Macbeth moved indoors to the Gladstone in September/October 2016, following its Shakespeare in the Park summer tour.
Songs, swords, and sorcery are coming to The Gladstone!
MACBETH
September 28 - October 1, 2016
What's up for Bear after Macbeth?
Jacques Brel Is Alive and Well and Living in Paris (Nov. 2-12)
and Finishing the Suit (Mar. 2-11), also at The Gladstone.
Jacques Brel Is Alive and Well and Living in Paris (Nov. 2-12)
and Finishing the Suit (Mar. 2-11), also at The Gladstone.
photo: Andrew Alexander
Following a triumphant tour of Ottawa's parks in July, Bear & Co. roars into the Gladstone with the magic of Macbeth! Join us for songs and swords, skullduggery, sorcery, and fire witches. Seasoned director Eleanor Crowder conjures a world of sound and fury, reviving all of the savagery and tenderness to bring this story to life. Be forewarned, this is not the Macbeth you read in high school.
The telling of this story is 400 years old -- come and mark the 400th anniversary of Shakespeare's death. For tickets, visit http://thegladstone.ca/macbeth.html.
Directed by Eleanor Crowder
Music Direction by Rachel Eugster
Fight Choreography by Chris McLeod
Fire Choreography by Zoe Georgaras
The Ensemble
Chris McLeod, Doreen Taylor-Claxton, Daniel Claxton, Rachel Eugster, Zoe Georgaras, Alexis Scott, and Sarah Waisvisz.
Following a triumphant tour of Ottawa's parks in July, Bear & Co. roars into the Gladstone with the magic of Macbeth! Join us for songs and swords, skullduggery, sorcery, and fire witches. Seasoned director Eleanor Crowder conjures a world of sound and fury, reviving all of the savagery and tenderness to bring this story to life. Be forewarned, this is not the Macbeth you read in high school.
The telling of this story is 400 years old -- come and mark the 400th anniversary of Shakespeare's death. For tickets, visit http://thegladstone.ca/macbeth.html.
Directed by Eleanor Crowder
Music Direction by Rachel Eugster
Fight Choreography by Chris McLeod
Fire Choreography by Zoe Georgaras
The Ensemble
Chris McLeod, Doreen Taylor-Claxton, Daniel Claxton, Rachel Eugster, Zoe Georgaras, Alexis Scott, and Sarah Waisvisz.
HIGHLIGHTS FROM THE JULY PARKS TOUR
Production Photos
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Reviews
Ottawa Tonite's review
By Allyson Domanski
“Double, double toil and trouble; Fire burn, and caldron bubble!” Despite being over 400 years old, Shakespeare’s classic lines from Macbeth never fail to conjure up images of weird witches, wantonness and wickedness because the tale told around them is still so extraordinary. As firmly on my son’s Grade 11 English curriculum today as it was on mine in 19_ _whatever, a few decades, not centuries ago, the plot is rife with intrigue, treachery, lust, murder and combat and makes for some pretty scary stuff. No wonder 16-year-olds gobble it up.
You too can get a taste and see it live, but do hurry.
Shakespeare’s unabridged tragedy Macbeth--the real McCoy, imbued with a brilliant twist or two—is enjoying a limited run at The Gladstone Theatre (Sept 28-Oct 1, 2016). If you missed its tour of city parks this past summer, don’t miss it this time.
Macbeth’s vaulting ambition combines explosively with the temptation offered by the witches’ prophesies. (Zoe Georgaras and Chris McLeod)Presented by Bear and Co. and deftly directed by Eleanor Crowder without a set, the seven-member cast flawlessly assumes 21 different roles. Only the rakishly handsome—dare I say sexy?—Chris McLeod doesn’t do double duty. His convincing rendition of the usurper Scottish king Macbeth is played to fine effect from the opening scene when he (and Banquo) come upon the soothsaying witches who prophesy that he shall dress in borrowed robes and become king (woohoo!) while his offspring shall not (oh, oh, beware paranoia!).
