Friday, 17 November 2017

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters


Behind the Scenes at Ontario’s Theatres


TO Toasts


In Case You Missed It

Thursday, 16 November 2017

A Fruitful and Festivity-Filled Fall for Ontario Summer Theatre

by Rachel Kennedy, Professional Theatre and Education Manager

As you have probably noticed, the bright, beautiful days of summer have come and passed for 2017.  It’s true that our clocks have changed, our fall jackets are starting to feel worn in again, and some people have even been shovelling snow—but that doesn’t mean that the excitement has stopped for Ontario Summer Theatre! It has been a busy month for OST members, as we tied up their summer seasons with an AGM and welcomed new talent into the room for our 2017 General Auditions—so grab a hot cup of cocoa and let us fill you in on what we’ve been up to!

A bench at the Blyth Festival
On October 19-20th, ten of our member companies got together for our AGM in sunny Blyth, Ontario. As if the scenic drive out to the Blyth Festival Theatre wasn’t enough, Artistic Director Gil Garratt was there waiting with a full two-day schedule of activities for everyone. Day one was focused on professional development and best practices. We welcomed Deidre Walton of the Professional Association of Canadian Theatre (PACT) in the morning for a 4-hour ALL-IN session: a highly collaborative program focused on increasing equity, diversity and inclusion (EDI) throughout Canada’s theatre sector. After a quick lunch we were back at it with a tour of the Blyth Festival’s newly renovated facilities and a roundtable discussion about audience development, strategic planning, and the ever-changing world of social media. For dinner, Gil told the group that he had a table reserved over at the Blyth Inn (affectionately nicknamed “The Boot” by locals) for their wing night. 

The Boot
I don’t know if you have been to Blyth before, but if you are familiar with small-town Ontario you may be asking why we needed a reservation for a Thursday night. If you are familiar with The Blyth Inn’s wing night, however, you wouldn’t even be asking. As Gil, Rachael and John explained to us, wing night is when the locals come out to hit The Boot in full force. We had a fabulous time rubbing elbows with so many members of the Blyth community and it is safe to say that Wing Night definitely lived up to its reputation. 

After dinner (and a mandatory Wet Nap bath) we headed off to the brand new Cowbell Brewery for a play reading by Sophia Fabiilli, sponsored by Playwrights Guild of Canada’s PlayConnect program. The large, picturesque brewery and restaurant is located just 900m from the Blyth Festival Theatre and makes for the perfect after-dinner walk to stretch your legs. When we arrived, we were shown to a private room reserved for our event, and were treated to an incredible show of talent from Sophia, who played every character in a reading of her farce Liars at a Funeral. After hearing most of the first act, our guests were filled with questions and excitement about the rest of the play. We were hooked. Sophia was kind enough to stick around and answer everyone’s questions, and even joined us in tasting some of the local flavours (the Absent Landlord Country Kolsch was a personal favourite).

Sophia Fabiilli
“I am still smiling from the experience,” said Sophia. “As an early career playwright, the opportunity to read my work for a room of Artistic Directors does not come up every day. One of my biggest takeaways is a simple one: AD's and their staff truly love theatre. We communicate so much over email that it’s easy to forget that the people running theatres are generally really, really excited about what they do—and when you get them in a room together that passion is palpable. So, if you're a playwright hesitating to submit your play... Or an actor second-guessing yourself before an audition... Remember the people on the other end have devoted their lives to this, just like you have. Don't let fear hide your passion!”

The second day of our festivities was focused on the AGM itself. Each theatre came with their reports and we discussed themes that were present in various seasons, as well as a clear focus on the growing importance of professional development and networking. After a great discussion, and our annual nominations for the Executive Committee, the meeting was adjourned and our group slowly dissipated, taking off in various directions for a beautiful autumn drive home. 

Members of Ontario Summer Theatre
Back at the Theatre Ontario office, the activity picked right back up as we continued preparing for the OST General Auditions to be held on November 6th and 7th at Tarragon Theatre in Toronto. The generals are usually held every two years and are open for any OST members who wish to participate. This year we had eight member companies join us in inviting submissions from actors who wished to be seen. Once again hundreds of great resumes were sent out to various companies, and out of everyone’s top picks, a short list of 76 actors was chosen and scheduled. By November 1st we had our final schedule and the actors had just under one week left to finish their audition pieces. 

