'Tis Pity She's A Whore
played the 2012 Ottawa Fringe Festival
June 15-23, 2012 at the Bronfman Amphitheatre
Playing a near sold-out run at the 2012 Ottawa Fringe Festival, John Ford's epic Jacobean tragedy 'TIS PITY SHE'S A WHORE was directed by Eleanor Crowder with music direction by Rachel Eugster and fight direction by John Brogan and Chris McLeod of National Stage Combat Training Partners.
Our thanks to the Ottawa Fringe Festival, and to our fantastic audiences for a great run.
Our thanks to the Ottawa Fringe Festival, and to our fantastic audiences for a great run.
The Reviews
Fully Fringed
Review by Andrew Snowdon
It is not strange that two attractive young people should fall in love. No story, no play could be built around why two young people fall in love. Rather, the central question of any love story must be what keeps these two young lovers apart.
In the case of ’Tis A Pity She’s A Whore, they’re brother and sister.
And it doesn’t keep them apart for long.
’Tis A Pity She’s A Whore, written by John Ford in the 1600s, starts off with young Giovanni (Victor Pokinko) giving an impassioned argument for the morality of incest to Friar Bonaventura (Leslie Cserepy), which segues immediately into a swordfight between Saranzo (Simon Keeble) and Grimaldi (Nicholas Amott) and Saranzo’s servant Vasques (Tim Oberholzer). Saranzo desires Annabella’s (Anna Lewis) hand in marriage, while Donada (Caroline Bowden) wishes to win it from her (and Giovanni’s) father Florio (Brie Barker) for her nephew Bergetto (Will Somers). But Annabella’s heart, and her maidenhead, belong to Giovanni.
It’s a little more serious than Luke kissing Leia.
The plot is complex, and although it is a tragedy (with a Hamlet-esque body count) that gets more and more grim with each passing scene, the dialogue, performances, and pacing make it hilarious. There is also the cognitive dissonance: normally we want two young lovers to be united against whatever odds they face; here we are reminded they are brother and sister, and it’s either immoral, unnatural, or just plain icky. One way or another, it’s compelling. Everyone turns in a great performance.
Like other plays of its time, the Jacobean (post-Elizabethan, in the wake of Shakespeare and Marlowe) ’Tis A Pity She’s A Whore has an immense cast by today’s standards—over a dozen speaking roles (not all of which I’ve mentioned in the synopsis) and only one actor doubling as two characters (Will Somers, wielding a firehose of comic relief as Bergetto and the Godfather-like Cardinal). Each is extremely competent, and although there are too many good scenes to list all of them, I will single out Friar Bonaventura’s chastisement and beration of Annabella as a particularly riveting moment.
The Bronfman Amphitheatre is an outdoor space, with concrete semicircular seating. Although the performing company offers “cushions” (burlap sacks) for rent during the performance—on a sliding scale based on dirty jokes—nothing short of an actual cushion will make much of a difference; there is no back support and you are sitting on concrete for nearly two hours. It’s not really as bad as it sounds, mostly due to the play and performances being so absorbing that you forget about any discomfort. Go to the washroom first. There’s excellent sound as the audience is very close to the performance, the space has great acoustics, and the actors can project, enunciate, and even sing. Audience members seated on the far edges (and there are excellent sight lines from any position) will be cautioned not to move (i.e. get up) as they are close to the swordfight area and may be injured or cause injury.
As these shows start at 9:00 pm, allow extra time for straggling patrons to be seated, and run for the full 110 minutes, it is next to impossible to get to an 11:00 pm show afterwards. This is perfect, on the other hand, if you want to call it an early night or spend the rest of the night in the Fringe Courtyard.
This performance is definitely worth minor physical discomfort; the care and skill that have been put into it are apparent and it’s a fast-paced, funny, shocking piece.
But, still: ew.
The Visitorium
Review by Kevin Reid
So I finally got out to the epic, two-hour outdoor show! I almost got the impression the dark storm clouds and distant flashes of lightning that gathered before showtime were directed right at me, a wagging finger from the heavens about my poor timing. But the skies ended up smiling on us tonight, no rain came, and it was time to watch director Eleanor Crowder and Bear & Co. strut their stuff at the Bronfman Ampthitheatre (my first time seeing a show there, can you believe it?