The intimacy scintillates between him and Lady Macbeth (the exceptional and songbird-voiced Doreen Taylor-Claxton). His vaulting ambition and dark, deep desires are spurred on by his cunning wife’s challenge to his manhood. They hatch a plan to slay King Duncan. Thus begins their spiral into the depths of depravity.
One of the twists is that King Duncan is played not by a man, as would all of Shakespeare’s players have been, but in role-reversal fashion by a woman (the sweetly poised steel of Zoe Georgaras). Banquo, Macbeth’s erstwhile buddy from when the two of them met the witches who foretold that Banquo would sire a line of kings (oh, oh, beware Macbeth’s paranoia!)—Banquo too, is played by a woman (Rachel Eugster whose haunting androgyny is offset by her other roles, singing ones, that showcase the pitch-perfect soprano).
I just gave away another twist. Gorgeous a cappellavoices punctuate the play, both softening the perceived violence and heightening it. The production adds another freakish yet effective facet—flames—as torch-wielding witches twirl like dervishes and Banquo’s ghost drives Macbeth to madness.
Don’t just take it from me that this production is worth seeing. Said Sam Holman who attended the dress rehearsal: “It is a well-polished production that uses the entire Gladstone Theatre to tell an early Shakespeare play that is sung in a cappella to great effect to portray the deceit of Macbeth and his unbridled path to an unwarranted crown. The muses are totally effective in their delivery of the hexes to befall Macbeth. Be prepared to see action from the back of the house to the exits of the theatre. …A superb production beautifully sung to tell a chilling history with wit and skill.”
By Allyson Domanski
“Double, double toil and trouble; Fire burn, and caldron bubble!” Despite being over 400 years old, Shakespeare’s classic lines from Macbeth never fail to conjure up images of weird witches, wantonness and wickedness because the tale told around them is still so extraordinary. As firmly on my son’s Grade 11 English curriculum today as it was on mine in 19_ _whatever, a few decades, not centuries ago, the plot is rife with intrigue, treachery, lust, murder and combat and makes for some pretty scary stuff. No wonder 16-year-olds gobble it up.
You too can get a taste and see it live, but do hurry.
Shakespeare’s unabridged tragedy Macbeth--the real McCoy, imbued with a brilliant twist or two—is enjoying a limited run at The Gladstone Theatre (Sept 28-Oct 1, 2016). If you missed its tour of city parks this past summer, don’t miss it this time.
Macbeth’s vaulting ambition combines explosively with the temptation offered by the witches’ prophesies. (Zoe Georgaras and Chris McLeod)Presented by Bear and Co. and deftly directed by Eleanor Crowder without a set, the seven-member cast flawlessly assumes 21 different roles. Only the rakishly handsome—dare I say sexy?—Chris McLeod doesn’t do double duty. His convincing rendition of the usurper Scottish king Macbeth is played to fine effect from the opening scene when he (and Banquo) come upon the soothsaying witches who prophesy that he shall dress in borrowed robes and become king (woohoo!) while his offspring shall not (oh, oh, beware paranoia!).
The intimacy scintillates between him and Lady Macbeth (the exceptional and songbird-voiced Doreen Taylor-Claxton). His vaulting ambition and dark, deep desires are spurred on by his cunning wife’s challenge to his manhood. They hatch a plan to slay King Duncan. Thus begins their spiral into the depths of depravity.
One of the twists is that King Duncan is played not by a man, as would all of Shakespeare’s players have been, but in role-reversal fashion by a woman (the sweetly poised steel of Zoe Georgaras). Banquo, Macbeth’s erstwhile buddy from when the two of them met the witches who foretold that Banquo would sire a line of kings (oh, oh, beware Macbeth’s paranoia!)—Banquo too, is played by a woman (Rachel Eugster whose haunting androgyny is offset by her other roles, singing ones, that showcase the pitch-perfect soprano).
