CALL FOR SUBMISSIONS | Stage Manager

STAGE MANAGER NOTICE - PUNCTUATE! THEATRE - EDMONTON, AB

Production name: Bone Wars by Matthew MacKenzie

Date production rehearsal/job starts: 03/24/2017

Deadline to submit: 02/05/2017

Email applications to: julieferguson@punctuatetheatre.com

Contact name: Julie Ferguson

Contact phone: 780-996-6023

Engager Website: www.punctuatetheatre.com

Ethno-cultural mandate or ethno-cultural casting statement:

Punctuate! Theatre is an equal opportunity employer and is committed to hiring a diverse representation of artists.

Additional information:

Punctuate! Theatre is searching for a stage manager for their upcoming production of Bone Wars by Matthew MacKenzie.

Rehearsals begin March 27, 2017 with a prep period the week prior. Performances run April 19 - 29, 2017.

This production will be under the INDIE 2.2 agreement. Both Equity and non-Equity members are encouraged to apply.

Stage managers residing in the greater Edmonton area will be given preference.

Essential skills include musicality, working efficiently and communicating effectively with a large team, an understanding of the nature of independent professional theatre is an asset.

Please submit a letter of interest and resumé to Julie Ferguson, Production Manager, at julieferguson@punctuatetheatre.com by February 5, 2017.

Equity members hired will be engaged under an Equity form of contract.

CALL FOR SUBMISSIONS | Collective Artist

Punctuate! Theatre Society is looking to add at least one new artist to our collective. Punctuate! Theatre does not currently have an Artistic Director; therefore, we are looking to fill a leadership role and/or a collective member position. We are not necessarily looking to fill the traditional role of Artistic Director and invite artists of all disciplines under the umbrella of theatre to apply. The right person will get the position. Our aim is to open a dialogue that focuses on the abilities of individuals, tailoring specific strengths to unique roles and responsibilities, and creating a new position that will augment the strength of the collective as a whole. This could be playwrights, actors, directors, technically inclined folks of all walks and denominations. For the leadership role in particular, candidates should be capable of thinking BIG and being able to make it happen, someone with vision and leadership.

We are looking for artists who have incredible vision and an abundance of innovative, trendsetting ideas. Candidates should be able to bring people together to create great work in a variety of contexts including theatre experiences and fundraising settings. Punctuate! is known for making thoughtful artistic choices that are relevant to the Edmonton community. The new team member(s) must be aware of what is being done elsewhere in the industry and be able to strategically plan when to produce the right shows. They must be able to facilitate a season, while recognizing and fostering the abilities and ideas in others. Some background with dramaturgy would be an asset and strong writing skills are a must.

This person should indicate their interest by submitting a letter of intent and résumé to punctuatesubmissions@gmail.com. The letter of intent (LOI) must indicate if the applicant is interested in applying for a leadership position OR to join as an artistic associate. The LOI must also give us a sense of why you think you would be a great fit for Punctuate!. Applications will be evaluated on a first come, first serve basis. The process will conclude when the hiring team feels the right individual(s) have been found. Please indicate in the subject line of your emailed application if this is a Leadership or Collective application, and your name.

We value your time and ours, therefore not all applicants will be granted an interview. 

Throw Down with Punctuate! Theatre | January 16, 2016

Saturday, January 16th, 7pm - 2am 

Rosario's Pub (11715 108 Avenue)

Entry by Donation


Join us for a wild night of fun and fundraising,

PLUS the 24th birthday of Punctuate's very own Julie Ferguson!


Activities include:
Dart Tournament | 50/50 Draw | Karaoke | Ping Pong


All proceeds go to This Is War by Hannah Moscovitch, March 3-13 in the PCL Studio Theatre.

3rd ANNUAL FUNDRAISING GALA | November 7, 2015

3rd Annual Fundraising Gala

Presented by The Organic Box

November 7th at  7:30 pm

THE RUTHERFORD HOUSE
(11153 Saskatchewan Drive)

Punctuate! Theatre is pleased present its 3rd Annual Fundraising Gala presented by The Organic Box at the historic Rutherford House (11153 Saskatchewan Drive). Guests are invited to join the company and board of Punctuate! Theatre for an evening of locally sourced tapas and wine pairings, as well as circus inspired performances by local Edmonton artists.

The circus themed evening will be full of fresh food and drink pairings expertly prepared by Punctuate!'s own company members and featuring fresh ingredients from The Organic Box and Acme Meat Market

“This is a wonderful opportunity for the public to enjoy great food while supporting one of Edmonton’s most exciting theatre companies,” Miranda Sommerville, President of Punctuate!'s Board of Directors says. “Proceeds from this event will help us continue to produce award-winning theatre, specifically This Is War by Hannah Moscovitch, our next production in March, 2016 at the PCL Theatre.” 

