In memoriam: Ed Rosing

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Ed Rosing – during a break in scenic painting on The Lady’s Not For Burning at Alumnae Theatre

Ed Rosing

March 11, 1929 – September 12, 2016

Ed Rosing (aka Eddie, Eduardo) was a creative soul with a quick, sharp wit, and a great love of classical music, opera and theatre. He played piano, was an original founding member of Cabbagetown Theatre, and worked as a respected interior decorator (into his late 80s, he still had two clients!), as well as a theatre set and lighting designer, scenic artist and director.

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Ed and Cody Boyd, working on the lighting for The Lady’s Not For Burning at Alumnae Theatre

I met Ed at Alumnae Theatre and got to know him during a production of Lady Windermere’s Fan, where he was the lighting designer and I was playing Cecil Graham. His gorgeous lighting plot included a gradual sunset during the opening scenes and a lovely fireplace lit room for Lord Darlington’s apartment (a cast and audience favourite). After that, I had the pleasure of painting sets he and others designed, as well as his apartment at PAL Toronto, and being directed by him in a New Ideas Festival reading of Jamie Johnson’s Falling.

He was a good friend, and a generous and knowledgeable mentor – and I will miss him.

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Ed & Bailey at Kensington Hospice – photo by Brett Guenther

Memorial donations can be made to Kensington Hospice, where Ed spent his final days, surrounded by loving friends and family (and even a dog or two), and caring staff and volunteers. A home away from home, Ed appreciated the comfortable and beautiful surroundings – and especially enjoyed the food – listening to classical music and watching movies and TV shows on Netflix (Murdoch Mysteries was a favourite).

Wherever he is, I’m sure he’s already coming up with ideas to make it even more startlingly beautiful.

Below are some snaps I took of some of his Alumnae Theatre sets: Cosi, The Drowning Girls, The Lady’s Not For Burning and Blood Relations:

 

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A world on a stage – scenic work on The Lady’s Not For Burning @ Alumnae Theatre

Hey all –

As promised, here’s the slideshow extravaganza of the work for my recent scenic artist gig on Alumnae Theatre’s production of The Lady’s Not For Burning (designed by Ed Rosing).

Shouts to:

Building crew: Master carpenter Mike Peck, with additional construction by Cody Boyd, Paul Cotton, Gord Peck, Ed Rosing and Mike Vitorovitch.

Painting crew: Scenic artist (me), with Cody Boyd, Razie Brownstone, Joan Burrows, Margot Devlin, Ed Rosing and Dorothy Wilson.

The Lady’s Not For Burning is in its final week on the Alumnae mainstage, running tonight (Wed, Feb 5) through Saturday, February 8 at 8:00 p.m.

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Wit, wonder & wisdom in The Lady’s Not For Burning @ Alumnae Theatre

Lady's Not For Burning - image only“Life, forbye, is the way

We fatten for the Michaelmas of our own particular

Gallows. What a wonderful thing is metaphor!”

– Thomas Mendip in The Lady’s Not For Burning (from director’s program notes)

Alumnae Theatre Company’s production of The Lady’s Not For Burning, directed by Jane Carnwath, brings the wit, wonder and wisdom of Christopher Fry’s play to life through sight, sound and poetic wordplay – an excellent cast and a beautiful show.

The marvelous ensemble includes some remarkable stand-outs. Chris Coculuzzi gives us a Thomas Mendip that combines the melancholy philosophy of a Jacques with the good-humoured wit of a Fool, and Andrea Brown is luminous as Jennet Jourdemayne, quirky, sharp-witted and compassionate. Together, their performances show us opposite perspectives of the all too fleeting realization of the nature of the human condition: we live, suffer out our short time in these bodies – yes – and we can choose to bemoan that fact or savour the brief moments we are given. Two sides of the same coin. Chris Whidden, as the put-upon but boyishly optimistic Mayor’s clerk, takes young Richard from boy to man as he stands up for what is right as well as for himself, with particularly sweet bashfulness in the presence of love. Paul Cotton brings to Humphrey Devize a lovely combination of wry wit and desperate longing born of boredom and ennui. Peter Higginson is adorable as the kind-hearted, thoughtful Chaplin who longs to be a musician, and Ian Orr is hilariously convincing as the drunken and disoriented Matthew Skipps.

With big shouts to the most excellent design team: Margaret Spence (costumes), Ed Rosing (set/lighting), Mike Peck (master carpenter), Angus Barlow (sound) and Razie Brownstone (props) for bringing the sights, sounds and textures of this world to life. My personal thanks to the painting crew, who assisted Ed and me with the set: Cody Boyd (who was also Ed’s design assistant), Razie Brownstone, Joan Burrows, Margot Devlin and Dorothy Wilson. And to the intrepid producer team of Barbara Larose and Ellen Green, and stage manager Margot “Mom” Devlin and ASM Tara Gostling for holding this massive production together.

A world-weary soldier longing for the noose. A bright young woman accused of witchcraft. Both eccentric in their own way, standing out from ordinary folk who don’t look beyond their own front doors. The silly superstitious collective mind of the mob. Kind spirits and good hearts. What’s not to love?

Alumnae’s production of The Lady’s Not For Burning continues on the mainstage until February 8, with a talkback with the director, cast and design team after the matinée on Sunday, February 2.

Coming soon to the cowbell blog: The Lady’s Not For Burning set comes to life. A slide show of the scenic painting process.