Behind the Scenes: An Interview with Choreographer Nicol Spinola

How would you describe what you do?

My job as a choreographer is to create all of the movement and dance that you see in a show. I work closely with the director to create work that supports the story we are telling.

What’s a typical work week like?

During rehearsals, we work six days a week – eight and a half hours a day. Once we get closer to show time, we start working longer days at the theatre in order to add all of the technical elements of the show like the costumes, lights and the set.

How did you get started?

My mom put me into dance when I was a little girl and I loved it. When I was 13, my musical theatre teacher cast me in a show and I fell in love with musical theatre. I was always interested in the choreography aspect of the show and after high school started to assist local choreographers on different productions. Eventually, I was offered my own show and have been working professionally ever since.

What is most challenging about what you do?

I think the most challenging aspect of my job is taking the music and lyrics and converting them into movement that supports the story. My job is to make every performer look great on stage so working within their skill set to create movement and dancing that they can do well and looks great.

Can you talk a little bit about the different dance styles in this production?

This show is filled with a mix of styles! You are going to see a lot of classic jazz, street jazz, ballroom and of course, Disco.

When did you begin choreographing? Tell us about your first experience.

I started choreographing when I was 15 years old for students at the dance school I attended. Since then, I’ve gone on to choreograph many competition pieces for different dance groups on the lower mainland and children’s theatre. My first professional choreography job was with Theatre Under the Stars and their production of Mary Poppins. It was a huge production with over 30 members in the cast. It was both challenging and exciting.

What is your process like? Are you driven by the music first or a specific concept?

I think it is a bit of both. When I am first starting to create choreography, I often sit down and listen to the music and write down the things I am imagining. I work with the script and the director to create and really understand the story and how we are going to tell it, and then create movement that aligns with the story and the vision for the show. I then get on my feet and start physically working out what each dance step will be and where all of the performers will be standing on stage.

What is your favorite genre to choreograph?

I really enjoy choreographing classic tap pieces. It’s fun to come up with different rhythms that add to the music.

Do you have a favorite routine in this show?

There are so many great pieces in the show. I am actually a really big ABBA fan so it’s been a blast getting to listen to their music every day. If I had to pick, Voulez Vous is one of my favourites.

Is there anything else you’d like to add?

Being here in Chemanius and getting to create theatre in such a beautiful location is very special. I hope that audiences enjoy Mamma Mia as much as we’ve enjoyed creating it.

By |June 7th, 2019|Categories: Uncategorized|0 Comments

Are You Ready for Mamma Mia? Test your ABBA knowledge!



Recording together as a duo, Björn & Benny released their debut album in 1970. What was it called?
A. Lycka              C. Björn & Benny
B. The Duo         D. Laika

On what TV show did ABBA stage their final appearance?
A. The Morning Show                           C. The Tonight Show
B. The Late, Late Breakfast Show      D. The Oprah Winfrey Show

Which of these albums was the only one not to chart in the UK?
A. Super Trouper                 C. Ring, Ring
B. Voulez-Vous                     D. Waterloo

Which Swedish artist designed ABBA’s logo, and all of their album covers from 1976-1986?
A. Ruun Söderqvist               C. Rune Söderqvist
B. Rona Söderqvist               D. Ron Söderqvist

Which popular Swedish company of the same name did ABBA need to get naming rights permission from?
A. A theatre company                      C. A chewing gum brand
B. A clothing line                              D. A fish canning company

As long as they didn’t wear the super flashy ensembles they became famous for donning onstage while
they weren’t performing, they were considered deductible by Swedish law.
A. True                        B. False

The group was in such high demand that they made the unique arrangement for Russia to pay them with
oil to perform while touring the Soviet Union during the Cold War when rubles had been embargoed.
A. True                        B. False

Before they were ABBA, what was the band known as?
A. Frida                                C. The A’s and B’s
B. BABA                               D. Festfolk