Colin Matty of Edmonton’s only Poet Shop will delight guests with spoken word poetry crafted to order. Other performances include original circus acts by Miranda Allen and Josie Cox, and delightful roving performances by Zoë Glassman and Byron Martin.

Tickets are $50 per person and are available here.  

Thank you to our Sponsors:

The Menu


First Course

Greek Salad Bites 

Fresh feta tossed in homemade Greek dressing, paired with the finest cherry tomatoes, cucumbers, and olives from The Organic BoxVegan & Gluten Free

Paired with

De Angelis Chardonnay Prato Grande

Sponsored by Funds Administrative Service Inc., De Angelis Chardonnay Prato Grande is unoaked and fresh with notes of citrus, mineral, tropical fruit and hazelnuts.

With a performance by

Contortionist Josie Cox 


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Second Course

Seared Sirloin Crostini 

Toasted baguette topped with truffle aioli, arugula, parmesan and featuring seared sirloin steak from ACME Meat MarketVegetarian & Gluten Free options available

Paired with

De Angelis Chardonnay Prato Grande

Sponsored by Funds Administrative Service Inc., De Angelis Chardonnay Prato Grande is unoaked and fresh with notes of citrus, mineral, tropical fruit and hazelnuts.

With a performance by

Poet Colin Matty


---
 

Third Course

Petite Lemon Meringue

Handcrafted lemon meringue paired with fresh blueberries & raspberries from The Organic BoxVegetarian & Gluten Free.

Paired with

 Savanna Premium Cider

Sponsored by PMA Canada, Savanna Premium Cider will delight your tastebuds with its crisp and dry finish.

With a performance by

Escape Artist Miranda Allen

 

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The evening will also feature roving  performances by Zoë Glassman & Byron Martin.

CALL FOR SUBMISSIONS | SCIP Internships for Punctuate!s 2015/2016 Season

Punctuate! Theatre is looking for competent, skilled, and creative students to join our team as SCIP Interns for the 2015/2016 Season. SCIP interns learn valuable skills in producing independent theatre, become connected with key partners in the Edmonton theatre community, and become a pivotal part of our season’s success. 

Associate Producer

This intern will work closely with the Artistic Producer to assist in coordinating all of the special events surrounding our productions including opening and closing night receptions, community and artist talk-backs, and fundraising events. The intern should be located in Edmonton.

Skills Required:

·      Working knowledge of Microsoft Word & Excel

·      Experience planning/running events (asset but not mandatory)

·      Experience working with large groups of volunteers

·      Experience making budgets, schedules, and other spreadsheets

Timeslots Available: (Please specify your preferred time slot in your application)

September-October 2015

November-December 2015

January-March 2016

April-July 2016

Click here to see the full listing and to apply.

 

Development Intern

This intern will work closely with the Artistic Producer to source and approach potential sponsors, donors, and supporters. This position will also include fundraiser event planning with the company, volunteering at special events, and assisting with Silent Auction coordination. 

Skills Required:

·      Working knowledge of Microsoft Word & Excel

·      Experience creating sponsorship packages (asset but not mandatory)

·      Experience with Silent Auctions (asset but not mandatory)

·      Experience planning/managing fundraiser and special events (asset but not mandatory)

This is a full-season, very part-time position based on the student’s availability and class schedule.

Click here to see the full listing and to apply.

 

Box Office Manager

The student will be responsible for seeking out and scheduling volunteers for box office, training all scheduled volunteers, and creating new tracking documents for ticket sales and inventory. The Box Office Manager will work closely with the Producer to make sure all box office duties are clearly planned out for the volunteers, and that all volunteers are treated with respect.

Skills Required:

·      Working knowledge of Microsoft Word & Excel

·      Experience working with large groups of volunteers

·      Experience making schedules and other spreadsheets

·      Working knowledge of how a theatre box office operates

This position will be part-time throughout January-March, 2016.

Click here to see the full listing and to apply.

 

Volunteer Coordinator

The student will be responsible for seeking out, scheduling, and training volunteers for special events, fundraisers, concession, and box office. The Volunteer Coordinator will work closely with the Producer and Box Office Manager to make sure all volunteer duties are clearly planned out, and that all volunteers are treated with respect.

Skills Required:

·      Working knowledge of Microsoft Word & Excel

·      Experience working with large groups of volunteers

·      Experience making schedules and other spreadsheets

This is a full-season, very part-time position based on the student’s availability and class schedule. The bulk of the work will be in January-March, 2106.