I just gave away another twist. Gorgeous a cappellavoices punctuate the play, both softening the perceived violence and heightening it. The production adds another freakish yet effective facet—flames—as torch-wielding witches twirl like dervishes and Banquo’s ghost drives Macbeth to madness.
Don’t just take it from me that this production is worth seeing. Said Sam Holman who attended the dress rehearsal: “It is a well-polished production that uses the entire Gladstone Theatre to tell an early Shakespeare play that is sung in a cappella to great effect to portray the deceit of Macbeth and his unbridled path to an unwarranted crown. The muses are totally effective in their delivery of the hexes to befall Macbeth. Be prepared to see action from the back of the house to the exits of the theatre. …A superb production beautifully sung to tell a chilling history with wit and skill.”
Songs, swords, skullduggery
By Judith van Burkom in the Kitchissippi Times
Imagine a beautiful warm summer’s evening in Clare Gardens Park, a crowd is gathered in front of an impromptu stage, with props, costumes and special effects behind the audience in preparation for 90 minutes of Shakespeare, in celebration of his 400th anniversary. Voices softly sing in the background, setting the stage for Bear & Co.’s cast. At precisely 7 p.m., the play begins. Adults sit in comfortable lawn chairs, babies on blankets, coolers with drinks and snacks, people on bikes stop to look and listen.
In the month of July, Clare and Hintonburg Parks were transformed with the magic of Macbeth; songs and swords, skullduggery, and fire witches.
Chris McLeod as Macbeth and Zoe Georgaras, one of the fire witches. Zoe also directed the production’s fire choreography. Photo by andrew alexander photographyThe production features a number of local residents. Chris McLeod plays Macbeth and directed the sword fighting; Rachel Eugster, director of music, sang and played Banquo. Doreen Taylor-Claxton was Macbeth’s lady.
Both Rachel and Doreen are well-known sopranos in the city. Zoe Georgaras is fire choreographer for Bear & Co and was joined by Alexis Scott and Sarah Waisvisz as the three witches who invited the audience into 12th century Scotland – a time in history where the sword ruled. Daniel Claxton, a student at Canterbury High School, rounded out the cast, bringing his youth and his lovely singing voice to the role of Malcolm.
Seasoned director, Eleanor Crowder, conjured a world of sound and fury, reviving all of the savagery and tenderness to bring this story to life. This is not the Macbeth you read in high school.
However, if you missed the performances at Clare Park or Hintonburg this summer, the same cast will perform Macbeth at the Gladstone Theatre from September 28 to October 1, with shows at 7:30 p.m. Wednesday through Saturday and additional matinees on Saturday at 2:30 pm and Thursday, September 29 at 12:30 p.m. They will be reaching out to teachers to bring school trips, particularly those teaching Macbeth in the school year.
The (indoor) production at the Gladstone won’t showcase the full fiery experience of the park production and the transparency that comes from having all back stage business visible behind the audience, but being indoors with stage lighting and no mosquitoes or rain will create a different kind of intimacy.
Photo of fire witch Zoe Georgara by andrew alexander photography.Two other companies are doing Shakespeare-related works at the Gladstone this fall, given that this is the 400th anniversary year since Shakespeare’s death. Three Sisters Theatre Company will perform Desdemona: A Play about a Handkerchief, and after Macbeth, Plosive Productions will present Romeo and Juliet Redux.
For more information about Macbeth production– and to buy tickets – go to thegladstone.ca and bearandcompany.ca.
By Judith van Burkom in the Kitchissippi Times
Imagine a beautiful warm summer’s evening in Clare Gardens Park, a crowd is gathered in front of an impromptu stage, with props, costumes and special effects behind the audience in preparation for 90 minutes of Shakespeare, in celebration of his 400th anniversary. Voices softly sing in the background, setting the stage for Bear & Co.’s cast. At precisely 7 p.m., the play begins. Adults sit in comfortable lawn chairs, babies on blankets, coolers with drinks and snacks, people on bikes stop to look and listen.
In the month of July, Clare and Hintonburg Parks were transformed with the magic of Macbeth; songs and swords, skullduggery, and fire witches.