Starring a mighty cast indeed (with no less than two Team Visitorium members on board…hearty shoutout to Danielle Savoie and Grace Gordon!!), Ford’s lusty epic of incest and murder (yay!) centers on brother Giovanni (Victor Pokinko) and sister Annabella (Anna Lewis). Despite the best advice of their put-upon Friar (Leslie Cserepy), the two are madly in lust with one another. Meanwhile, Anna is being pursued by several disparate gents (Nick Amott, Simon Keeble and Will Somers), her Father (Brie Barker) is trying to arrange a solid marriage via the scheming signora Donada (Caroline Bowden), and…oh, God, I’m getting confused even TRYING to recap this thing. There’s lot going on, dig?
Just focus on the incest, and you’ll be all right.
In spite of the heavy-sounding subject matter, Crowder and company mine Ford’s script for every ounce of laughs they can get, which turns out to be a helluva lot. All of the performances are solid, but a few standouts for me were smooth Tim Oberholzer as sly spaniard Vasques, Bowden as the imperious Donada, , and Will Somers and Nick Surges as comic duo Bergetto and Poggio (Somers does double duty later as a religious figure who must be seen to be believed…a Fringe comedy highlight). And my old coach Brie Barker gives it good as doting, but clueless daddy Florio. There were practically endless clever touches or moments I could rave about…Grace Gordon’s cymbals, Nick Amott’s bumbling swordsman, the chorus of grumbling thugs near the end…but it all comes down to the doomed couple, and Lewis and Pokinko turn in great work each, holding the center as the wicked talented cast fleshes out the world around them. Rain or shine, WHORE is a good time. I advise arriving early, and preparing a dirty joke in advance (don’t ask).
That’s it for me…look for more very soon from TEAM VISITORIUM. The finish line is in sight! Peace, love and soul, Fringers.
Production Ottawa
Review by Kurt Shantz
Tis a Pity She’s a Whore is a Jacobean tragedy written by John Ford and performed by Bear and Co. Giovanni is a young nobleman who has fallen is love with his sister, Annabella. And if you think that’s weird, she reciprocates his feelings, despite being pursued by several suitors. But wait, it gets better. They consummate their relationship and she becomes pregnant with his child. And so, it hits the fan. Now, I didn’t know this show was a tragedy when I sat down. The play has a lot of funny scenes and lines that are all hilarious. I started to get a little suspicious when they killed the fool early on. But rest assured that things will get darker and more depressing as the play goes on. The contrast is jarring but it makes the tragedy that much more effective. Now, I don’t want you to think that’s it’s not a good play. It is. As I said, the company is amazing and every actor is very strong in their role. But it is a controversial play. It’s also long. It’s just less than 2 hours. But it has a good blend of comedy and tragedy and has an incredibly talented company attached to it, so it gets a 4 (out of 5).
Review by Andrew Snowdon
It is not strange that two attractive young people should fall in love. No story, no play could be built around why two young people fall in love. Rather, the central question of any love story must be what keeps these two young lovers apart.
In the case of ’Tis A Pity She’s A Whore, they’re brother and sister.
And it doesn’t keep them apart for long.
’Tis A Pity She’s A Whore, written by John Ford in the 1600s, starts off with young Giovanni (Victor Pokinko) giving an impassioned argument for the morality of incest to Friar Bonaventura (Leslie Cserepy), which segues immediately into a swordfight between Saranzo (Simon Keeble) and Grimaldi (Nicholas Amott) and Saranzo’s servant Vasques (Tim Oberholzer). Saranzo desires Annabella’s (Anna Lewis) hand in marriage, while Donada (Caroline Bowden) wishes to win it from her (and Giovanni’s) father Florio (Brie Barker) for her nephew Bergetto (Will Somers). But Annabella’s heart, and her maidenhead, belong to Giovanni.
It’s a little more serious than Luke kissing Leia.
The plot is complex, and although it is a tragedy (with a Hamlet-esque body count) that gets more and more grim with each passing scene, the dialogue, performances, and pacing make it hilarious. There is also the cognitive dissonance: normally we want two young lovers to be united against whatever odds they face; here we are reminded they are brother and sister, and it’s either immoral, unnatural, or just plain icky. One way or another, it’s compelling. Everyone turns in a great performance.
Like other plays of its time, the Jacobean (post-Elizabethan, in the wake of Shakespeare and Marlowe) ’Tis A Pity She’s A Whore has an immense cast by today’s standards—over a dozen speaking roles (not all of which I’ve mentioned in the synopsis) and only one actor doubling as two characters (Will Somers, wielding a firehose of comic relief as Bergetto and the Godfather-like Cardinal). Each is extremely competent, and although there are too many good scenes to list all of them, I will single out Friar Bonaventura’s chastisement and beration of Annabella as a particularly riveting moment.