Click here to see the full listing and to apply.

 

Associate Designer

The Associate Designer will work closely with our Production Designer in a focused area: lighting, costumes, set, props, or sound design. The Associate Designer will create tracking and requirement paperwork, and will source and shop for design materials. In addition the Associate Designer will assist with set-up and strike of the performance venue, and could potentially assist in building the set.

Skills Required:

·      Working knowledge of theatre lighting and sound equipment working knowledge of how to operate a sound or lighting board

·      Working knowledge of proper safety procedures for light hangs and strikes

·      Working knowledge of theatre design elements

This is a part-time position running throughout December 2015-March 2016.

Click here to see the full listing and to apply.

 

Associate Production Manager

We are looking for someone to work closely with our Production Manager to help create all of the necessary schedules, and production paperwork. In addition the Associate Production Manager will liaise with all of this season's directors, designers, and stage managers to ensure that the requirements of all shows are met.

Skills required:

·      Basic knowledge of technical theatre

·      Basic knowledge of theatre production

·      Basic knowledge of production paperwork

This is a part-time position running throughout December 2015-March 2016.

Click here to see the full listing and to apply.

REVIEW | Risk Everything & Problem Child | Edmonton Journal

Suburban Motel experiment offers heartfelt black comedy

BY LIZ NICHOLLS, EDMONTON JOURNAL APRIL 30, 2015

REVIEW

Problem Child, Risk Everything

Part of: The Suburban Motel Series

Theatre: Punctuate!

Written by: George F. Walker

Directed by: Jeff Page

Starring: Gianna Vacirca, Neil Kuefler, Elliott James, Rebecca Starr, Chris W. Cook

Where: C103, 85329 Gateway Blvd.

Running: through May 11

Tickets: TIX on the Square (780-420-1757, tixonthesquare.ca)

“What’s wrong with you these days? How come the slightest thing can set you off?” says a mother to her daughter in Risk Everything. Yeah, well, Carol, there is this little matter of your bad gambling debts, the murderous thug waiting outside in his car, the human bomb inside, the pornographer in bed with you ... The list goes on.

We’re in a nondescript motel room on the outskirts of chaos, a bunker with a janitor who sobers up once a week to clean the joint. And the people who check in may look tough as hell but really they’re desperate, one logical but crazy plan away from oblivion.

Yes, we’re back in the world of George F. Walker, at the intersection of despair and hilarity where you can never quite figure which way the traffic is coming at you. Welcome back George, we’ve missed you. Canadian theatre hasn’t been exactly a hotbed of hard-edged, tightly wound black comedy of late.

In figuring out how to alternate all six plays of Walker’s ’90s Suburban Motel cycle, with their revolving gallery of feisty and furious low-lifes, Edmonton’s enterprising Punctuate! Theatre does something unprecedented in professional Canuck theatre. Wednesday night, they launched their grand project with Risk Everything and Problem Child, the latter the most-produced of the series, the former perhaps the least.

The two “comedies of anxiety,” both directed by Jeff Page, share a young couple, ex-hooker ex-junkie Denise (Gianna Vacirca) and her ex-con fella RJ (Neil Kuefler), who got addicted to daytime “confrontation” reality TV while in the slammer. In Problem Child, the more satisfying play of the two and the most complex in tone, they’re holed up, desperate to get their baby back from foster care. They’re blocked by a smug, sanctimonious social worker played by Rebecca Starr, whose condescending smile could freeze a Jack Daniels at 100 paces.

The world calls them losers, of course. But what Denise and RJ, along with the sodden motel janitor Phillie (Elliott James), haven’t lost is a sense of outrage. And though the production may be pitched a little uniformly high to be sustainable, the actors certainly commit to their outrage. As Vacirca’s performance vividly conveys, Denise’s outrage is hurled at the certainty that the deck is stacked against “people like us, the scum of the earth.” The outrage mustered by Kuefler’s RJ is directed at the egregious assaults on humane behaviour and fair play in the cheesy talk shows he watches. Which means he actually maintains a shred of hopefulness in a chaotic world.

James has a show-stopping comic presence as the phlegmatic Phillie, reduced to inarticulate fury from time to time by his own sense of injustice. “I’m a drunk; I’m not a kidnapper. There’s a difference,” he explains reasonably to Denise late in Problem Child. But he’ll try again: “It’s something I could take pride in.” You’ve got to love him for his refusal to give up, no matter the odds.