Chris McLeod as Macbeth and Zoe Georgaras, one of the fire witches. Zoe also directed the production’s fire choreography. Photo by andrew alexander photographyThe production features a number of local residents. Chris McLeod plays Macbeth and directed the sword fighting; Rachel Eugster, director of music, sang and played Banquo. Doreen Taylor-Claxton was Macbeth’s lady.
Both Rachel and Doreen are well-known sopranos in the city. Zoe Georgaras is fire choreographer for Bear & Co and was joined by Alexis Scott and Sarah Waisvisz as the three witches who invited the audience into 12th century Scotland – a time in history where the sword ruled. Daniel Claxton, a student at Canterbury High School, rounded out the cast, bringing his youth and his lovely singing voice to the role of Malcolm.
Seasoned director, Eleanor Crowder, conjured a world of sound and fury, reviving all of the savagery and tenderness to bring this story to life. This is not the Macbeth you read in high school.
However, if you missed the performances at Clare Park or Hintonburg this summer, the same cast will perform Macbeth at the Gladstone Theatre from September 28 to October 1, with shows at 7:30 p.m. Wednesday through Saturday and additional matinees on Saturday at 2:30 pm and Thursday, September 29 at 12:30 p.m. They will be reaching out to teachers to bring school trips, particularly those teaching Macbeth in the school year.
The (indoor) production at the Gladstone won’t showcase the full fiery experience of the park production and the transparency that comes from having all back stage business visible behind the audience, but being indoors with stage lighting and no mosquitoes or rain will create a different kind of intimacy.
Photo of fire witch Zoe Georgara by andrew alexander photography.Two other companies are doing Shakespeare-related works at the Gladstone this fall, given that this is the 400th anniversary year since Shakespeare’s death. Three Sisters Theatre Company will perform Desdemona: A Play about a Handkerchief, and after Macbeth, Plosive Productions will present Romeo and Juliet Redux.
For more information about Macbeth production– and to buy tickets – go to thegladstone.ca and bearandcompany.ca.
Macbeth reveals new nuances in Bear & Co.’s outdoor production
By Fiona Tapp from Apt613
There are some activities that form part of a quintessential Ottawa summer. Beach day trips, picnics, sipping drinks on the patio and… enjoying an outdoor performance of Shakespeare in the park.
Bear and Co. have been performing in Ottawa since June 2012 and this year brings us the tragedy of Macbeth.
I attended with a friend at Applewood Acres park in Alta Vista. Performing outdoors presents the actors and director with challenges, not least unwanted noises, such as children playing, babies crying, an overhead helicopter or nearby sirens. However, there are also many benefits to this type of performance: the audience are able to be closer to the actors and can witness “backstage” forcing the performers to stay in character and lending a magical air to the proceedings.
This production was superior, even more so, because almost every actor played more than one part.
As a teacher and Shakespeare buff, I was so pleased to see children sitting and listening in rapture. The performances were so rich and vibrant that they transcended any content that may have been lost in the translation of Shakespearian language. The younger members of the audience were focused and entertained, one little girl was even following along from an illustrated copy of Macbeth, and mouthed along during the most famous scenes.
Just seven actors portrayed all the characters in the play with most playing two or three different parts. The strength of the performances was evidenced by the audience’s complete belief in their transformation, regardless of the limitations, including just simple costume changes to denote a change in character. Zoe Georgaras gave all the drunken swaggering naughtiness of Seyton the porter, before effortlessly switching to a weird and surreal witch. In fact, all three witches gave an incredibly strange and compelling performance and then manifested into masculine roles with total believability.
I certainly found some new nuances that I haven’t seen in other versions, for instance the relationship between Macbeth and Lady Macbeth crackled with sexual chemistry, you believed completely that they were lovers, and Doreen Taylor-Claxton’s Lady Macbeth in particular, had a sort of wicked sensuality that had you rooting for her in all her evil plotting.
