennehy (Hughie / Krapp 's Last Tape), and each one of Melville's novel. It may be that all three Canadian divisions are scheduled for 2009 in Canada, but Americans in general do not know.

I will be one of 2009 shows theStudio Theatre? Probably not. If I do, it can play Panych. We saw his work as a director at the Shaw Festival. Affirmative action program of the Stratford Festival of The Canadian playwrights is fine, but the Festival should understand that its numerous American patrons, or if there is a Canadian playwright.

Honestly, look at the 2009 season as a whole, do not see why the management of the Stratford Festival would be toExpect the most profitable of the 2008 poster. This is a good financial decision to make a great musical theater back to the festival. And personally I'm glad the opportunity to see Racine and Ben Jonson. But besides the Shakespeare plays, the only game right seems likely to draw full houses The Importance of Being Earnest.

Personally I am disappointed that only three Shakespeare plays in 2009 introduced - a bit 'ironic, now that they changed the namethe Stratford Shakespeare Festival. I wanted to play a story in this year, like Richard II or Henry V. I regret not mollified by the Festival, "that the two musicals have roots in Shakespeare is weak inside.

And I'm seriously disappointed that no Shakespeare play is for the year 2008 in the Tom Patterson Theatre expected. Shakespeare works best in this place than in any other theater in Stratford, and perhaps better than any other theatereverywhere.

The Stratford Festival 2007 - Poor Merchant

Tradition or the struggle for free from her is really strange.

Its risk non-conventional means, means attacking his head out.

And like it or leave it, which is very strong for the Arts. We do not like the stick his neck in Canada, unless we happen to hang a sign tells us this is art, should be of interest. The public does not know how this kind of arrogance. Our good art tends to cook in a slow done for years by wind and storm and massiveUnpopularity. But so be it.

artistic director of the Canadian Opera Company, Richard Bradshaw, the severity of the city is divided into two patrons during his early years in Toronto with the public with all sorts of strange productions Sat I never forget a version directed by Martha Clarke-The Magic Flute the queen of the night was climbing in and out of a cabinet in a common format-Weimar Republic-inspired firefighter. Speaking of brave unpopularity.

Bradshaw's UpLobby, had presented the work of Toronto strictly with horns, petticoats, and the rest of the way stereotypical opera. Toronto was not ready for a visionary (some would say arrogant) tactics.

Times have changed, "Bradshaw said. The success of COCs is a testament to the commitment Bradshaw is thoughtful and presents challenging new visions of traditional dishes. Reading COC traditional and modern "Faust last winter wasIt 's a miracle.

It takes a special talent, seamless integration of old and new, modern and old offset, recontextualize of old material, while the emotional heart of a piece intact.

The works of William Shakespeare can not, on the surface, to modernize, but the timelessness of his work works well to adapt to new interpretations and creative staging. Many great British director, including Adrian Noble, Richard Eyre and Jonathan Kent, have proved again and again that Shakespeare should not be straight jacketed into "traditional" productions.

The danger is that the blind a lot of determination to pursue new ideas, leaving the beauty of the original, often left drive Actor evil in the modern age, and baffling public, or worse yet, completely indifferent.

This is the challenge facing director Richard Rose with the current production of The Merchant of Venice at StratfordFestivals>.

Festival is often considered a difficult game, who took over the traditional works much the possibility of Rose, which is the foundation necessary experimental artistic director of Angel, a Toronto-based theater specializing in smaller, more.

The results are mixed, although unfortunately apathetic.

The opening scene is bustling bacchanal pulsing with music and flashing lights, the players to wear face masks on two-man, pig, on the other side gives us the feeling of beingmorally helpless in a sea of hedonism.

A table is to remember an austere version of communion set. nuances as Christ became clear as Antonio, the merchant is entitled, as a figure of Jesus, with a trace of agitation disciples.

Scott Wentworth, the performance of the dealer license is alternately angry, funny, proud and anxious. Yet the soft under which delivers his lines to create a disconnect in some way; Antonio is only afast-talking businessman, or is he in a hurry to get to the next meeting of Disco? Instead of feeling for him, we struggle to capture what he says most of the time.