Risk Everything is a thinner, more purely farcical kind of comedy. It adds to the mix Carol (Kristine Nutting), a risk junkie whose appetites and evasions spread risk around her in a way that escalates wildly. Like so many Walker characters, she has put her hooks into the pop-sociology lexicon of self-justification. And she uses it amusingly. Nutting’s performance nails a wheedling kind of improvised grievance in every scene; she isn’t always audible, though, unlike her furious daughter. Chris W. Cook has a droll cameo as the gallant next-door pornographer with the hots for Carol. The play isn’t as bruising in its humour as Problem Child; no play that contains a thug called Steamboat could be, probably. But it’s propelled at a brisk pace.

Nothing is going to be truly OK ever again,” says Denise at the end of Problem Child. The desperation of knowing that makes for a particularly layered kind of black comedy, heartfelt, absurd, and apocalyptic. That’s Walker. And I can’t wait to see more.

© Copyright (c) The Edmonton Journal

Click here to see the full article. 

PREVIEW | The Suburban Motel Series | Vue Weekly

The Suburban Motel Series links six plays through a single motel 

From a rented room

April 29, 2015 Paul Blinov
Issue: #1018: The Suburban Motel Series

There’s something in the neutral nature of a motel that just seems dramatic. Maybe it’s the ease of access—anyone, poor or rich, can find reason to end up in one—or that the pleasant blandness of such a room leaves you with few distractions to hide from your own demons. Or maybe it’s that, despite the neutrality, its walls have witnessed an extremely varied history: there’s the lingering sense that you aren’t the first, and certainly won’t be the last, to call the place home for a night or for much longer.

“The people who have been in that space before you leave their imprint,” Elliott James notes. “We’ve been doing tours a lot with [touring Shakespeare company] Prospero: we stayed in a real dive about a year ago, where every dish that was in the kitchen cabinet was dirty, put away. Cigarette butts burned holes in the little duvet. And everyone who was there when we got there was living there. We were there for a week; they were there for months. There’s no end-date to some of these things, even though everyone wants there to be one.”

James is returning to such a space, but this time in performance: a lone motel room plays home to all six plays in George F Walker’s Suburban Motel Series, which is being presented in full by the indie theatre upstarts of Punctuate! Theatre in a herculean, mind-boggling sort of theatrical feat. More than 40 artists are involved, from production work to the technical side to the performances—here, 15 actors play 20 characters (some of the same characters appear in multiple plays; other actors play different roles in different shows). Three directors helm a pair of the plays each: Jeff Page, on Problem Child and Risk Everything, Geoffry Ewert with The End of Civilization and Adult Entertainment and Liz Hobbs on Featuring Loretta and Criminal Genius.

James is sitting across a conference-sized table from Andréa Jorawsky—who, along with James, is part of that 15-strong cast—and Hobbs, two of Punctuate!’s other core members. Broaching the idea of producing six plays, they note, began when the company lost its home TACOS space last year, but still wanted to produce a season of sorts.

“We really didn’t want to lose that, working with a whole bunch of people and doing something that employed artists,” Hobbs says. “We were trying to come up with something that we could do that we didn’t have to rent theatre space for—which is also, y’know, impossible to actually book in this city.”

The Motel sequence came up in those discussions, but it didn’t find much traction at the time. Until Hobbs found herself unable to sleep one night; as she wondered what her company could do, her mind wandered to the Walker scripts.

“I started flipping through the plays, and making diagrams and flow charts of all the characters and all the requirements,” she recalls. “Is it even possible? A few hours later, I figured out how to rehearse all six of them in rep with the fewest amount of people possible, in a way that made sense.”

Doing the full suite of Suburban Motel plays has made all of Hobbs’s flowcharts into a nimble sequence of many moving parts: all six productions have been rehearsing in proximity, two to a floor, in the Eric Cormack Centre, itself a transient sort of space these days—a former psychiatric-care facility in Grandin, it’s currently finding ample use in theatre and television work.

Staging Walker scripts also marks a return of sorts for Punctuate!: five years ago, the company staged a Fringe production of The End of Civilization, just one the sequence of plays that, produced in full rep or no, have found their way in to the Canadian theatrical canon.

“I remember in theatre school, I feel like every acting class I did, someone did a scene from Problem Child,” Jorawsky says. “I don’t know if zeitgeist would be the right word, but I was familiar with most of the plays.”

The scripts run a gamut of character types, among Walker’s dark, sometimes comic writing: characters from all social strata find themselves among its six scripts, from criminals to the middle-class to white-collar lawyer types.

“You realize [the scripts] all sort of boil down to one of two basic things,” James says. “It’s a lot about justice and a lot about how the meek, lower people in society don’t get their dues.”