The Bronfman Amphitheatre is an outdoor space, with concrete semicircular seating. Although the performing company offers “cushions” (burlap sacks) for rent during the performance—on a sliding scale based on dirty jokes—nothing short of an actual cushion will make much of a difference; there is no back support and you are sitting on concrete for nearly two hours. It’s not really as bad as it sounds, mostly due to the play and performances being so absorbing that you forget about any discomfort. Go to the washroom first. There’s excellent sound as the audience is very close to the performance, the space has great acoustics, and the actors can project, enunciate, and even sing. Audience members seated on the far edges (and there are excellent sight lines from any position) will be cautioned not to move (i.e. get up) as they are close to the swordfight area and may be injured or cause injury.
As these shows start at 9:00 pm, allow extra time for straggling patrons to be seated, and run for the full 110 minutes, it is next to impossible to get to an 11:00 pm show afterwards. This is perfect, on the other hand, if you want to call it an early night or spend the rest of the night in the Fringe Courtyard.
This performance is definitely worth minor physical discomfort; the care and skill that have been put into it are apparent and it’s a fast-paced, funny, shocking piece.
But, still: ew.
The Visitorium
Review by Kevin Reid
So I finally got out to the epic, two-hour outdoor show! I almost got the impression the dark storm clouds and distant flashes of lightning that gathered before showtime were directed right at me, a wagging finger from the heavens about my poor timing. But the skies ended up smiling on us tonight, no rain came, and it was time to watch director Eleanor Crowder and Bear & Co. strut their stuff at the Bronfman Ampthitheatre (my first time seeing a show there, can you believe it?
Starring a mighty cast indeed (with no less than two Team Visitorium members on board…hearty shoutout to Danielle Savoie and Grace Gordon!!), Ford’s lusty epic of incest and murder (yay!) centers on brother Giovanni (Victor Pokinko) and sister Annabella (Anna Lewis). Despite the best advice of their put-upon Friar (Leslie Cserepy), the two are madly in lust with one another. Meanwhile, Anna is being pursued by several disparate gents (Nick Amott, Simon Keeble and Will Somers), her Father (Brie Barker) is trying to arrange a solid marriage via the scheming signora Donada (Caroline Bowden), and…oh, God, I’m getting confused even TRYING to recap this thing. There’s lot going on, dig?
Just focus on the incest, and you’ll be all right.
In spite of the heavy-sounding subject matter, Crowder and company mine Ford’s script for every ounce of laughs they can get, which turns out to be a helluva lot. All of the performances are solid, but a few standouts for me were smooth Tim Oberholzer as sly spaniard Vasques, Bowden as the imperious Donada, , and Will Somers and Nick Surges as comic duo Bergetto and Poggio (Somers does double duty later as a religious figure who must be seen to be believed…a Fringe comedy highlight). And my old coach Brie Barker gives it good as doting, but clueless daddy Florio. There were practically endless clever touches or moments I could rave about…Grace Gordon’s cymbals, Nick Amott’s bumbling swordsman, the chorus of grumbling thugs near the end…but it all comes down to the doomed couple, and Lewis and Pokinko turn in great work each, holding the center as the wicked talented cast fleshes out the world around them. Rain or shine, WHORE is a good time. I advise arriving early, and preparing a dirty joke in advance (don’t ask).
That’s it for me…look for more very soon from TEAM VISITORIUM. The finish line is in sight! Peace, love and soul, Fringers.
Production Ottawa
Review by Kurt Shantz
Tis a Pity She’s a Whore is a Jacobean tragedy written by John Ford and performed by Bear and Co. Giovanni is a young nobleman who has fallen is love with his sister, Annabella. And if you think that’s weird, she reciprocates his feelings, despite being pursued by several suitors. But wait, it gets better. They consummate their relationship and she becomes pregnant with his child. And so, it hits the fan. Now, I didn’t know this show was a tragedy when I sat down. The play has a lot of funny scenes and lines that are all hilarious. I started to get a little suspicious when they killed the fool early on. But rest assured that things will get darker and more depressing as the play goes on. The contrast is jarring but it makes the tragedy that much more effective. Now, I don’t want you to think that’s it’s not a good play. It is. As I said, the company is amazing and every actor is very strong in their role. But it is a controversial play. It’s also long. It’s just less than 2 hours. But it has a good blend of comedy and tragedy and has an incredibly talented company attached to it, so it gets a 4 (out of 5).