Answers: A, B, C, C, D, A, A, D

By |May 20th, 2019|Categories: Uncategorized|0 Comments

DID YOU KNOW? The true story of the von Trapp Family

The film adaptation The Sound of Music was released March 2, 1965, and for many households, was the introduction to the von Trapp Family, and beloved classic songs such as “Do-Re-Mi”, “Climb Ev’ry Mountain” and “Sixteen Going on Seventeen”. However, while The Sound of Music was based on Maria von Trapp’s book The Story of the Trapp Family Singers (published 1949), there were a number of key differences between the true story of the von Trapp family, and that of the film and Broadway (first performed 1959) adaptations.

During the climactic scene of the show, the von Trapp family will flee Salzburg, Austria by hiking over the surrounding mountains. In real life, however, this would have lead the von Trapps into Nazi Germany, the very regime they were trying to escape! The real-life departure of the von Trapps was far less dramatic—in broad daylight, the family left their villa and crossed the railway tracks behind their home in order to board a train to Italy, under the guise of a family vacation. They did, however, leave just in time, as the next day the Austrian borders were sealed.

Interesting Historic Fact:
Nazi leader Heinrich Himmler used the von Trapp’s villa during World War II as a summer residence once the von Trapp family had fled.

Georg von Trapp’s second-oldest daughter, Maria, contracted scarlet fever in 1926, and could no longer make the journey to school. Georg sought out Salzburg’s Nonnbery Abbey to find a tutor for his sick daughter. At this time, Maria Augusta Kutschera had entered the Abbey two years previous as a novice, and was the perfect candidate given her training at Vienna’s State Teachers College for Progressive Education. Her time with the von Trapps was to be a 10-month assignment before she formally entered the convent.

47-year old Georg von Trapp and 22-year-old Maria Augusta Kutschera were married on November 26, 1927, more than a decade before they fled. Maria claimed she fell in love with the children at first sight, and she liked their father, but did not love him. Though, as the years went by, Maria did learn to love Georg von Trapp.

Overall, there were 10 von Trapp children, not 7. The names, ages and sexes of the children were all changed. The oldest von Trapp child in real life was Rupert von Trapp, born in 1911 and a practicing physician by the time the von Trapps fled Austria in 1938.

Interesting Historic Fact:
While the von Trapps were offered many enticements by the Nazis—greater fame as a singing group, a position as a medical doctor for Rupert, a further naval career for Georg. The von Trapps knew they were on thin ice—they refused to fly a Nazi flag above their home, refused to sing at Hitler’s birthday party, and Georg declined a naval command. After weighing the benefits against leaving behind their family, friends, estate and all of their possessions, they decided they could not compromise their principles and integrity, and they left.

The captain was a warmer father figure than he was made out to be. While he did carry a whistle, and did have a distinct whistle sound for each of his children, as well as dressed his children in sailor suits, he did not have them marching or standing at attention. Out of the two parents, Maria was the one with a cooler demeanor. Though she was a caring and loving person, the real-life Maria was also prone to fits of temper.

The captain and his first wife (who died of scarlet fever) enjoyed music, introducing it to their children and household long before Maria came from the Abbey. Before Maria came, the von Trapp children already knew how to sing and played a number of instruments. What Maria did teach them was madrigals.
Madrigal: “a complex polyphonic unaccompanied vocal piece
on a secular text developed especially in the 16th and 17th centuries”

What originally lead the von Trapp family to begin singing professionally was, like many families, the loss of their fortune in the Great Depression. The von Trapps actually took in boarders in order to bring in additional funds. One of these boarders was Father Franz Wasner, who would act as their musical director for over 20 years. The fictional Max Detweiler never existed in real-life. After fleeing Austria with the von Trapps, Wasner accompanied them on their tours of Europe and the United States.