I was only able to attend for the last hour of Monday’s schedule, but the excitement in the air when I reached Tarragon’s studio space was palpable. I had the joy of seeing a few familiar faces as performers filed in and out of the waiting room, and I was excited to hear that our group of AD’s had also made time to see at least ten “crashers” that day as well! The atmosphere was supportive and the panel of professionals waiting inside was always filled with smiling faces, ready to soak up new talent. I wasn’t able to make it back to see everyone off at the end of the second day, but I so look forward to hearing more stories from the general auditions, and learning what new connections were made. 

So what’s next for the OST? We’ve certainly got a few tricks up our sleeves for the 2018 summer season, but for now our energy is focused on celebrating each of the current and upcoming season announcements. If you haven’t already, be sure to check out our Theatre Map and find out which OST company is near you—it’s never too early to start dreaming of warmer days!

Related Reading

Wednesday, 15 November 2017

Browsing Our Bulletin Board

Upcoming opportunities for theatre artists from Theatre Ontario, from our members, and from other arts service organizations

Coming Up from Theatre Ontario

Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

  • GCTC’s next The Hive workshop for students is Musical Theatre is today.
  • Deadline for grant applications for the Ontario Arts Council’s “Northern Arts Projects” is November 16.
  • Daniela Saioni’s “Am I Covered? The Art of Visual Storytelling for Film and TV” workshop runs November 18 and 19. This workshop may be of interest for theatre artists interested in film-making, or stage managers interested in learning script supervision.

New on The Bulletin Board

  • Common Boots Theatre in Toronto invites volunteers to be show ushers as part of their walking winter show The Story. Volunteer deadline is December 3.
  • Theatre Aurora invites volunteers for the production team of If/Then, opening January 25, in the roles of costume designer, props master, set construction, and scenic painter.
Check out these items, and other postings from our members.
Theatre Ontario individual members can also access Auditions, Job Postings and Discount Ticket Offers on our Theatre Ontario Individual Member Resources on our website

Tuesday, 14 November 2017

Congratulations to the Professional Theatre Training Program Fall 2017 Grant Recipients

We are pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP). We thank all those who applied to the program.

$32,800 was awarded in total among the following 9 recipients:
  • Cole Alvis will train in directing with Nina Lee Aquino at Theatre Passe Muraille in Tkarón:to
  • Carly Chamberlain will train in artistic direction with Franco Boni at The Theatre Centre in Toronto
  • Howard J. Davis will train in directing and designing with Peter Hinton, Beth Kates, Michael Giafrancesco, and Michael Hart at The Grand Theatre in London
  • Aaron Jan will train in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
  • Darwin Lyons will train in directing with Ravi Jain at Why Not Theatre in Toronto
  • Harveen Sandhu will train in directing, artistic direction, and producing with John Van Burek at Pleiades Theatre in Ottawa
  • Andrea Scott will train in producing with David Auster at the Stratford Festival
  • Sara Topham will train in teaching pure movement with Shona Morris at the Royal Academy of Dramatic Art in London UK
  • ted witzel will train in artistic direction with Antoni Cimolino at the Stratford Festival
Over $101,000 was requested during this application round. The next application deadline for this program is March 1, 2018.

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance.


This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Monday, 13 November 2017

ONstage Openings for the week of November 13

This week’s openings on Ontario’s stages

ONstage Now Playing in Eastern Ontario
Ordinary Days at Great Canadian Theatre Company
Katie Ryerson, Zach Counsil, Jennifer Cecil, Gab Desmond
Photo by Andrew Alexander

In South Central Ontario

Nov. 15, Jitters at Markham Little Theatre 
Nov. 16, All Shook Up at Marquee Theatrical Productions (Newmarket)
Nov. 17, Parfumerie at The Curtain Club (Richmond Hill) [with a preview on Nov. 16]
Nov. 19, Sleeping Beauty at Theatre Burlington

In Southwestern Ontario

Nov. 15, A Christmas Carol at Shaw Festival (Niagara-on-the-Lake) [in previews]
Nov. 17, Red at Calithumpian Theatre Company (London) [with a preview on Nov. 16]
Nov. 17, Things My Mother Taught Me at Grey Wellingon Theatre Guild (Harriston)
Nov. 17, Queen Milli of Galt at Thistle Theatre (Embro)
Nov. 19, Aladdin at Century Church Theatre (Hillsburgh)

In Toronto

Nov. 14, Old Man and the River at Theatre Direct
Nov. 14, Uncovered: Dylan and Springsteen at The Musical Stage Company
Nov. 15, Triptyque at Canadian Stage
Nov. 15, Weesageechak 30 at Native Earth Performing Arts
Nov. 17, Cake at Theatre Passe Muraille [in previews]
Nov. 17, Outside at Buddies in Bad Times Theatre
Nov. 19, Shen Development Festival at Soulpepper Theatre