“All the characters are trying to get out of this space,” Hobbs notes later, continuing the thought. “None of them are setting up home in this motel; all of them are fighting for a better life, or something outside of it. That alone gives us immediate dramatic action for every single one of them. Because it’s not a permanent space, it’s a transitory space.”

“A waiting cell, almost,” Jorawsky nods.

The plays are being paired two per night, but Punctuate! is offering two marathon days, each Saturday of the show’s run, where you can take in all six in a single go, and have a catered meal and access to a bar thrown in. But if a six-play run of shows seems daunting, ask yourself: how fast do you burn through Netflix shows these days?

“From a fun standpoint, you get to binge watch,” Jorawsky says with a laugh. “You get to go, you get this catered meal, you can drink while you’re watching them, have a day of living in this world, observing these characters doing what they’re doing.”

Adapting the binge-watch cycle of modern TV consumption and applying it to theatre isn’t new to town, either: it’s happened most recently with the acclaimed Maggie-Now play cycle, and, a few years back, for a remount of Ken Brown’s hit Fringe series Spiral Dive.

But unlike those era-spanning shows, the Suburban sequence links itself mostly through location—that single, rented room—its characters all contemporary (the scripts were written in the late ’90s), and in that, it seems to offer curious insight into the extended history of such a transient space, and the people who find themselves occupying it, for better or worse.

“If you come to one play, you may not see yourself on stage,” James says. “But if you come to all of them, I’m guessing you’ll see yourself, in some way … no matter where you are on the spectrum. It’s kind of like being a voyeur for a week in a real dive.”

“We have cops, we have lawyers, we have a young girl trying to figure her life out, we’ve got criminals,” Hobbs notes. “People from everywhere end up in the same position.”

“They all touch the same remote,” James adds.

Click here to see the full article. 

PREVIEW | The Suburban Motel Series | Edmonton Journal

Edmonton’s Punctuate! Theatre tackles all six Suburban Motel plays

BY LIZ NICHOLLS, EDMONTON JOURNAL APRIL 24, 2015

PREVIEW

The Suburban Motel Series

Theatre: Punctuate!

Written by: George F. Walker

Directed by: Liz Hobbs, Jeff Page, Geoffrey Ewert

Where: C103 Theatre, 8529 Gateway Blvd.

Running: April 29 to May 11

Tickets: TIX on the Square (780-420-1757, tixonthesquare.ca)

Hitchcock, I’m thinking, would have loved this place.

We’re in a brick fortress downtown. Counter-intuitive sunlight glints off the springs of an assortment of skeletal hospital cots. There are skinny coffin-shaped bathtubs draped in ominous tubes, sinister dentist chairs with wheels, and straps. There’s stuff in every cupboard, every closet. In the “pediatric aerosol tent,” as stencilled on the door, framed pictures of dead babies, with pastel wings, are stacked. Whoever left, left in a hurry — or didn’t leave at all.

The people who knock, once, for admittance at a locked orange door at street level aren’t ghosts, though. They’re directors, actors, producers, production and stage managers and their assistants, designers, some 40 in all. As these connoisseurs of irony readily concede, there is something eerily apropos about occupying an abandoned mental hospital, all five floors of the Eric Cormack Centre, to rehearse the black, funny, gritty tragicomedies of Canadian playwright George F. Walker, whose hardscrabble urban characters find themselves marginalized at the edges of civilization.

For the first time in the country (save one fleeting Fringe experiment in Vancouver), all six of Walker’s Suburban Motel plays, set in the same fleabag motel room, will run at C103 theatre, two a night starting Wednesday (through May 11), with full-immersion six-play marathons May 2 and May 9.

This vast and intricate project, which has attracted a stellar array of Edmonton theatre artists, is the work of an adventurous Edmonton indie company, Punctuate! Theatre.

They fully earn their exclamation mark just for figuring out the rehearsal logistics: all but four of the 15 actors are double-cast, and some of the characters show up in more than one piece. Since each of the three directors — Jeff Page, Geoffrey Ewert and Punctuate! artistic director Liz Hobbs — helms two plays, and rehearses one of them all day on alternating days on a different floor, three rehearsal versions of the seedy motel room exist on floors five, four and three: a couple of utilitarian ’50s kitchen chairs and a table, bed frames by Ikea, mattresses by Punctuate! scavengers.

“I wrote the grant applications last June,” grins Punctuate!’ s producer Sheiny Satanove, as we move downward floor by floor from Page’s rehearsal stronghold on the fifth, dubbed “the children’s floor” in honour of its tooth-grittingly cheerful yellow paint. Production manager Julie Ferguson started the rehearsal scheduling last September.