By |March 1st, 2019|Categories: Uncategorized|0 Comments

Book Signing with M. Morgan Warren

Originally from Great Britain, M. Morgan Warren now lives and maintains a working Studio at Canoe Cove Marina, North Saanich, B.C. Through her highly detailed, realistic watercolours of birds and animals, she strives to give viewers of her work a special glimpse into the hidden lives of her subjects. During the past thirty-two years she has made an in-depth study of the fauna and flora of this region, recording her observations in hundreds of photographs, studies, and notes.

Morgan’s paintings and reproductions can be found in many private collections all over the world, including those of Her Majesty, Queen Elizabeth II, and HRH Prince Philip, Duke of Edinburgh. In 1996 she was the special guest of the DeYoung Museum of Fine Arts in San Francisco, where she demonstrated the techniques of John James Audubon for visitors to the national Audubon Birds of America Exhibition. Save the Children Fund Christmas cards, the international Sierra Club Foundation Annual Report, and Ducks Unlimited, among others, have featured her work. Rogers Chocolates recently chose six of her images to be included in their special Canadian Art Collection. As well as Morgan’s own Studio, her work can currently be found in a number of locations, including Victoria’s Murchies Tea and Coffee, and the world-famous Butchart Gardens.

“Nature on the Threshold” is Morgan’s second book. A published poet with a degree in English Literature and Creative Writing and one successful book, “Through Their Eyes and Mine”, already to her credit, Morgan has eloquently portrayed in words and watercolours the creatures and plants of the area where she lives. It is her wish that this book will enhance an awareness and appreciation of the beauties of our imperilled Natural World.

By |February 25th, 2019|Categories: Uncategorized|0 Comments

Behind the Scenes: Costume Designer Laurin Kelsey

When were you first introduced to The Sound of Music?

I don’t recall the first time I saw The Sound of Music as a child, but I do remember being fascinated immediately by the costumes, the story, and especially by the music. Growing up I had a childhood friend who adored the film and called it ‘Maria’ instead of The Sound of Music, so in my mind since then I’ve always fondly thought of it as ‘Maria’.

What drew you to want to design the costumes for The Sound of Music?

There’s something so nostalgic about working on a show that you’ve grown up with and always admired. For me I think I have a list of about 25 films or shows that inspired me to enter such a creative career and The Sound of Music was definitely one of them. Because of that, it always holds a special place in your heart and to work on a show like that as a professional is so special, every design reminds you of that magical feeling you had when you were younger watching and experiencing the show for the first time.

The Sound of Music is a very widely known classic – was it challenging to come up with your own costume designs?

Certainly it’s always a challenge to design costumes for a show that’s so popular and well-known. There’s an expectation from fans of the show to see some of the iconic favourites from the film – costumes like the dress that Maria wears in the opening sequence of the film in The Hills are Alive is so iconic that doing anything other than her dress and smock look feels intuitively wrong for that moment. In the case of a classic like The Sound of Music I think it’s about finding a balance between bringing your own fresh perspective to the film while paying tribute and honouring some of the favourite designs established by Dorthy Jeakins in the 1965 film.

Can you tell us a bit about your design process?

My design process always begins with the script and with conversations with the Director, who has the overall vision and approach to the show in mind. Based on the script and those initial conversations, I begin to brainstorm and develop a concept for the costumes that will work within the overall vision that Director has. The first step to developing that concept is to dive into a great deal of research, both historical and visual – by that I mean that I’m looking for images and information regarding the exact country and time period that the show takes place in, while also looking for images, colours, textures and fabrics that inspire me and provide me with a ‘feeling’ of the show. Instinctively I like to think about the overall feeling of the costumes first, before diving into each character and their personality. Once I have some ideas in mind, there are more conversations and discussions with the Director, as well as some interactions with the Set Designer in order to see the world that they’re creating as that’s the same world my designs need to live in. From there it’s time to delve into character-specific studies and ask myself and other members of the creative team detailed questions about the characters and where they fit in this world and how that can be expressed through their costumes. From there I create collages for each character or look with my research and any colours or images that evoke the feeling I’m going for. These are the preliminary designs, which then go to the Director and the Head of Wardrobe for review and discussion. Once approved, we work together to suss out any details or specific challenges or costume needs, such as how long an actor has to actually get changed between scenes or if a particular actor needs some additional make-up to change their age to match their characters, then I begin sketching the final renderings. The renderings can take anywhere from 2 to 8 hours each to complete, so it’s a lengthy process to render costumes for such a large show, but it’s an important part of the process as this is when I develop the details for each character, and it gives me the ability to see all the costumes together on paper before they become a reality. Once the renderings are done, they go back to the Theatre for review and when they’re approved we move forward into realizing the costumes that will then appear on stage.