ONstage Now Playing in South Central Ontario
Mambo Italiano at Whitby Courthouse Theatre

In Central Ontario

Nov. 16, The Giant's Garden at Kincardine Theatre Guild
Nov. 17, Robin Hood: The Panto at Port Hope Festival Theatre
Nov. 17, The Drawer Boy at Huronia Players (Midland)

In Eastern Ontario

Nov. 17, It Runs in the Family at Brockville Theatre Guild
Nov. 17, Shrek the Musical at Orpheus Musical Theatre Society (Ottawa)

In Northeastern Ontario

Nov. 16, Escape from Happiness at Thorneloe University (Sudbury) [with a preview on Nov. 15]

For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Thursday, 9 November 2017

Stories from the Professional Theatre Training Program

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Today we feature four stories:

The next application deadline for the Professional Theatre Training Program is March 1, 2018.

Learn more about Theatre Ontario's Professional Theatre Training Program

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Kelly Wolf

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Kelly Wolf trained in creation/dramaturgy with Richard Greenblatt at Tapesty Opera in Toronto


(November 3, 2018)

The last coffee. I have really been enjoying my meetings with Richard and I will miss getting together regularly to talk about ideas. Richard is so passionate about theatre; making theatre, the stories we tell, how we connect, our reasons for making it. Every conversation is full.

We met again yesterday to have a post mortem—to go over what we set out to do. As a part of my internship I was able to observe two very different processes of creation, with artists at various stages in their careers as theatre makers and storytellers. I also produced and directed a Hamilton Fringe production of a new play which Richard generously supported with his feedback.

The last project that I was able to observe, a new opera Hook Up, allowed me to see how the librettist and composer are able to work together to create the piece. I thought that this was the way it was done but apparently in opera they are typically separate disciplines. In our process both librettist Julie Tepperman and composer Chris Thornborrow were able to collaborate to create a stronger piece. They are attempting with this work to change the way opera is created and to evolve the art form. This is exciting—more blurring of the lines.

The internship has also influenced the way I work with the students I teach at Brock University. I am interested in inspiring them with the same passion for storytelling, as well as challenging the perceived silos in which we put ourselves. I think it makes us more interesting artists and the theatre is stronger for it.

I think it comes down to the storytelling. What is the story you want to tell and what is the best way to tell it? How is this production going to clearly tell the story? I don’t think I ever set out with this project to entirely shift the direction of my career. I still love being a designer and creating theatre from that angle. But I have really enjoyed being part of a process from the very beginning of creation. Most design projects don’t start that way, and I will push to be involved at earlier stages in future projects. The internship has also given me greater confidence for creating my own projects. I am about to start collaborating with a filmmaker to create a piece of site-specific theatre. We will use the Westinghouse building in Hamilton to inspire our work. I know the processes I have been fortunate to observe over the past few months to will influence the way that we work together. Richard is still creating his own projects, not waiting for someone to create something for him. I expect this will be the way with me as well. It is what makes me feel like an artist; the compulsion to make the work.  For this I am grateful.

Related Reading:

The next application deadline for the Professional Theatre Training Program is March 1, 2018.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Rose Hopkins

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Rose Hopkins is training in directing with Marilo Nunez at Theatre Aquarius in Hamilton


(October 10, 2017)

“As a director, you need to find ownership of the script,” my mentor, Marilo Nunez said. 

I felt a familiar sense of mild fear in the pit of my stomach. 

That certain fall sunlight was beaming through the windows and making my steaming cup of tea throw a shadow across Marilo’s kitchen table. Over the course of our morning meeting, binders, scripts, notes took over the entire surface. Creative chaos. I took a bite out of one of the pumpkin muffins I brought as I tried to wrap my head around this piece of advice.

Of course, it makes sense. And it’s not the first time I’ve heard it so it shouldn’t come as too much of a surprise. So why did finding ownership of El Retorno, the play I’m assistant directing alongside Marilo, seem like such an intimidating task this time around? Why was it one of the biggest struggles in my directing mentorship so far?

Part of it is that I already have a first impression of the production from the workshop at Why Not’s RISER Project that took place last spring.

Another part is that it’s about an event, The Return Plan (an international effort to topple the Pinochet dictatorship in Chile) that until recently, I knew very little about.