Our Sponsor - The University of Ottawa's School of Music
Bear & Co. would like to take this opportunity to publicly thank our official venue sponsor, The University of Ottawa Music Department, for their generous support of 'Tis Pity She's A Whore by providing our performance space, the Abe and Sayde Bronfman Amphitheatre.
About The Ottawa Fringe Festival
The Fringe Festival is a forum that unites artists and audiences in a fun, exploratory environment. The guiding principles of the Fringe include unrestricted artistic expression, accessibility and community development.
The Fringe encourages artists to explore and test boundaries and make bold choices in the creation of art.
The Canadian Fringe Festival model is unique in two respects: it guarantees that the artists involved receive 100% of ticket revenue and it does not subject the artists’ work to jury approval or censor it in any way. Theatre companies are selected by non-judicial means and work within the technical guidelines of the Fringe Festival to produce their own art. Festival patrons enjoy physically and financially accessible arts experiences and the opportunity to engage in meaningful dialogues with artist and fellow Fringe patrons.
Founded in 1997, the Ottawa Fringe Festival has enjoyed consistent growth over its 16 years and now includes 15 venues in the heart of the National Capital.
The Fringe encourages artists to explore and test boundaries and make bold choices in the creation of art.
The Canadian Fringe Festival model is unique in two respects: it guarantees that the artists involved receive 100% of ticket revenue and it does not subject the artists’ work to jury approval or censor it in any way. Theatre companies are selected by non-judicial means and work within the technical guidelines of the Fringe Festival to produce their own art. Festival patrons enjoy physically and financially accessible arts experiences and the opportunity to engage in meaningful dialogues with artist and fellow Fringe patrons.
Founded in 1997, the Ottawa Fringe Festival has enjoyed consistent growth over its 16 years and now includes 15 venues in the heart of the National Capital.
The Cast
Victor Pokinko - Giovanni
Victor plays the arrogant, handsome, and headstrong Giovanni who is determined to pursue his love for his sister Annabella at all costs.
A soon-to-be third-year acting specialist at the University of Toronto and Sheridan College, Victor Pokinko is an Ottawa born-and-raised actor who lives in the cool embrace of Toronto for most of his time. Having spent last summer training with the inimitable Peter Wylde in The Wylde Project’s “Acting Shakespeare”, he is thrilled to be putting his classical training to good use in Bear & Co.'s 2012 summer season.
Favourite stage credits include : Nicholas Nickleby (Theatre Erindale), Untitled! : the Musical (Erindale Fringe), No Power Greater/L’Union fait la force (Dramamuse). Victor has also recently made his directing debut with the award-winning production of Twilight Soldier at the UofT Drama Festival.
Anna Lewis - Annabella
Anna plays the intelligent and sweet-natured Annabella whose innocence is belied by her readiness to enter into an incestuous relationship with her brother Giovanni. She's torn between the forces of social pressure, the threat of damnation and her desire.
Anna Lewis is an actor and theatre creator, with a BFA in Theatre from Concordia University.
While in Ottawa, she has worked with A Company of Fools (A Midwinter's Dream Tale), The Meus (Permanent Smile) and Salamander Shakespeare Co (Measure for Measure, A Midsummer Night's Dream, Romeo and Juliet). Film credits include Happy Suds, and the title character in Brown Sound Underground with Nona Leslie, both filmed in Vancouver.
Last year she spent nine months in England absorbing as much as she could about theatre: seeing plays, attending workshops, and writing and developing the one-woman show How (Not) to Kill the King, which she debuted at the Winnipeg Fringe Festival.
Anna Lewis is an actor and theatre creator, with a BFA in Theatre from Concordia University.
While in Ottawa, she has worked with A Company of Fools (A Midwinter's Dream Tale), The Meus (Permanent Smile) and Salamander Shakespeare Co (Measure for Measure, A Midsummer Night's Dream, Romeo and Juliet). Film credits include Happy Suds, and the title character in Brown Sound Underground with Nona Leslie, both filmed in Vancouver.
Last year she spent nine months in England absorbing as much as she could about theatre: seeing plays, attending workshops, and writing and developing the one-woman show How (Not) to Kill the King, which she debuted at the Winnipeg Fringe Festival.
Michele Fansett - Hippolita
Michelle plays the vivacious and vengeful Hippolita, whose adulterous love for Soranzo, driven by clandestine and lustful passion, turns to murderous revenge, leading to the play's tragic climax.