What research goes into designing costumes? 

For a show like The Sound of Music, there’s several layers to the research because you’re telling a period-specific story that’s based on both real characters as well as a real event in time, the Anschluss. Not only that, but I think it would be impossible to ignore the 1965 film and first production of the musical, which means looking at the costumes and world created through the goggles of the creators in the 1960s. I find these types of projects to be the most interesting because each of these layers adds something to the costumes and to the overall feeling of the “world” we’re creating as a creative team.

Is it easier or harder to design costumes for a different era?

I think from my perspective it’s actually a similar level of difficulty – the challenge with designing costumes for another era is that you weren’t necessarily there to witness it firsthand, so you’re basing all of your work off of your interpretation of historical research and your knowledge of that time period. Depending on the period, it might also be that some of your audience members have lived in that period, so you have to be very specific and knowledgeable about what you’re putting on stage. On the other hand, I find designing modern costumes equally challenging because everyone in the audience knows what costumes should look like in a modern show, they’re living in that time period, it’s so easy to separate the audience from the characters if you’re not accurate. If you see a modern show in 2018 and someone is wearing a hat that’s from the 1980s (and not currently in fashion), audience members will likely see that error and it can distract or separate them from relating to the story.

The Sound of Music has a large cast – do you find it difficult to create different costumes and styles for all of the different character personalities?

Absolutely, the show contains over 90 costumes for 26 characters so it’s a large amount to design, create, and manage. One thing that always helps me is to remember that although each character is unique and has their own personality, they still have to fit in the world that we’re creating and by setting the rules of that world, it helps to narrow down the looks of the show and the ways in which we express each character’s personality. It’s also good to remember that not every personality is expressed overtly through their costumes, sometimes costumes play only a minor supporting role to the physicality, movement and voice that an actor or actress gives to their character and if the costumes are over-designed, it can take away from their performance or ability to perform.

Which character was your favourite to design for?

I think the children have been my favourite characters to design for, despite the fact that their looks are some of the most iconic of the show and have less room for flexibility/creativity. What I love about them though is that you can truly show the transformation of the children throughout the show, from their strict grey-blue sailor uniforms at the top of the show, to the exuberant and fun curtain-made play clothes and then their more individualized looks as they blossom for the concert performance under Maria’s care and love. By the end of the show I think that the children have this overall unified family look, but each costume has individualized details and we see a rainbow of colours and personalities expressed within their wardrobe.

Is there any particular feature of your designs that you want the audience to know about?

One of the simplest yet most effective elements to my designs is the colour story I create with the characters. Each character undergoes some sort of transformation in the show, told partially through the use of colour. An example would be Maria, who starts out generic in her black postulant costume, where she’s living limited by the rules of the Abbey, but once she goes to the Von Trapp family home, we see her in the colours of the natural environment that she loves, the Alps. I tried to bring in lots of golden yellows, warm whites, rich grassy greens and sky blues. In a similar way, the Von Trapp’s wear greys and dull blues, the costumes are uniform and lifeless. Once Maria arrives, I wanted to spread her warmth and natural colours to the children and Captain Von Trapp, which you’ll see in their slow but steady transformation to their end look. Other colours you’ll notice play prominently are the stark red, white, and black of the Nazi flag, which creates a strong and intentional contrast and sense of oppression against Maria and the children.