This isn’t their first venture into Walkerland. Punctuate! was born in a 2010 Fringe production of The End of Civilization, one of Walker’s Suburban Motel plays. Hobbs directed; Page appeared memorably as the more menacing of a pair of cops. Satanove, for one, has been suggesting something as crazily massive as Walker’s entire 1990s Suburban Motel cycle ever since.

With the continuing unavailability of the TACOS arts space in Old Strathcona, “we had no venue, but we had the desire to do something so big it couldn’t fail!” smiles Hobbs. “Better to be huge and innovative and employ a lot of artists than small and cautious ... I woke up in the middle of the night and thought ‘this might actually be do-able!’; I did the math, then slept on it for a couple of days just to make sure I wasn’t hallucinating.”

Amazingly, it computed.

But why Walker? And why this 1990s cycle by a star Canadian playwright like no other, for his combination of scabrous hilarity and zinging social indignation?

“The plays are about real people, people not often represented in theatre,” says Hobbs, who’s directing Featuring Loretta and Criminal Genius. It’s the downsized, sidelined, furious losers who inhabit Walker’s aggrieved and scrambling demi-monde. “They’re about people who don’t go to theatre,” says Ewert, who is in charge of The End of Civilization and Adult Entertainment. “And they’re funny!”

“All the characters make valid points, thoughtful points,” says Hobbs. “They’re in extreme situations, darkly comic; they’ve ended up in this (motel room), a transitional space, all of them in there fighting for something better for themselves ... You laugh at them because they make sense. You can recognize yourself, things you’ve said, the struggle to not get blamed, to be recognized as valuable. ”

As Ewert says, “we’re all only a few short steps — a couple of bad choices or things beyond your control — from their circumstances. Take Henry, fighting for work day after day in The End of Civilization. I’ve been there! I know what it’s like. All of these characters are trying to get somewhere, to move on, elsewhere, with their lives ... The motel is their purgatory.”

“Will they succeed in making something better for themselves? A lot of the plays end with a question mark.”

Satanove is attracted to the plays because, extreme as their choices might be — arson, violence, murder, porn, prostitution — “the characters are so real. And though the plays are probably set in Toronto, I feel like these could be characters right here in Edmonton.”

For the actors, there’s the rare experience of rehearsing two alternating plays. Andrea Jorawsky, a core Punctuate! artist, loves the “24 hours you get to let whatever you’ve learned in rehearsal sink in. And there’s no time to obsess.”

Amber Bissonette, who plays the title character in Featuring Loretta and the helpful hooker next door in Problem Child, says of her first rep experience that it takes some getting used to, “riding two waves at once.” For Elliott James, the experience is even more intense since he plays the same character, the motel clerk Phillie, in two plays, Problem Child and Criminal Genius, at evolving stages of a dissolution into booze. “In the first play he’s struggling to keep functioning. In the other, he’s off the wagon for the whole show.”

“To me, the plays are, together, about the fallout of capitalism,” says Harley Morison, assistant director to Ewert, and an actor/playwright himself. “There’s a progression in time and lack of success ... It’s pretty fascinating to see these characters. They may be losers; they may end up in the same motel room ... What interests Walker is to see people trying.”

© Copyright (c) The Edmonton Journal

Click here to see the full article. 

PREVIEW | The Suburban Motel Series | Edmonton Journal

Lives in turmoil in these Suburban Motel plots

BY LIZ NICHOLLS, EDMONTON JOURNAL

“A slightly rundown motel room, on the outskirts of a large city.”

That’s the setting for each of the six full-length one-act black comedies in George F. Walker’s 1997-1998 Suburban Motel cycle: a transitional space, “a drab, camouflaged circle of hell with an ice machine” as one of Walker’s most experienced directors Daniel De Raey puts it. Characters whose lives are in turmoil come and go; they make big, crazy plans; they improvise; they return to regroup. Three of the six premièred in New York at Rattlestick Productions directed by De Raey, three at Factory Theatre in Walker’s home town, Toronto, directed by the playwright.

1. Problem Child: Denise, a former prostitute and junkie, and her boyfriend RJ, out of the slammer and addicted to daytime TV, are holed up in the motel room. They’re battling a purse-lipped and sanctimonious social worker to get their child back from The System.

2. Adult Entertainment: Max and Jayne are having sex in the motel room: one’s a burnt-out cop and the other a public defender and they both have an agenda beyond getting laid. Meanwhile, the cop’s booze-soaked, unravelling partner waits outside in his car. Things go wildly awry.