Chris McLeod was magnificent, at times he made Macbeth appear almost childlike in his vulnerability, especially in the scene with Banquo’s ghost and then in contrast, when ordering the death of Macduff’s family, he transcended into a dark and foul villain.
Rachel Eugster’s Banquo commanded attention, especially when garbed in blood and staring down treacherous Macbeth, she gave a sinister laugh which echoed around the park! Also as Music Director, Eugster knitted the show together with a fantastic score, which both entertained and anchored the play to its origins and place in history. The actor’s voices were beautifully harmonised and the vocal ensembles lifted the show from merely a play, into an experience.
One of the witches, Alexis Scott, also played Macduff, and on hearing of the murder of his entire family she fell to the floor, “all my pretty chickens?” she asked, her exploration of grief was raw with emotion- I was moved.
I had to check the program twice to confirm Daniel Claxton was, in fact, a grade 11 student, he gave a masterful and mature performance as four different characters and added a depth to the vocal arrangement way beyond his years- this is a young man to watch!
In a reversal of traditional Shakespearian casting, which due to Elizabethan law saw women banned from the stage, and men playing women, director Eleanor Crowder has women playing men, and they do so with conviction and flair. Sarah Waisvisz effortlessly played four male characters plus an eerie and powerful witch.
The witches’ scenes were particularly engrossing. Crowder allowed us to enter their world, where they shone as the central fundamental driver in this story of ambition gone awry. Their role has been expanded with an exciting fiery component: they danced with fire and at the end of the performance we were treated to Georgaras performing with a flaming hula hoop, it was quite thrilling!
Even though the weight of the tragedy was conveyed to the audience, it also seemed like the cast were having such fun, no doubt a further sign of their cohesion as a group, brought together by their director, Eleanor Crowder. Her leadership is informed by over 40 years of experience and committed artistry. If you prefer your theatre with a roof, you can catch this show again, indoors, at the Gladstone in September. I am excited about catching other performances by this company, also at the Gladstone, such as Jacques Brel is Alive and Well and Living in Paris, in November and Finishing The Suit, in March 2017.
I urge Ottawan’s not to miss Bear and Co.’s performance of Macbeth this summer, it will be the highlight of your season, there are performances still to catch in Old Ottawa South, Westboro, Hintonburg, New Edinburgh, Old Ottawa East, The Glebe, Sandy Hill, Orleans, and Wakefield PQ- see the touring schedule at www.bearandcompany.ca for further details.
If you do attend, don’t forget to line the proffered hats with a donation (suggested amount $20). Believe me, it’s worth every penny!
By Fiona Tapp from Apt613
There are some activities that form part of a quintessential Ottawa summer. Beach day trips, picnics, sipping drinks on the patio and… enjoying an outdoor performance of Shakespeare in the park.
Bear and Co. have been performing in Ottawa since June 2012 and this year brings us the tragedy of Macbeth.
I attended with a friend at Applewood Acres park in Alta Vista. Performing outdoors presents the actors and director with challenges, not least unwanted noises, such as children playing, babies crying, an overhead helicopter or nearby sirens. However, there are also many benefits to this type of performance: the audience are able to be closer to the actors and can witness “backstage” forcing the performers to stay in character and lending a magical air to the proceedings.
This production was superior, even more so, because almost every actor played more than one part.
As a teacher and Shakespeare buff, I was so pleased to see children sitting and listening in rapture. The performances were so rich and vibrant that they transcended any content that may have been lost in the translation of Shakespearian language. The younger members of the audience were focused and entertained, one little girl was even following along from an illustrated copy of Macbeth, and mouthed along during the most famous scenes.
Just seven actors portrayed all the characters in the play with most playing two or three different parts. The strength of the performances was evidenced by the audience’s complete belief in their transformation, regardless of the limitations, including just simple costume changes to denote a change in character. Zoe Georgaras gave all the drunken swaggering naughtiness of Seyton the porter, before effortlessly switching to a weird and surreal witch. In fact, all three witches gave an incredibly strange and compelling performance and then manifested into masculine roles with total believability.