What’s the biggest challenge about designing costumes for this show?

I think the biggest challenge for a show like The Sound of Music is finding the balance between meeting high audience expectations while bringing something new and interesting to the table. No one wants to see The Sound of Music and not recognize their favourite characters and moments, for most people seeing The Sound of Music will be nostalgic and reminiscent of their childhood or the time that they first saw The Sound of Music and I want to honour that feeling.

Do you have a favourite costume?

I would have to say that my favourite costume in the show is the wedding dress for Maria. When I began my research, I was positive that the dress worn by Julie Andrews in the film was completely wrong for the time period, the tiny waist and full skirt came off as very 1950s, however, once I delved in deeper I found that it was actually very similar to a lot of dresses I saw in my research of the time period. In the end, the design I’ve come up with is intended to have less fullness in the skirt and a slightly softer fabric to lean more towards the looks of the 1930s, but I’ve opted to keep a lot of the features from the film, like the higher neckline and simple fabric with no lace or frills. I’ve recently been shopping for my own wedding dress so I had a special place in my heart for designing Maria’s.

How are your costume designs bringing something new to this show?

I think that every time we design a show, we put on these goggles that contain all of our life experiences, where we come from, who we knew, all of our history and the way we view the world and that it’s impossible not to put our own touch on what we design because we’re viewing the show through these goggles. Despite sticking to so much of the historically accurate and original looks of the show, I know that each costume has my stamp on it, whether it’s the style of trim on the concert skirts that I picked based on memories I have of being in Austria and Germany a few years ago, or the fabric that Maria twirls through the hills in during the first scene, selected because it reminds me of a dress I had when I was younger, I think those details and subtle choices are the way that I bring something new and unique to the show, even when the overall looks are so iconic and recognizable.

By |February 14th, 2019|Categories: Uncategorized|0 Comments

Glorious Granny

If you’ve watched the hit ABC TV show Once Upon A Time, you will already be well familiar with the multi-talented leading lady of our upcoming Glorious. 

Beverley Elliott, also known as Granny in the modern fairy tale, is well known for her comedic hilarity as much as she is for her musical expertise and theatrical charisma. This is what makes her perfect to play our magnificently funny and charming Florence Foster Jenkins, the worst singer in the world who believed she was a virtuoso!

Beverly is a recording artist with music CD’s of her own, and performs her music at concert festivals. Her comedic bent is along the lines of comedy legend Carol Burnett and she has performed in a wide variety of roles on the stages of theatres across Canada. Her warmth and charisma, it can be said, is her trademark, and we are excited to see how that will inform her portrayal of Florence Foster Jenkins.

Florence, for her part, was the quirky amateur singer and flamboyant socialite known as the First Lady of the Sliding Scale, the squeaky soprano du jour, who sang her way into the hearts of New York society. She counted among her admirers composer Cole Porter, operatic tenor Enrico Caruso, and English conductor Sir Thomas Beecham.

We look forward to seeing Beverley portray this “extraordinary woman who had the guts to follow her dream,” (Peter Brown, London Theatre Guide) and hope you will join us for the heartwarming hilarity sure to ensue!

Book your tickets online now or call our box office at 1-800-565-7738.



By |July 18th, 2018|Categories: Uncategorized|0 Comments

Grease in Chemainus

Julie and Barbara take a quick break during Grease rehearsals on the (in-progress) set.

Thank you to Barbara Tomasic and Julie Tomaino, the Director and Choreographer of our upcoming production of Grease for answering a few questions!

  1. This is the 40th Anniversary of Grease! What is it about this show that has stood the test of time?

Barb: I think the spirit of being a teenager, trying to figure out who they are, is still the same.

Julie: I think there are so many popular fifties songs in this show that are still widely listened to now.

  1. Do you have a favourite memory of watching this show? Either a stage production or a movie?

Barb: When I was in grade 7 I watched the movie 8 times in one night at a sleepover. I remember thinking it was such a risqué movie, and marvelling at the freedom and joy of the teenagers.