A graduate of Ryerson Theatre School, Michele has been entertaining people in public places for nearly 37 years on stage, in film, TV & radio across Canada. She most recently appeared in Ottawa in Plosive Productions The Shadow: A Christmas Mysteries Radio Show. She keeps busy training standardized patients in role-playing for medical exams at the Ottawa Exam Centre, (& she will try to recruit you if she meets you!) Always eager to take on new roles, she is now also licensed to perform marriage ceremonies!
A graduate of Ryerson Theatre School, Michele has been entertaining people in public places for nearly 37 years on stage, in film, TV & radio across Canada. She most recently appeared in Ottawa in Plosive Productions The Shadow: A Christmas Mysteries Radio Show. She keeps busy training standardized patients in role-playing for medical exams at the Ottawa Exam Centre, (& she will try to recruit you if she meets you!) Always eager to take on new roles, she is now also licensed to perform marriage ceremonies!
Peter Ryan - Richardetto
Peter plays the mysterious and manipulative Richardetto, who seeks revenge on Soranzo for seducing his wife.
Peter has been involved in dance and theatre as a teacher, performer and writer since 1975. He is one third of Guerilla Heart Juice, along with Andy Massingham and Alix Sideris. He has taught and performed across North America and Europe and was a founding member of EDAM, Vancouver's innovative dance and music collective.
He teaches in the Theatre Department at the University of Ottawa, the Ottawa Theatre School and the National Theatre School, trains dancers and actors in movement for performance, and teaches public classes in Improvisation. Peter also works extensively in the schools, teaching dance and movement. He is the current Chair of Dance Ontario, and also serves on the board of MASC.
Peter has been involved in dance and theatre as a teacher, performer and writer since 1975. He is one third of Guerilla Heart Juice, along with Andy Massingham and Alix Sideris. He has taught and performed across North America and Europe and was a founding member of EDAM, Vancouver's innovative dance and music collective.
He teaches in the Theatre Department at the University of Ottawa, the Ottawa Theatre School and the National Theatre School, trains dancers and actors in movement for performance, and teaches public classes in Improvisation. Peter also works extensively in the schools, teaching dance and movement. He is the current Chair of Dance Ontario, and also serves on the board of MASC.
Will Somers - Bergetto / The Cardinal
Will does double duty playing Annabella's suitor Bergetto, whose innocent but foolish warm-heartedness makes him the object of mockery, and the Cardinal, a corrupt, greedy and self-serving representative of the Church.
Will is an actor, director, creator, and reacher of things on high shelves based in Ottawa.
He is a core company artist with Salamander Theatre, Eastern Ontario's biggest English language theatre for young audiences, where he has appeared in plays, brought workshops into schools, goofed around (artistically) at summer camps, and is currently co-creating a brand new play based on swan maid legends. He is also a teacher with OYP Theatre School, where he has written, directed, or written/directed better than an dozen plays and short films with students by the dozen for four years.
In contrast, Will's work as a director has taken him as far away from young audiences as you can imagine. In collaboration with Chamber Theatre Hintonburg, Will has directed Lee MacDougall's “High Life”, and staged Mamet's “Sexual Perversity in Chicago” in a bar.
Acting credits include Romeo in “Romeo & Juliet”, The John and Collage Man in “The Mechanicsvile Monologues” series, and a lead role in Amanda Sage's short film “Bliss”.
Will is an actor, director, creator, and reacher of things on high shelves based in Ottawa.
He is a core company artist with Salamander Theatre, Eastern Ontario's biggest English language theatre for young audiences, where he has appeared in plays, brought workshops into schools, goofed around (artistically) at summer camps, and is currently co-creating a brand new play based on swan maid legends. He is also a teacher with OYP Theatre School, where he has written, directed, or written/directed better than an dozen plays and short films with students by the dozen for four years.
In contrast, Will's work as a director has taken him as far away from young audiences as you can imagine. In collaboration with Chamber Theatre Hintonburg, Will has directed Lee MacDougall's “High Life”, and staged Mamet's “Sexual Perversity in Chicago” in a bar.
Acting credits include Romeo in “Romeo & Juliet”, The John and Collage Man in “The Mechanicsvile Monologues” series, and a lead role in Amanda Sage's short film “Bliss”.
Rachel Eugster - Putana
Rachel plays the coarse and morally dubious Putana, Anabella's tutoress. She also is the production's music director.
Rachel is comfortable in a wide range of musical and theatrical genres. South of the border, she originated leads in a musical comedy adaptation of Jane Austen’s Persuasion, the Arthurian drama Avalon; and Conventional Behavior, a send-up of science fiction conventions.