And the last, most important part is that it’s Marilo’s story. Not only is she the playwright of El Retorno but the story is largely based on her family, life and experience growing up as a Chilean exile in Eastern Europe and then Toronto.

It felt impossible that I—the Canadian-born girl who lived 20 years of her life in the same house in Hamilton—could find ownership over a story that was so far outside of my experience. But armed with an affinity for challenges and a belly full of pumpkin muffins, I threw myself into this task.

I read the script again and again. I read it as myself. I read it as each of the characters. I asked myself questions. I found answers. I imagined. I researched. And I’ve started to find a feeling of familiarity with these characters and this world. I see myself in them. I share Jaime’s sense of justice and pride for his home, I share Veronica’s need to take care of her family, and I share Marisol’s search for her own identity. 

Doing this work has been the most valuable part of my mentorship so far, which is somewhat of a surprise for me. I thought my biggest take away would be about communicating with designers and learning new rehearsal exercises and techniques. But really, my biggest take away so far has been how to read a story. I’m taking this lesson with me as we move into the final phase of rehearsal for El Retorno. Now that I know how to read the story, I’m excited to explore how we will tell it. Because that is, in essence, what a director does. Helps the audience read a story—through words, bodies, movement, light, music, and sound.  My hope moving forward is that we can do so in a way that lets the audience see themselves in it just like I have.

Related Reading:

The next application deadline for the Professional Theatre Training Program is March 1, 2018.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Heather Davies

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Heather Davies trained in artistic direction with Gil Garratt at Blyth Festival


From Blyth to Summerland (and Back Again)

(September 25, 2017)

The last few months have flown by—it’s been a busy and creative summer.

In my earlier blogs I mentioned that this Theatre Ontario PTTP grant included the opportunity for me to be immersed in a company whose values and vision I deeply admire. However, I haven’t mentioned a moment that kept ‘popping’ into my mind throughout my time at Blyth. When I first decided to learn about artistic direction I was living in the UK and visited a number ADs in an effort to secure an unpaid residency with a company. During the first interview that I had with an AD he said, “You’re mostly going to learn through ‘negatives’, you know, you’ll learn what not to do in a situation.” That perspective, although pragmatic, was a little disheartening. At Blyth, I’ve been around countless moments, examples and modes of positive theatre making and arts leadership; it’s been an inspiring experience.

Blyth Garden Party
In June, there was a flurry of activity as the two ‘early openers’ (Lombardo and Berlin Blues) moved towards their opening nights. At the same time, I was busy rewriting a draft of a stage adaptation that I’m working on, Judith (original novel by Aritha Van Herk) and preparing to go work in Summerland BC. Gil and I continued our wide-ranging conversations about arts leadership as well as the creative process on Judith and I also continued enjoying rich conversations with the Blyth staff: John McHenry (Director of Marketing), Jen Stewart (Director of Development), Lisa Harper (Audience Services Manager & Volunteer Coordinator) and General Manager Rachael King. Everyone at Blyth generously included me in conversations about their process, greatly enriching my understanding of the particulars of working within a rural setting. The challenges of finding accommodation, broadening development relationships, theatre software programs, online marketing, the delicate matrix of gala events and volunteer coordinating are a few of the topics that we dove into as the months progressed.

By early July, with two shows open, I was close to completion on a new draft of Judith. Between attending board meetings, the opening of a new building, experiencing 1200 breeding sows under one roof at a ‘shower in, shower out’ farrowing farm, numerous visits to an organic farm, ongoing discussions and soaking up the atmosphere at Blyth I also had time and space to dive into further crafting of a story that I’m passionate about. Layers of research from interviews, a wide range of reading material and visits with local farmers have all found their way into this draft.

In mid-July I headed off to Summerland BC to become the first Artistic Director of an emerging multi-discipline arts festival inspired by the renowned Canadian writer George Ryga and the practical application of my PTTP experience began! 

Summerland BC is a little larger than Blyth (population 11000), however, there are many similarities. The short version of this part of the story is that the 2017 Ryga Festival went incredibly well. We held 19 events in five days (theatre, music, spoken word, workshops and author readings), had over 50 volunteers support the festival, fantastic attendance from people throughout the Okanagan valley and there is great excitement in the community about the festival. There are many people and factors that contributed to this success; it really did ‘take a village’ to make it happen and the team in Summerland were wonderful to work with. I also recognise and am very grateful for the enriched experience that I carried from Blyth to Summerland. Blyth conversations and experiences provided an ongoing resource and inspiration for me throughout the Ryga Festival preparation and events. I’m deeply grateful to Theatre Ontario and the PTTP program for the support provided, allowing me to focus in on arts leadership in a rural setting, with its unique conversations, delights and challenges. And of course, I’m immensely grateful to Gil Garratt and everyone at Blyth for their great generosity, wisdom and expertise. 