  1. This show is so popular and well-known, what creative touches are you planning to bring to the production at Chemainus Theatre Festival?

Julie: there is such iconic choreography in Grease, and of course I’m going to pay homage to the original, but with a twist. I like to challenge myself as a choreographer with movement that tells the same story in the style of the show but with my stamp on it.

  1. The 50’s are such a fun part of Grease, how is the creative team working together to bring this decade to life on stage?

Barb: our set designer Lauchlin has based the set on a photo of Sandra Dee that I chose. I think this photo is a strong representation of the colour palette and style of the time period. We’re also using images from advertising from the fifties and of course the costumes.

  1. Be honest, do you constantly have the soundtrack going through your head? Any songs in particular?

Julie: yes. Because I need to know all the accents and orchestrations so well I had ALL the songs running through my head for over a month. Today, it’s We Go Together.

Barb: Freddy My Love is the one I’ve had over and over in my mind.

We’re both happy to back in Chemainus, a town we hold close to our heart.


Spring Shopping Guide

Spring has arrived on Vancouver Island and a stop at the Chemainus Theatre Gallery Gift Shop is well worth it, for a peek at the season’s must-haves!
Nothing gives us a spring in our step more than bright colours and breezy fabrics. We have dresses and blouses to fit all styles and shapes. Ask one of our knowledgeable staff members or volunteers to help you find the look which most compliments you. We have a fabulous assortment of accessories too – purses, scarfs, and hats to protect you from the sun and the rain. Don’t forget to finish with a new piece of artisanal jewelry  – from sea glass to enamel we will complete your look, on trend.
With the sun shining and a new season – it is a great time to give your home a freshening up! Our line of whimsical clocks add a touch of fun or you could bring home a bright painting or print to liven things up for the season. We have blown glass bulbs which will add sparkle in your windows or choose from our unique sea glass and wire ornaments that look lovely indoors or out.
Pop in and see us before your next baby shower or wedding. We have everything from locally made baby shoes to pottery. These pottery wall vases compliment any home with a sprig of freshly picked flowers!
We look forward to seeing you soon!
By |April 5th, 2018|Categories: Uncategorized|1 Comment

Highlights of Chemainus

Chemainus is a highlight of many tourists’ holidays on Vancouver Island. It has wonderful shopping, great food, historic homes, and colourful murals providing a beloved ambiance. With the arrival of Spring Break and sunny days it is easy to see there are so many things to do in our little town. To make your trip here extra memorable we want to share with you our top 5 things to do before or after a show at Chemainus Theatre:

  1. If the weather is cooperating (or you have a good umbrella and boots) go for a walk and enjoy one (or two) of Chemainus’ many parks, trails, beaches and lakes – Stocking Creek and Chemainus Lake boast beautiful walks through scenic West Coast forests, Kin Beach is a perfect place to have a picnic or sit on a bench and enjoy the panoramic views of local islands and sometimes Mt. Baker on a clear day.
  2. Chemainus boasts many delicious eateries to satisfy all tastes. For a satisfying lunch try Chemainus Theatre supporters Owl’s Nest or Willow Street, they are right across the street from each other and you are guaranteed yummy food while you eavesdrop on local gossip. If you are craving something more exotic try Odika Café for good food and great service. There are also great Thai, Japanese, bakeries, and pub-style options in town. Our biggest tip for any lunch in town – don’t eat too much so you still have room for dinner at the incredible Playbill Dining Room right before your show.
  3. Discover the history of Chemainus – check out the museum next to the visitor information centre to learn about what makes Chemainus special, walk amongst the murals to see the history larger-than-life, or take a horse-drawn wagon tour for a laid-back, delightful experience.
  4. It’s easy to treat yourself in Chemainus. Locals are lucky to live here and often comment on how we don’t have far to go for great boutique shopping. Get a new outfit or a quality pair of shoes at a store like ‘Beyond the Usual’ or Kinney Clothing. You can find opulent handmade soaps, beautiful gifts, and maybe even a spa treatment. If you are in the market for antiques you will definitely be able to find something special in Chemainus.
  5. Chemainus is a unique town, full of unique experiences. Many visitors who have been here before have enjoyed listening to live music in Waterwheel Park, right in the middle of town. Even if there isn’t a concert during your visit grab a hot chocolate or ice cream cone (depending on the time of year) and walk the park’s newly installed labyrinth for a meditative experience.