In Ottawa, Rachel has appeared in The Walk (Moon Dog Productions), in Momma’s Boy at the 2011 Fringe Festival, in the Gladstone’s Farndale Christmas Carol, and as soprano soloist with various choirs and orchestras. Rachel has served as music director for Salamander Shakespeare Co. and GNAG Theatre, and is an artist in residence at Parkdale United Church.
Rachel trained with Wayne Conner at the Peabody Conservatory (Master of Music, Applied Voice), and with Mary Burgess at Marlboro College (Honors BA, Music and Theater). She also holds an AFTRA Conservatory Certificate.
Rachel is comfortable in a wide range of musical and theatrical genres. South of the border, she originated leads in a musical comedy adaptation of Jane Austen’s Persuasion, the Arthurian drama Avalon; and Conventional Behavior, a send-up of science fiction conventions.
In Ottawa, Rachel has appeared in The Walk (Moon Dog Productions), in Momma’s Boy at the 2011 Fringe Festival, in the Gladstone’s Farndale Christmas Carol, and as soprano soloist with various choirs and orchestras. Rachel has served as music director for Salamander Shakespeare Co. and GNAG Theatre, and is an artist in residence at Parkdale United Church.
Rachel trained with Wayne Conner at the Peabody Conservatory (Master of Music, Applied Voice), and with Mary Burgess at Marlboro College (Honors BA, Music and Theater). She also holds an AFTRA Conservatory Certificate.
Simon Keeble - Soranzo
Simon plays wealthy young nobleman, Soranzo, who is Annabella's leading suitor. Outwardly charming, he conceals a violent, thuggish nature and a dubious past.
Simon Keeble performed last summer as the Duke of Venice and Montano in Salamander Shakespeare Company's "Othello." His work in community theatre over the last decade has included Algernon in The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, and Jonathon Harker in Dracula. Working for GNAG Theatre, he has focused on stage management in the past three seasons, albeit stage management combined with character cameo roles and music.
Simon Keeble performed last summer as the Duke of Venice and Montano in Salamander Shakespeare Company's "Othello." His work in community theatre over the last decade has included Algernon in The Importance of Being Earnest, Lysander in A Midsummer Night’s Dream, and Jonathon Harker in Dracula. Working for GNAG Theatre, he has focused on stage management in the past three seasons, albeit stage management combined with character cameo roles and music.
Tim Oberholzer - Vasques
Tim plays Vasquez, the twisted, scheming and remorseless Spanish servant to Soranzo.
Tim Oberholzer is an Ottawa-based actor having appeared most recently as Jack in Seventhirty Productions' The Communication Cord and as Artie in Eddie May Mysteries' The Curse of The Pekinese Peregrine. He has also appeared previously in Cyrano De Bergerac and The Shadow (Plosive Productions), I Do Not Like Thee Dr. Fell, (Seventhirty Productions) and Othello (Salamander Shakespeare Co.)
In his spare time, he manages the box office at the Gladstone Theatre and does freelance PR and backstage work. He is also the business manager for SevenThirty Productions.
Tim Oberholzer is an Ottawa-based actor having appeared most recently as Jack in Seventhirty Productions' The Communication Cord and as Artie in Eddie May Mysteries' The Curse of The Pekinese Peregrine. He has also appeared previously in Cyrano De Bergerac and The Shadow (Plosive Productions), I Do Not Like Thee Dr. Fell, (Seventhirty Productions) and Othello (Salamander Shakespeare Co.)
In his spare time, he manages the box office at the Gladstone Theatre and does freelance PR and backstage work. He is also the business manager for SevenThirty Productions.
Caroline Bowden - Signoria Donada
Caroline plays Signora Donada, Bergetto's aunt, seeking to secure a match for her nephew with Annabella. She is an upstanding citizen who is embarrassed by Bergetto's social inadequacies.
A former broadcast journalist, and a veteran of both community theatre and storytelling with the Haunted Walk of Ottawa, Caroline is only too used to ‘playing to the gallery’, as her mother used to say when she was showing off as a kid.
Caroline has appeared previously with TotoToo Theatre in Other Eyes and Kilt, and with GNAG Theatre in Murder at the Avalon, Dracula, She Stoops to Conquer, A Midsummer Night’s Dream and The Importance of Being Earnest
A former broadcast journalist, and a veteran of both community theatre and storytelling with the Haunted Walk of Ottawa, Caroline is only too used to ‘playing to the gallery’, as her mother used to say when she was showing off as a kid.