I certainly found some new nuances that I haven’t seen in other versions, for instance the relationship between Macbeth and Lady Macbeth crackled with sexual chemistry, you believed completely that they were lovers, and Doreen Taylor-Claxton’s Lady Macbeth in particular, had a sort of wicked sensuality that had you rooting for her in all her evil plotting.
Chris McLeod was magnificent, at times he made Macbeth appear almost childlike in his vulnerability, especially in the scene with Banquo’s ghost and then in contrast, when ordering the death of Macduff’s family, he transcended into a dark and foul villain.
Rachel Eugster’s Banquo commanded attention, especially when garbed in blood and staring down treacherous Macbeth, she gave a sinister laugh which echoed around the park! Also as Music Director, Eugster knitted the show together with a fantastic score, which both entertained and anchored the play to its origins and place in history. The actor’s voices were beautifully harmonised and the vocal ensembles lifted the show from merely a play, into an experience.
One of the witches, Alexis Scott, also played Macduff, and on hearing of the murder of his entire family she fell to the floor, “all my pretty chickens?” she asked, her exploration of grief was raw with emotion- I was moved.
I had to check the program twice to confirm Daniel Claxton was, in fact, a grade 11 student, he gave a masterful and mature performance as four different characters and added a depth to the vocal arrangement way beyond his years- this is a young man to watch!
In a reversal of traditional Shakespearian casting, which due to Elizabethan law saw women banned from the stage, and men playing women, director Eleanor Crowder has women playing men, and they do so with conviction and flair. Sarah Waisvisz effortlessly played four male characters plus an eerie and powerful witch.
The witches’ scenes were particularly engrossing. Crowder allowed us to enter their world, where they shone as the central fundamental driver in this story of ambition gone awry. Their role has been expanded with an exciting fiery component: they danced with fire and at the end of the performance we were treated to Georgaras performing with a flaming hula hoop, it was quite thrilling!
Even though the weight of the tragedy was conveyed to the audience, it also seemed like the cast were having such fun, no doubt a further sign of their cohesion as a group, brought together by their director, Eleanor Crowder. Her leadership is informed by over 40 years of experience and committed artistry. If you prefer your theatre with a roof, you can catch this show again, indoors, at the Gladstone in September. I am excited about catching other performances by this company, also at the Gladstone, such as Jacques Brel is Alive and Well and Living in Paris, in November and Finishing The Suit, in March 2017.
I urge Ottawan’s not to miss Bear and Co.’s performance of Macbeth this summer, it will be the highlight of your season, there are performances still to catch in Old Ottawa South, Westboro, Hintonburg, New Edinburgh, Old Ottawa East, The Glebe, Sandy Hill, Orleans, and Wakefield PQ- see the touring schedule at www.bearandcompany.ca for further details.
If you do attend, don’t forget to line the proffered hats with a donation (suggested amount $20). Believe me, it’s worth every penny!
Cast and Crew
Eleanor Crowder - Director
Eleanor has been directing outdoors since 1973, and outdoor Shakespeare for the past 20 summers. Her interest in how strolling players might work translates to a physical idiom with lots of music to walk by! Macbeth adds the magic of fire dance to awesome sword work. Eleanor's delight in the meta-theatre of backstage choreography is equally evident in this show.
Indoors, Eleanor recently directed Monstrous at Undercurrents and the b.current Rock, Papah, Sistahz festival in Toronto, and Chitty Chitty Bang Bang for GNAG Theatre. She regularly directs at The Gladstone ( for Bear& Co., The Glass Menagerie, The Taming of the Shrew). Also a playwright, her most recent work is Trans-script ( with Rosemary Nolan). As an actor, she will tour Vern Thiessen's Shakespeare's Will in 2017/18.
Eleanor won the Victor Tolgesy Award for contribution to the arts in Ottawa in 2003.