3. Criminal Genius: A father-son pair of career criminals prove absolutely hopeless at executing anything as complicated as arson, and unleash more chaos by means of their strict policy of non-violence. Violence ensues. So do some hilarious analyses of group dynamics and the apportioning of blame in our society. “When was the last time I did something and got away with it? There’s always some kind of punishment. ... Why is that?”

4. Featuring Loretta: The title character, a server in the hospitality industry, wants to jump-start her life; her husband has been eaten by a bear. Now she’s being pulled apart by a whiny would-be boyfriend, and a slick guy for whom Lorrie figures prominently in his big pornography plans. Figuring in the plot is Lorrie’s friendship with the Russian physics student whose ex-KGB dad owns the motel.

5. The End of Civilization: In the most scathing social satire of the cycle, Henry has been bounced from his job, and his middle-class life, and has ended up in the motel room. While he looks for work, with increasing desperation and outrage about the infinite ruthlessness of corporate greed, he takes up a more available line of work, thanks to the hooker next door. Presiding over the murder case that may or may not implicate Henry are a couple of mismatched cops with issues of their own. “It’s like the Grapes of Wrath out there. People walking around like they’re the victims of some huge cataclysm. All slouched over. Muttering to themselves ...”

6. Risk Everything: In this, the most farcical of the cycle, RJ and Denise from Problem Child are still in the motel room, joined by Denise’s mom, who seems to have been beaten up. It turns out that the “victim” is outrageously brazen about drawing everyone around into her chaotic life, which involves gambling, stealing, and drug deals.

In Punctuate! Theatre’s Suburban Motel project, all six plays alternate in rep at C103

© Copyright (c) The Edmonton Journal

Click here to see the full article. 

Rehearsing The Suburban Motel Series in The Eric Cormack Centre

We have had the pleasure of rehearsing all six shows of The Suburban Motel Series by George F. Walker at the Eric Cormack Centre, a former psychiatric care facility in Edmonton's Grandin neighbourhood. The building provides endless hours of scavenging through remnants of the old hospital and enough rehearsal furniture to furnish three rehearsal halls. Punctuate! Theatre would like to thank Infrastructure Alberta for making this all possible. The cast and crew of #yegmotel have taken over the entire building, setting up green rooms, lunch facilities, and secluded nooks to run lines in. The moment you enter the building the energy is palpable; Punctuate! Theatre can't wait to show you what we've been working on. 

Floor 2

Production Office, Green Room, & Lunch Room

Artistic Associate Andréa Jorawsky who is playing Amanda and Sophie. 

Artistic Associate Andréa Jorawsky who is playing Amanda and Sophie. 

Floor 2 is where we held our first reads at the start of the rehearsal process. We read three plays a day, and the entire company joined us to hear the scripts. We also host all of our production meeting on Floor 2. Most importantly, people can always stop by Floor 2 to chat with production manager Julie Ferguson, and Producer/Publicist Sheiny Satanove while they toil away in their office. 

Floor 3

Adult Entertainment & The End of Civilization

Director Geoffrey Ewert speaks with actors Troy O'Donnell (Max) and Annette Loiselle (Jayne). 

Director Geoffrey Ewert speaks with actors Troy O'Donnell (Max) and Annette Loiselle (Jayne). 

Floor 3 houses  Adult Entertainment and The End of Civilization directed by Geoffrey Ewert. These shows follow homicide detectives Max and Donny and their work in the seedy underbelly of the city. Along with his team, Jenn Best (SM), Jake Blakely (ASM), and Harley Morison (Asst Director), Geoff is leading a team of veteran actors, Julien Arnold, Troy O'Donnell, Amber Lewis, Annette Loiselle, Amber Bissonnette, and Patrick Howarth.

Floor 4

Featuring Loretta & Criminal Genius

Director Liz Hobbs and Assistant Director Erin Voaklander watch over fight rehearsal led by Fight Director Patrick Howarth. Featuring actors Chris W. Cook (Michael), Oscar Derkx (Dave), and Amber Bissonnette (Loretta). 

Director Liz Hobbs and Assistant Director Erin Voaklander watch over fight rehearsal led by Fight Director Patrick Howarth. Featuring actors Chris W. Cook (Michael), Oscar Derkx (Dave), and Amber Bissonnette (Loretta). 

Floor 4 is home to Featuring Loretta and Criminal Genius directed by Artistic Director Liz Hobbs. These two dark comedies have filled the rehearsal hall with plenty of laughs. Along with her team, Ashley Carter (SM), Andrea Murphy (ASM), and Erin Voaklander (Asst Director), Liz is leading a team of talented local actors, Andréa Jorawsky, Oscar Derkx, Chris W. Cook, Annette Loiselle, Amber Bissonnette, Elliott James, and Mark Stubbings. 