Caroline has appeared previously with TotoToo Theatre in Other Eyes and Kilt, and with GNAG Theatre in Murder at the Avalon, Dracula, She Stoops to Conquer, A Midsummer Night’s Dream and The Importance of Being Earnest
Grace Gordon - Philotis
Grace plays the naive and docile Philotis, an innocent used by her manipulative uncle Richardetto, to further his own schemes for revenge. But passions flare when she falls in love with the innocent but foolish Bergetto.
Grace Gordon is a recent graduate of the Dawson College Professional Theatre program in Montreal, where she has played such roles as Portia in The Merchant of Venice, Masha in Three Sisters, and Jackie in Noel Coward's Hay Fever. Last summer she appeared in Ottawa parks playing Desdemona in Salamander Shakespeare Co.'s Othello. Notable credits include: The Tempest (Kaleidoscope Theatre), The Art of Arousal (Spiritus Theatre), Cobra: The Musical III (MTL Fringe/Extensive Enterprises), Macbeth and The Two Gentlemen of Verona (MTL Shakespeare Theatre Co.)
Grace Gordon is a recent graduate of the Dawson College Professional Theatre program in Montreal, where she has played such roles as Portia in The Merchant of Venice, Masha in Three Sisters, and Jackie in Noel Coward's Hay Fever. Last summer she appeared in Ottawa parks playing Desdemona in Salamander Shakespeare Co.'s Othello. Notable credits include: The Tempest (Kaleidoscope Theatre), The Art of Arousal (Spiritus Theatre), Cobra: The Musical III (MTL Fringe/Extensive Enterprises), Macbeth and The Two Gentlemen of Verona (MTL Shakespeare Theatre Co.)
Nicholas Amott - Grimaldi
Nicholas plays the vicious and cowardly Grimaldi, a young nobleman courting Annabella, though lacking Soranzo's poise and smoothness.
A recent graduate from the University of Ottawa (Specializing in Theatre), Nick is an actor, pianist, composer, fast-food cashier, awesomeness manufacturer and playwright operating within the merry little community of Ottawa, who is totes excited to be working with the Bear in its premiere production. He can be presently seen performing in The Curse of the Pekinese Peregrine with Eddie May Murder Mysteries and - as well as whoring around with his fellow bears - shall be directing his own Bard-inspired play for Ottawa FringeFest 2012: Mercutio and Ophelia. Past credits include: Macbeth in Macbeth (Sock n' Buskin), Finn Studson in Murder in the First De-Glee (Eddie May), Ferneze in The Jew of Malta (Drama Guild), Holofernes in Howard Barker's Judith (Unicorn Theatre), Jacob Marley in A Christmas Carol (VS Theatre), Prometheus in Olympus: the Musical (Counterpoint Players).
A recent graduate from the University of Ottawa (Specializing in Theatre), Nick is an actor, pianist, composer, fast-food cashier, awesomeness manufacturer and playwright operating within the merry little community of Ottawa, who is totes excited to be working with the Bear in its premiere production. He can be presently seen performing in The Curse of the Pekinese Peregrine with Eddie May Murder Mysteries and - as well as whoring around with his fellow bears - shall be directing his own Bard-inspired play for Ottawa FringeFest 2012: Mercutio and Ophelia. Past credits include: Macbeth in Macbeth (Sock n' Buskin), Finn Studson in Murder in the First De-Glee (Eddie May), Ferneze in The Jew of Malta (Drama Guild), Holofernes in Howard Barker's Judith (Unicorn Theatre), Jacob Marley in A Christmas Carol (VS Theatre), Prometheus in Olympus: the Musical (Counterpoint Players).
Leslie Cserepy - Friar Bonaventura
Leslie plays the gentle but vocal spiritual counsellor Friar Bonaventura who attempts in vain to keep Giovanni from pursuing his lustful urges towards own sister, Annabella.
Born in Yellowknife, NWT, Leslie Cserepy has been a part of the Ottawa theatre scene for about 4 years now. He is a graduate of the Algonquin Theatre Arts Program, and has worked on various shows throughout the city such as A MIDWINTER'S DREAM TALE (Company of Fools) THE MECHANICSVILLE MONOLOGUES (Chamber Theatre) TAMING OF THE SHREW and ROMEO AND JULIET (Both at Kanata Theatre) THE DANGER PROJECT for May Can Theatre and THE CRACKWALKER (The Meus Productions/Hollywood Fringe Festival). Leslie is thrilled that he will be able to overcome his fears of both company and bears with Bear & Co this summer!