We hope you enjoy your next visit to Chemainus. We encourage you to take your time and stay a while to soak up that slow, small-town charm. The Best Western Plus offers great deals on your next stay – you can even book when you call the Chemainus Theatre Festival box office to get a great package deal. Drop in and say hello to the friendly folks at the Chemainus Visitor Centre while you are here too – they can give you more information about self-guided walking tours, dining and shopping option, local parks and more!


Emma Slipp as Henrietta Leavitt

The basic plot of Silent Sky is fascinating – a true story of a plucky, brilliant young woman who defies odds and persists as a female astronomer in the early 1900s at Harvard. But the story that is brought to life is a rich tale of family, love, and friendship. It is fiercely funny and touching and as audiences leave the theatre you can feel the energy of the shared experience of seeing this beautiful tale brought to life.

A night at the Chemainus Theatre is an experience the moment you walk in the door. If you have decided to indulge in the buffet dinner in the Playbill Dining Room make sure you try the Salmon with Mango Pineapple Salsa, but leave room for the Boston Cream Pie – for a 3-course luncheon starting at $23 you will be happy you did!



Emma Slipp, who plays lead character Henrietta Swan Leavitt, took some time out of her busy schedule to answer a few questions and provide some insight into this rich show.



Welcome back to Chemainus. What do you enjoy about being back here when you are not in rehearsals?

I always enjoy my time here and get to push a reset button away from all the demands of my city life. I am able to focus on the show only.
The community is so welcoming and supportive. I love going for walks and visiting the shops.

For you, what is this show about and why should audiences come see it?

This show is telling a story that wasn’t honoured in its day. The script alone is beautiful, but married with all the design elements I think it’s quite stunning. The set, costumes and lights along with original music composition and projections all blend together with imagination.  It’s witty, poetic and thought provoking, but also heart bursting and satisfying.

What drew you to the character of Henrietta as portrayed in this depiction of her life? Was there anything that surprised you as you began to explore this role?

I connected with her drive and commitment to her chosen career path and understand the sacrifices she had to make. I am excited to share her story because I know there are so many unsung heroines who’s contributions have been skipped over. I feel this is an opportunity to celebrate a group of woman that paved the way for future generations.   

Unlike Henrietta , I am unskilled in math and science and it has been a true challenge to understand and then convey some complex thoughts and revelations. It’s been a great brain workout!

Is there a significant line or special moment that stands out for you?

The script has so many beautiful moments, but I think my favourite line is one the Peter says to Henrietta

” I feared combusting if I didn’t tell you that you’ve been the brightest object in my day since we met. And we work with stars.”

After exploring this role what message do you think Henrietta would have for young women starting out in their careers?

Don’t take no for an answer. Stay passionate, determined and do all you can to create your own space in your chosen field.

If you haven’t seen it yet get your tickets today, you won’t be disappointed. Silent Sky has a shorter run than some of our other shows so get your tickets today and don’t miss out. Even though this is the final dramatic production for our 25th season at Chemainus Theatre Festival you will laugh, be inspired and perhaps shed a tear. The reviews have started to come in and we hope they will convince you to come see the show. (LINK TO: http://www.lakecowichangazette.com/entertainment/review-chemains-theatres-silent-sky-a-brilliant-star-in-the-heavens/)





By |October 17th, 2017|Categories: Uncategorized|0 Comments