Indoors, Eleanor recently directed Monstrous at Undercurrents and the b.current Rock, Papah, Sistahz festival in Toronto, and Chitty Chitty Bang Bang for GNAG Theatre. She regularly directs at The Gladstone ( for Bear& Co., The Glass Menagerie, The Taming of the Shrew). Also a playwright, her most recent work is Trans-script ( with Rosemary Nolan). As an actor, she will tour Vern Thiessen's Shakespeare's Will in 2017/18.
Eleanor won the Victor Tolgesy Award for contribution to the arts in Ottawa in 2003.
Chris McLeod - Macbeth/Fight Choreographer
Chris McLeod made his professional acting debut with Odyssey Theatre in 1988. Since then he received an Honours Degree in Directing from the University of Ottawa and a Masters in Stage Directing from the University of British Columbia. He lived in Germany and returned to Ottawa and became Director in Residence with a Company of Fools in 1998. He was Artistic Director of Salamander Theatre for Young Audiences from 2000. to 2012. In January 2011 Chris was a founding partner of National Stage Combat Training Partners. He returned as to adult acting as Comte De Guiche in Plosive Production's Cyrano de Bergerac in 2012 and was Prospero for Bear&Company's The Tempest last summer.
Doreen Taylor-Claxton - Lady Macbeth, Old Siward.
Doreen Taylor-Claxton is one of those fluid performers, working as a soloist, actor, chamber musician and music director, moving easily from one genre to the next. This is her second summer with Bear & Co. having performed in The Tempest (Alonzo), last year. She is thrilled to sink her teeth into the juicy role of Lady MacBeth. Other credits include: for Easy Street Productions; Up to Low (Poor Bridget), The Ottawa Stilt Union; Searching for Snails (Marvin the Flightless Bird), Odyssey Theatre; Arms and the Man (Catherine Petkoff), Deluxe Hot Sauce; SKIN (ensemble), Medea (Creon), NAC Pops Orchestra; Guys and Dolls (Agatha), The St. Lawrence Shakespeare Festival; A Grand Night for Singing (Lynn), Jesus my Boy (musician), The Taming of the Shrew (Widow), Measure for Measure (Francesca), Upper Canada Playhouse; Seaway Story (Sue), Opera Lyra Ottawa Young Artists; Magic Flute (Pamina). She is a founding member of Deluxe Hot Sauce, a theatre collective committed to voicing the complexity of women’s lives and choices. Deluxe Hot Sauce has created a “musically-infused, movement-rich” aesthetic that integrates various artistic disciplines and modes of story telling. Its productions of Medea (2007) and SKIN (2013) were both nominated for Rideau Awards. As part of the collective, she collaboratively created SKIN, for Undercurrents Fesitval Theatre 2013 and two other pieces of site specific theatre: First Dusk Last Light and Back in the Box for subDevision in 2012 and 2013.
Daniel Claxton - Malcolm, Fleance and Murderer
Daniel Claxton is a grade 11 student in the Canterbury Vocal Progam, studying privately with Gary Dahl. In summer of 2015 he participated in the Open Jar Summer Institute, a week long training intensive in NYC. This past year he played Ogress Fiona in Canterbury High School’s production of Shrek: The Musical. He has competed in the Ottawa Kiwanis Music Festival winning the Richard Proulx trophy as well as the Eunice Baker trophy, and has been invited to compete at OMFA for two consecutive years. Last year he, Ian Taylor and Dexter Hunter-Laroche were invited to sing at the Kiwanis Highlights Concert.
Rachel Eugster - Banquo, Lady MacDuff, Gentlewoman/Music director & arranger
Rachel Eugster’s professional life involves the frequent switching of hats. Happily, this production of Macbeth allows her to wear three of them at once: as music director, actor, and singer. As a music director, Rachel particularly delights in creating formidable vocal ensembles, and she is thrilled to be working with this amazingly talented cast. As an actor, Rachel was most recently seen as Martha in Who’s Afraid of Virginia Woolf? and as Amanda in The Glass Menagerie, both Bear productions at the Gladstone, and as three different men (a prelude to Banquo!) in the Three Sisters production of Anton in Show Business, also at the Gladstone. Last summer, she appeared at the Ottawa Fringe Festival as Æmilia in the premiere of her first original play, Whose Æmilia?, whose central character might—or more likely, might not—have been Shakespeare’s Dark Lady of the Sonnets.