Floor 5

Risk Everything & Problem Child

Elliott James (Phillie) and Neil Kuefler (RJ) rehearse a scene from Problem Child as Brooklyn Ritchie (SM), and Candice Stollery (ASM) watch on. 

Elliott James (Phillie) and Neil Kuefler (RJ) rehearse a scene from Problem Child as Brooklyn Ritchie (SM), and Candice Stollery (ASM) watch on. 

In the penthouse suite are Risk Everything and Problem Child directed by Jeff Page. These two deeply intimate and dark shows follow young couple RJ and Denise and their attempts to make a new life for themselves. Along with his team, Brooklyn Ritchie (SM), Candice Stollery (ASM), and Patrick Lundeen (Asst Director), Jeff is leading a dynamic team of actors, Elliott James, Gianna Vacirca, Rebecca Starr, Neil Kuefler, Chris W. Cook, and Kristine Nutting.

The Suburban Motel Series runs April 29th-May 11 at C103. 

Click here to purchase tickets

You're Invited to Throw Down Punctuate! Style

Join us for a wild night of fun and fundraising 

at Rosario's Pub
11715 108 Avenue

Saturday February 28th
7pm - 2am


Activities include:
"Darts by Dart" 
A dart tournament hosted by Catch the Keys' Beth Dart

50/50 Draw
Karaoke

Drinks will Flow
Pizza-by-the-Slice will be on Sale

Entry by Donation
All proceeds go to
The Suburban Motel Series

Can't attend?
You can still support The Suburban Motel Series by donationg to our Indiegogo campaign. 

Call for Applications | AUDITIONS | Suburban Motel Series

AUDITION NOTICE - ACTOR - PUNCTUATE! THEATRE - EDMONTON, AB

Production name: Suburban Motel plays
Date production rehearsal/job starts: 03/30/2015
Audition date: 10/04/2014
Audition date 2: 10/05/2014
Deadline to submit: 09/29/2014
Email applications to: lizhobbs@punctuatetheatre.com
Contact name: Liz Hobbs
Contact email: lizhobbs@punctuatetheatre.com
Contact phone: 780.504.7654
Engager Website: www.punctuatetheatre.com

Ethno-cultural mandate or ethno-cultural casting statement: 
Punctuate! Theatre encourages submissions from artists of all diverse
backgrounds.

Additional information: 
Punctuate! Theatre is holding auditions for our 2015 repertory
production of all six of George F. Walker's Suburban Motel plays. Actors
should expect to appear in two different plays and play up to two
different characters in the production. We are auditioning for all
roles, male and female, ages ranging from 21-50 years old.

Rehearsals: March 30, 2015-April 28, 2015 (full time rehearsal,
alternating Day A/B repertory schedule)
Production run: April 29, 2015-May 11, 2015

Successful applicants will be provided with audition sides. Please
submit a resume, headshot and statement of interest (maximum one page)
to Artistic Director Liz Hobbs no later than Monday, September 29th by
5pm MT. Please email submissions to lizhobbs@punctuatetheatre.com

All three directors (Geoffrey Ewert, Liz Hobbs and Jeff Page) will be
present at auditions.

Both equity and non-equity members are encouraged to submit. All artists
will be engaged under a form of equity contract.

***Please note that preference will be given to local Edmonton actors.
Punctuate! Theatre will not provide lodging or travel expenses for
out-of-town actors.

Equity members will be seen first at all open audition calls. Equity
members cast in this production will be engaged under an Equity form of
contract. CAEA members: please bring your membership card to the
audition.

Call for Applications | STAGE MANAGERS | Suburban Motel Series

Punctuate! Theatre is looking for three stage managers for their upcoming production of George F. Walker's Suburban Motel Series. Each stage manager will work on two of the six plays alongside one director. 

 

Rehearsals begin on March 30, 2015, all six plays will rehearse in rep. 

Performances run from April 29-May 11, 2015. 

 

Local stage managers will be given preference. Punctuate! Theatre will not provide lodging for out of town artists. 

 

All three positions will require stage managers who work efficiently and communicate effectively with the large team assembled to complete this production. An understanding of the nature of independent professional theatre is an asset.

 

Please submit a letter of interest and resumé to Julie Ferguson, Production Manager, at julieferguson@punctuatetheatre.com by Monday, September 29, 2014.

 

This production will be under the Indie 2.0 agreement. Both Equity and non-Equity members are encouraged to apply.  Equity members hired will be engaged under an Equity form of contract.