I’m back in Ontario now and was able to see the two ‘late openers’ (Ipperwash and The Pigeon King) on the main stage last week.  Autumn is about to arrive and the 2017 season at Blyth is drawing to a close. This time, the new connections, community and friendships, skills and experience I’ve gained will continue to inform, enrich and guide the way I lead a company, engage with collaborators and community and create theatre. Thank you for this wonderful opportunity—it’s been brilliant.

Related Reading:

The next application deadline for the Professional Theatre Training Program is March 1, 2018.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Stories from the Professional Theatre Training Program: Thomas Marriott

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Thomas Marriott trained in artistic direction with Andorlie Hillstrom at Yellow Door Theatre Project in Virgil


A Mile in Another’s Shoes

(November 2, 2017)
It’s been said, by someone smarter than me, that theatre is like an iceberg. While the audience sees the tip above the water, 90% of the work is unseen. Below the waterline. Behind the scenes. As an actor, one can forget that. So what an eye-opening experience it can be to pull back the curtain and walk a mile in someone else’s shoes.

Thanks to the Professional Theatre Training Program grant, I was able to intern for the last 30 weeks with the Yellow Door Theatre Project in Niagara-on-the-Lake: an upstart company geared towards arts training for young people. This new journey has been educational and eye-opening, and I am very grateful to Theatre Ontario for the opportunity.

My work as an associate to artistic director Andorlie Hillstrom was an immediate leap into the deep end, as I was given many responsibilities. The company was creating a new musical to be produced this December, two summer camp programs culminating in a public presentation, organizing auditions for our winter show, and preparing for and executing our annual fundraiser. My role included website management, graphic design, media relations, organizing auditions for dozens of applicants (and their parents!), and hosting the gala fundraiser at Stratus Winery.

As my time with Yellow Door comes to an end, the kids are in rehearsal for The Wind In The Willows; the final tally has been counted from the annual gala; and new fundraising has begun to improve and expand on the rehearsal space to create a new theatre for the community. Yellow Door has been recognized as a charitable organization; community awareness continues to grow; and plans for next season’s classes are well underway. So what do I take away?

Planning and preparation are key to the success of any company. You can be excellent at fundraising, have a great idea for a show, or the dream cast and crew. But without a comprehensive plan to ensure that all requirements are being met, the administration of the company will constantly be playing catch-up, or scrambling at the last minute to get things done. This could mean that deadlines are missed, key elements are not in place or money is wasted. If there is a crack in the iceberg below the waterline, it just won’t float.

Trust your team. Assign tasks and have faith that those tasks will be carried out. And then do your job. When a team is trustworthy and committed to the task, the company runs much more smoothly.

Never lose sight of the goal. If the job is to get a show to the stage, constantly ask yourself if what you are doing is necessary. Too often, administration of a company can muddy the administering of a task—stay on point, take care of the small stuff, but always keep your eyes on the prize.

Have fun. Even when things go wrong, the path looks impossible or naysayers steal your passion, find a reason to laugh. Surround yourself with people who inspire you, push you, commiserate with you and joke with you. Because in the end, no matter what our role in the theatre, we are there to play.

And lastly, be grateful. Thank you to Andorlie Hillstrom, Artistic Director of Yellow Door Theatre Project for giving me such opportunity within her organization, and thanks to Theatre Ontario. The journey of a thousand miles begins with a step, and I will be forever indebted for the Professional Theatre Training Program for clearing a new path for me.

Related Reading:

The next application deadline for the Professional Theatre Training Program is March 1, 2018.

Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Wednesday, 8 November 2017

Browsing Our Bulletin Board

Upcoming opportunities for theatre artists from Theatre Ontario, from our members, and from other arts service organizations

Coming Up from Theatre Ontario

"Voice Over" workshop with Elley-Ray on November 11
Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

  • Peterborough Theatre Guild is hosting a Laban for Actors and Directors workshop on November 11.
  • Deadline for submissions of proposals for the 2018 Symposium for Performing Arts in Rural Communities in Cobalt has been extended to November 13.
  • GCTC’s next The Hive workshop for students is Musical Theatre on November 15.
  • Deadline for grant applications for the Ontario Arts Council’s “Northern Arts Projects” is November 16.