The comfort with which the words of Shakespeare Wentworth provides arguments against the obvious discomfort of Graham Greene. His Shylock is furious, of course, if somehow not fully human. Like many, he provides a version of a character than a real person. Shylock is not as funny or patheticCharacter, as much as a tabula rasa on which every Christian character heaps his scorn.

What a joke. The production seems determined to bring the worst in every character, no matter how big or small. Ron Kennell of Launcelot Gobbo is all seen through the eyes slit and fawning praise, while Gareth Potter, Bruce Jacob James Dow and a cartoon evoke softness gangsters with their shouting insults and physical intimidation.

The modern look of the production is cool, fresh,and not all of the lush Venice, we know from the film version. Instead of the bearded Shylock glittering robes, get clean-shaven, suited Graham Greene. Instead of Venetians with big hats and ladies in shorts corsets, jackets get bias-cut dresses and pint-band oddly-short/long. Instead pillowy lush Venice get cold steel and jagged edges, where religious processions to materialize from nowhere and Jesus preachers selling vintage tees on the market.

So where are we?Adorned with a Dandy-fascist Venice? Planet or Boo-Jew? This is a cartoon, and Rose finds few moments when the humor that allows his actors away jug (the scene with various suitors Portia comes to mind), it feels strangely out of place all the severity of workpiece subtext. Although not one of his best games, is Shakespeare write scenes in contrast to Portia / Nerissa and Antonio, Shylock for a reason: it also contained wires Bassanio and Graziano bind them together,Linkage of their subjects and characterss. It 'a shame, as a director Rose trust the material and explore more deeply these pathways.

However, there are some fascinating small concerts. Rose has decided to locate the reproduction of the sole with the small role of moral compass Salerio, as interpreted by Paul Amos, a small but incredibly intense performance. The scene in church as anti-Semitic Salerio warned his comrades on Palm Sunday, is a good representation of conflicting ideologies, and I wasWish that the tension throughout the rest of the game, especially as worn, according to Dow Solanio Bully Bruce, and Jacob James 'mocking Salarino, looking angrily silent clash Amos'.

However, any sense of tension in world views between the moral character out the window, while the court has laid the scene in which Shylock by Antonio "the disciple is mocked.

In what was one of the most shocking and disturbing scenes of the game (in Shylock is forced to convert)There is a noticeable lack of seriousness, horror and loss. It remains only a school bully mentality, thinking hardly. Oh, and quite a few guys in suits ridiculous to the future.

All this means vitality and uneven landscape further isolating the audience experience, no matter how many modern twist.

So while I was the courage of Rose in experiments, many styles and references applaud the mix, and I felt lost, and honestly, not emotionally affectedEnd of game. The Merchant of Venice seems to many islands, a real city without so many parts without a whole truth.

I wanted to end, with Jessica sing a Jewish prayer that Topol was magically appear and make everything right again.

Oh, just a dream.

All's well that ends well at the Stratford Festival - A Review

Fortunately, I had the opportunity to see a production of Othello last winter at the Chicago Shakespeare Theater, which was directed by Marti Marades. I was so impressed in the direction of his intelligence, cohesion, and was happy to see me, from his work in Stratford later in the year more. I was disappointed in All's Well That Ends Well.

Challenges would think that something good or gifts for a Director of Othello, because the game itself has such aserious internal problems that can only be glossed over, never resolved. Moreover, the story of Othello is familiar to many theatergoers, 's good, everything ends well is not known, nor is the plot particularly memorable. With these games can not be a director for granted that the audience understand everything that is not explained clearly.

In important ways, the plot of All's Well That Ends Well only your credulity. As the story begins, Bertram (Jeff Lillico), thethe only son of the widow Countess of Rossillion (Martha Henry), leaving the house is called to join the court of the king of France (Brian Dennehy), who is dying. Between the tears of this separation is effected by Helena (Daniela Vlaskalic), a beautiful young woman who lives by a department of the Countess after the recent death of his father, an eminent physician.