Born in Yellowknife, NWT, Leslie Cserepy has been a part of the Ottawa theatre scene for about 4 years now. He is a graduate of the Algonquin Theatre Arts Program, and has worked on various shows throughout the city such as A MIDWINTER'S DREAM TALE (Company of Fools) THE MECHANICSVILLE MONOLOGUES (Chamber Theatre) TAMING OF THE SHREW and ROMEO AND JULIET (Both at Kanata Theatre) THE DANGER PROJECT for May Can Theatre and THE CRACKWALKER (The Meus Productions/Hollywood Fringe Festival). Leslie is thrilled that he will be able to overcome his fears of both company and bears with Bear & Co this summer!
Nick Surges - Poggio
Nick plays the jovial Poggio, whose affection for and devotion to his master Bergetto knows no bounds.
Nick is an Ottawa-based artist, and his past theatre credits include The Laramie Project (red.collective), Rodorigo/Lodovico in Othello (Salamander Shakespeare Co.), Older James in the Canadian musical Homechild (GOYA), and Mendel in A Fiddler on the Roof (St. Clair College).
A graduate of Sheridan College's Performing Arts Preparatory Program, Nick divides his spare time between singing lessons and volunteering in Salamander's office.
Nick is an Ottawa-based artist, and his past theatre credits include The Laramie Project (red.collective), Rodorigo/Lodovico in Othello (Salamander Shakespeare Co.), Older James in the Canadian musical Homechild (GOYA), and Mendel in A Fiddler on the Roof (St. Clair College).
A graduate of Sheridan College's Performing Arts Preparatory Program, Nick divides his spare time between singing lessons and volunteering in Salamander's office.
Danielle Savoie - Ensemble
The multitalented Danielle plays various roles as a member of the show's ensemble, from salacious dancer to dangerous bandito.
Danielle has been involved in the performing arts since high school, dabbling in writing and directing, though her true passion is for acting. She is currently a 3rd year student at the University of Ottawa, enrolled in the Honours Specialisation in Theatre program with a minor in Arts Administration. You may recognize her from such diverse shows as Red Noses, The Death of Tybalt, Midwinter's Dream Tale, or Le Cimetière des Voitures. Danielle works hard both at school and in independent productions to become a well-rounded artist and entertainer. She is a Soprano, is fluent in both French and English, and has a second degree black belt in Taekwondo.
Danielle has been involved in the performing arts since high school, dabbling in writing and directing, though her true passion is for acting. She is currently a 3rd year student at the University of Ottawa, enrolled in the Honours Specialisation in Theatre program with a minor in Arts Administration. You may recognize her from such diverse shows as Red Noses, The Death of Tybalt, Midwinter's Dream Tale, or Le Cimetière des Voitures. Danielle works hard both at school and in independent productions to become a well-rounded artist and entertainer. She is a Soprano, is fluent in both French and English, and has a second degree black belt in Taekwondo.
Jennifer Hurd - Ensemble
The multitalented Jennifer plays various roles as a member of the show's ensemble, from salacious dancer to dangerous bandito. She also shows her versatility by pulling double duty as the production's Stage Manager and Fight Captain.
Jennifer is a fourth-year student at the University of Ottawa, and made her professional debut this past fall as a fairy in A Midwinter’s Dream Tale (Company of Fools). She was most recently seen in GNAG’s production of King Lear (Cordelia / Fight Captain). Other favourite roles include Maria in Twelfth Night and Olivia/Bhavna in Murder at the Avalon (GNAG). This spring, she stage managed The Jewish Wife (Unicorn Theatre). She is a certified Basic Actor-Combatant with Fight Directors Canada, and has studied ballet since age seven. In her spare time, she enjoys creating costumes and playing piano, violin, and guitar
Jennifer is a fourth-year student at the University of Ottawa, and made her professional debut this past fall as a fairy in A Midwinter’s Dream Tale (Company of Fools). She was most recently seen in GNAG’s production of King Lear (Cordelia / Fight Captain). Other favourite roles include Maria in Twelfth Night and Olivia/Bhavna in Murder at the Avalon (GNAG). This spring, she stage managed The Jewish Wife (Unicorn Theatre). She is a certified Basic Actor-Combatant with Fight Directors Canada, and has studied ballet since age seven. In her spare time, she enjoys creating costumes and playing piano, violin, and guitar