New on The Bulletin Board

  • Odyssey Theatre invites applications for their Ontario Arts Council Recommender Grant for Theatre Creators. Among their funding priorities focus on disciplines related to masked theatre. The deadline is December 18.
Check out these items, and other postings from our members.
Theatre Ontario individual members can also access Auditions, Job Postings and Discount Ticket Offers on our Theatre Ontario Individual Member Resources on our website

Tuesday, 7 November 2017

Connecting Theatre Instructors and Community Organizations

"Playwriting" Summer Theatre Intensive
led by Talent Bank member Maja Ardal
Looking to bring your skills as a professional theatre trainer to community theatres and educational organizations? Join Theatre Ontario's roster of skilled theatre trainers and workshop leaders by becoming a member of the Theatre Ontario Talent Bank.

Theatre Ontario's Talent Bank matches organizations (particularly community theatres and educational organizations) with professional theatre teachers and trainers for workshops, adjudications, and short-term consulting contracts.

The members of our Talent Bank are proficient practitioners, with a demonstrated ability as a teacher/trainer, and sensitivity and familiarity with the needs and concerns of the trainees in the community and educational theatre sector.

Theatre Ontario is committed to connecting a theatre community that craves knowledge and growth with talented professional theatre trainers who can help them achieve their goals.  We believe that our Talent Bank of talented professional trainers can bring innovative, fresh, and energetic expertise to the development and learning of theatre craft for community theatre companies and educational organizations.

The application deadline is January 15, 2018.

Monday, 6 November 2017

ONstage Openings for the week of November 6

ONstage Now Playing in Toronto
Lo (or Dear Mr. Wells) at Nightwood Theatre
Sam Kalilieh, Vivien Endicott-Douglas
Lighting design by Kaileigh Krysztofiak
Photo by Cylla von Tiedemann
This week’s openings on Ontario’s stages

In South Central Ontario

Nov. 9, Hairspray at Brampton Music Theatre
Nov. 9, Mambo Italiano at Whitby Courthouse Theatre
Nov. 12, Vimy and The Great War: 100 Years Later at Theatre 3x60 (Port Perry)

In Southwestern Ontario

Nov. 11, Crazy for Christmas at Oh Canada Eh? Productions (Niagara Falls) [with a preview on Nov. 10]

In Toronto

Nov. 6, Disney’s Beauty and the Beast at Young People's Theatre
Nov. 7, The Goat or, Who is Sylvia? at Soulpepper Theatre [currently in previews]
Nov. 8, Fireworks at Alumnae Theatre Company
Nov. 9, Quiet Courage at Amicus Productions
Nov. 10, 25th Annual Putnam County Spelling Bee at Hart House Theatre
Nov. 10, Moon Base Wayward at Bad Dog Theatre Company

In Central Ontario

Nov. 9, Monty Python's Spamalot at Owen Sound Little Theatre
Nov. 10, Peter Pan Jr. at Kempenfelt Community Players (Barrie)
ONstage Now Playing in South Central Ontario
Hilda's Yard at Georgetown Little Theatre

In Eastern Ontario

Nov. 7, Shatter at Kanata Theatre (Ottawa)
Nov. 9, Concord Floral at Theatre Kingston [with a preview on Nov. 8]

In Northeastern Ontario

Nov. 11, Jake's Gift at Sudbury Theatre Centre


For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Friday, 3 November 2017

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters

Other Side of the Game at Cahoots Theatre and Obsidian Theatre
Photo by Dahlia Katz

Behind the Scenes at Ontario’s Theatres

TO Toasts

In Case You Missed It

Wednesday, 1 November 2017

Browsing Our Bulletin Board

Upcoming opportunities for theatre artists from Theatre Ontario, from our members, and from other arts service organizations

Coming Up from Theatre Ontario


Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board


  • Deadline for grant applications for Ontario Arts Council’s Chalmers Professional Development Projects, Compass, Indigenous Culture Fund Project Grants for Organizations, Indigenous Culture Fund Project Grants for Individuals, Youth Councils, Collectives, and Ad Hoc Groups, National and International Residency Projects, and Theatre Organizations: Operating (summer theatres only) is today.
  • Deadline for submissions to apply for Canadian Stage’s RBC Emerging Artist Programs (Director Development Residency and Company in Residence) is November 6.
Check out these items, and other postings from our members.
Theatre Ontario individual members can also access Auditions, Job Postings and Discount Ticket Offers on our Theatre Ontario Individual Member Resources on our website