Helena cries because she has fallen madly in love with Bertram - hopelessly, because it has BertramThe interest in it and because their different stations in life have a game in any case impossible. But why should love Bertram?

At first he learns from his mouth Elena (himself) that the attraction is physical, and we are in this view confirmed when shortly after, she is a comic exchange with Bertram's servant Parolles (Juan Chioran) on the merits of started virginity.

But how does the play, Bertram shows cowardly and unmanly.Under pressure the king to marry Helena (who healed the king with a recipe inherited from his father), Bertram insults Helena and then pretends to embrace marriage, making secret plans for escape. Later in the game, they fled to Italy, as a soldier to avoid sleeping with his wife, tried to Diana (Leah Oster) a respectable young virgin of Florence, then seduce, to save his own skin, defames her as a bitch.

As an audience we Bertram hated thoroughly. Stillto know everything, Helen never wavered in his desire for a husband. have failed to live in the house with them as she could see his character? And because its flaws are exposed as a disgrace in the world, as it might still want him?

Elena in constant pursuit of Bertram is inexplicable. Equally hard to believe that everyone seems to play except Bertram is knowing that his friend and follower Parolles sliced a braggart and a coward. Bertram may be a CAD, but hardlyseems to be a madman. Why does it take to convince a clever trick to Parolles Bertram has an unworthy friend?

Marti Marades perfect race but the production of All's well that ends well together, despite the improbability game keeps beautifully. Where the Bard a topic touched on during the game helps us move Marades points. For example, introduce and Parolles Helena themes of virginity and procreation, the game begins, the clown Lavaca (Tom Rooney) developsdoor strangely profound comic speeches, Diana and her circle in a scene of late.

Above all, this is a play about our universal experience of pain, loss and resignation of the Countess highlight Lament:

My heart is heavy, and my life is weak;

The pain would be tears and sorrow bids me speak.

(Act III, Scene 5). It would be easy for a director looking for energy, too weak the story that the waste at the expense of the poetry of the play. Lesshere.

We loved to be funny (and almost cruel) scene in which the blindfolded Parolles as a liar and a deceiver unmasked. But this exhibition presents a series of outstanding achievements. The tireless Ben Carlson (who played an energetic Hamlet on the same day we saw all's well that Ends Well) brought the best of his supporting role as First Lord Dumaine. Fiona Reid, as the widow Capilet and Michelle Fisk, as Mariana, were both delicious.

And, of course, the beautiful andgracious Martha Henry, the veteran Stratford actress, is perfectly cast as the Countess of Rossillion. What gives me more time on this show do not forget, however, is the performance of Tom Rooney as a philosopher Lavaca faceted comedian.

Unfortunately there are no weak performances. More disappointing was that of Helen, as Daniela Vlaskalic. He said his lines in an unnatural, almost sing-song manner not learn from Martha Henry, his voice projectin a big theater, with no expression and meaning. Most vibration performance was that of Leah Oster, who inexplicably gave season All's Well That Ends Well the same midwestern elongated apparently used as Marian the Librarian in The Music Man, which was part of the Stratford Festival 's 2008 and I could not help feeling that Brian Dennehy, as the king of France, saved his energy for something else.

The program makes this productionof All's Well That Ends Well (probably written around 1602) is set in 1889. As usual with the deplorable practice of Shakespeare plays in different time periods, led to this troubling inconsistencies.

I was the historical fact that in 1889, was one hundred years had neglected, as was a king of France. But I have more difficulty with Helena and her "pilgrimage had." After the text of the play (Act III, scene 5), Helena has come to Florence in disguise,claims to be a pilgrim, a holy place. (Her real purpose in Florence, is to follow her husband and obtain her marital rights).

Students of European social history can correct me, but my feeling is that the practice of pilgrimages on foot along to religious shrines have long been extinct until 1889. And if it were a woman wearing a Vlaskalic Helena "pilgrim" disguise in these scenes I do not see it. Again, the "modern" setting served only to confusionProperties.