Rachel is a founding member of Bear & Co., and of Dragon’s Tea Trio. Wearing yet another hat, she is also the author of the award-winning picture book The Pocket Mommy (Tundra/Penguin Random House).
Rachel is a founding member of Bear & Co., and of Dragon’s Tea Trio. Wearing yet another hat, she is also the author of the award-winning picture book The Pocket Mommy (Tundra/Penguin Random House).
Zoe Georgaras - Witch, King Duncan and Seyton/Fire choreographer
Zoe began fire dancing in Paris in 2010 while attending Ecole Phillip Gaulier. With passion, dedication, and courage, she began to merge fire dance and theatre in order to create unique and enchanting spectacles. Currently Zoe is producing and performing in a theatrical fire show The Red Shoes for the Ottawa Fringe Festival. With her company, Moon Ballad Circus, Zoe has travelled to festivals, fairs and private events, far and wide with her circus tour bus under her stage name Zola Molotov. Zoe is honoured to have performed with Bear&Co last summer as Ariel in The Tempest and hopes to continue her career as a thespian. She has also graced the stage as Othella in Othella (Sock N’ Buskin), Isabella in Measure for Measure (Canterbury HS), and Puck in Midsummer Night’s Dream (GNAG Theatre).
Alexis Scott - Witch, Bloody Captain, MacDuff and Murderer
Alexis Scott is a performer, creator and co-producer at Vacant House Theatre. Her passion as an artist draws to roles that allow her to display the human spirit with reckless abandon. You may have seen her in previous Bear&Co. productions as Adriana in Comedy of Errors and as Antonio and Trinculo in The Tempest. Favourite theatre credits include: Joby in Anton in Show Business (Three Sister Theatre Company), Frankie in Frankie and Johnny in the Clair de Lune (Vacant House Theatre), The Reindeer in Narnia (9th Hour Theatre), The Anger in Ernestine in The Anger in Ernest and Ernestine (Vacant House Theatre), Adriana in The Comedy of Errors (Bear&Co.), Jean Lobb in The Farm Show directed by Andy Massingham, Ada Lovelace in False Assumptions (Plosive Productions), Apollo in The Eumenides directed by Jodi Essery, and Suzy in Jelly Belly directed by Lib Spry. She has been nominated for a Prix Rideau Awards 2015 for her work as an emerging artist and also participated in the Emerging Actors Unit with Eric Coates. Alexis is the co-founder of Vacant House Theatre, dedicated to producing intimate and site-specific theatre experiences.
Sarah Waisvisz - Witch, Doctor, Ross, Fleance and Young Siward.
Sarah Waisvisz is a performer, playwright, and a co-producer of Calalou. As a theatre maker she lives for creative collaborations and the challenge of making magic out of nothing. Recent adventures include The Tempest and The Glass Menagerie with Bear & Co. ; premiering her solo show Monstrous at the undercurrents festival; performing in two works with the Canada Dance Festival, Porch Dances (Kaeja d’Dance) and Moving Stories (NAC/OCDSB); writing the yoga-comedy OCCUPY ME with Counterpoint Players; and creating and performing in the site-specific-ambulatory-devised Six: At Home with Zopyra Theatre. Her work has been recognized with nominations and awards from Ottawa’s professional Prix Rideau Awards. Sarah is a member of GCTC’s Playwrights Network. As a playwright she has several new projects on the go including Heartlines, IloveOrangesAndHateThePort, the sequel to Monstrous entitled Griot!, and a top-secret play in development through a residency with Theatre 4.469.
This is a Canadian Actors’ Equity Association production under the Artists’ Collective Policy.