The World Premiere of Rose is going to be our most highly anticipated and most ambitious show ever! Here is a sneak peek at the set designs Lorenzo Savoini has been preparing for Soulpepper’s fully original musical. Lorenzo described the look he is going for as Wes Andersen meets Pixar. Take a look for yourself!
The World Premiere musical Rose is on sale now! Performances begin January 17, 2019.
Donor history: I donated to Soulpepper at the end of 2016, and it was my first donation to the company. However, I have been donating to various charities since I was a child. Philanthropy, although it was never referred to as such, was encouraged and supported by my parents for as long as I can remember.
How did you first learn about Soulpepper/What is you first memory of Soulpepper?
I have a memory of an acting company formed by Canadian actors in Toronto; I had never seen a production by Soulpepper until we went with our nephew from France to see The Sunshine Boys in 2012.
My sister who lives in the Maritimes was actually a catalyst to sparking my interest in Soulpepper. She mentioned to me that there are so many opportunities in Toronto to see live theatre and other cultural events. She used to travel here once or twice a year to see a play.
What inspired you to support Soulpepper?
My wife and I became season subscribers last year and enjoyed the plays very much. I have a true sense of an acting company at Soulpepper with actors appearing in different productions. I am also impressed by the encouragement offered by Soulpepper to other companies such as the Storefront Theatre’s production of Chasse Galerie and Why Not Theatre’s A Brimful of Asha. Above all else, we have seen some amazing productions: Jitters, Happy Place, The 39 Steps, Spoon River, and Of Human Bondage just to name a few.
What would you tell someone who is thinking about giving to Soulpepper? And, why do you think the arts should be a priority for philanthropy?
Please donate now, don’t wait. The arts in Canada are underfunded so every little bit helps. Artists need a space and a place to express their creativity. Soulpepper nourishes that creativity through their many youth programs, the Soulpepper Academy, and their artist residencies. Plus Soulpepper is a not-for-profit theatre company.
How do you imagine Soulpepper in 10 years?
Extended footprint but still in the Distillery District.
More Canada-wide touring initiatives.
Well received in-house developed productions.
Albert continuing to sing and tour Frankly, Sinatra (as he does without the use of Old Blue Eyes’ teleprompter).
It’s always new. With theatre, with great writing, it’s always new. Old choices have to be reconsidered, new choices have to be made. Every moment has to be navigated through; feelings found again. This is a good thing.
It’s been over a year since we premiered and closed The Last Wife at the Stratford Festival and a lot of evolution (or devolution) can happen in a trip around the sun. While we are blessed to be reunited with almost the entire star-filled company, the truth doesn’t stay put, that’s what I’m learning. Truth moves as context widens with time, for those who pay attention. The world is different today than it was when we first dove into the court of the Tudors and the life and often neglected contributions of Katherine Parr. For myself, I can say that my relationship to, and understanding of, power structures have broadened (for one, I’ve been introduced to Noam Chomsky). The fact that a man named Donald Trump has become president-elect of “the most powerful nation in the world”, winning against the most qualified presidential candidate in US history – who also happens to be a woman – changes the exploration of oligarchy and monarchy and patriarchy. I continue to be awakened to the diverse and persistent forces that seek to suppress the female half of our species, and alienate them from power.
And then there’s Bess, the princess I have become very acquainted with and will continue to grow within this summer in the subsequent piece to this play: ‘The Virgin Trial’. Elizabeth I, future Queen of England, who ruled well and long and, ignoring precedent and resounding advice, chose not to marry because she knew that a man at her side would only serve to undermine her power and destiny. What a fascinating amount of self-confidence and self-assuredness she must’ve held to defy those expectations – especially considering this was five hundred years ago. At the same time, I can’t help but see how little has changed since then. She is still, in many minds, an exception to the rule of women, which is, according to patriarchy: being less capable and deserving than men at holding and wielding power.
It’s so funny though – in the perplexing (and vexing) and not haha way – because all I see around me are women who seriously rule. And then I find myself back where I was when I first read this play: in a refreshing imagining of history according to Kate Hennig, the playwright. Alongside her we continue onwards, lit with a determination to break through, to make change, to rule, and to resist any assumptions to the contrary.
The Last Wife is on stage January 20 – February 11. Learn more here.