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.
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.
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:
Aromas is a solo show that features an ensemble cast of characters, mainly Katalin and her alter-ego Chanel. Ice skater, dancer and party girl Katalin grows bored of her dream job performing with a Swan Lake touring company and stumbles upon the opportunity for a career change – and her working persona Chanel, a professional sex worker, is born.
Throughout her world travels and encounters with diverse people – some of whom have come from extremely harsh and horrific situations, including her Eastern European immigrant parents – Katalin finds herself able to see the world as it is while maintaining a sense of optimism and an ability to see beauty wherever she goes, and finding joy, connection and empathy in the people, flavours and scents she encounters. With the heart of an artist and the mind of a philosopher, not to mention a collection of readily available dialects and several languages, her work as Chanel goes beyond the mere exchange of sexual services for money. Sex is never just about sex. Chanel is a priest, a psychologist, a counsellor – not a girlfriend, but a girlfriend experience – with a strong commitment to being present physically, mentally and emotionally. And as Katalin struggles with her own sense of identity and longs for a story of her own, she finds that – far from being a means of avoiding herself and her world – Chanel is a way into herself. Into her own story.
Fraser’s performance is sexy, provocative, vivacious, deftly funny and wise. As we watch her character transitions – from Katalin, to her parents, to childhood friend Angela, to skating and dancing colleagues, to Chanel – the acting is truthful, engaging, immediate, present. Adult content aside, there is a lovely raw quality to Fraser’s work here in that it requires an incredible amount of emotional frankness and openness, not to mention guts.
With shouts to the design team: Richard Jones’ upbeat, cosmopolitan soundtrack; Brandon Kleiman’s sharp set (featuring a gorgeous backdrop wall of hotel room keys) and costumes designed for all Katalin’s/Chanel’s moods and styles; and Ed Rosing’s lighting design, which serves to move the scene, time and space transitions on an otherwise stationary space. And to the production’s intrepid stage manager Margot “Mom” Devlin, who’s running lights and sound, as well as the box office, for the run.
Aromas is an erotic, moving, sharply funny and thoughtful piece of storytelling – performed with heart, smarts and chutzpah by actor Andy Fraser.
So, first, a confession: I’d never read or seen Sharon Pollack’s Blood Relations. Not until last night, that is, at Alumnae Theatre Company’s opening night, directed by Barbara Larose, assisted by Ellen Green.
We are in the Borden home in Fall River, Massachusetts, 10 years after Lizzie Borden’s acquittal of the brutal double murder of her stepmother and father. Ragtime music fills the theatre and, in the dim pre-show lighting onstage, you can make out the main floor of the home: dining room and parlour, separated by a dark wood finish staircase. Down stage right is a pigeon coop; down left is a garden with a stone bench.
The ever present question: “Did you, Lizzie? Lizzie, did you?” sets the scene for a memory game of storytelling, played by Lizzie (Marisa King) and her friend/lover The Actress (Andrea Brown), taking the audience back in time to the circumstances leading up to the murder and trial. Adding to the ghoulish fun and intrigue, The Actress plays Lizzie in the flashback scenes, with Lizzie taking on the role of Bridget, the family’s maid.
We see Lizzie Borden as an unconventional woman out of place in a conventional household and society, her feelings of entrapment aptly illustrated – with shades of the macabre to come – by the empty red wire bird cage in the corner of the parlour. That trapped feeling comes to a boiling point for Lizzie when her stepmother’s brother Harry (Rob Candy) arrives to bargain with her father (Thomas Gough) over the family farm, a move that would see the farm willed to stepmother Abigail (Sheila Russell). And Lizzie’s older sister Emma (Kathleen Jackson Allamby) is more interested in absenting herself from the family strife than in saving their inheritance.
Larose has an excellent cast for this exploration of the famously accused and acquitted suspected murderess. King brings a quiet, slow burning intensity to Lizzie, and a sassy, firey mischief to the Irish maid Bridget. Brown is seductive and playfully dramatic as the beautiful extrovert Actress; and gives a sharp-witted, modern-thinking edge to her portrayal of the caged and frustrated Lizzie. Gough’s Andrew Borden is a disturbing, paradoxical combination of serious patriarch and doting father, capable of both extreme kindness and cruelty. Russell’s Abigail is a sturdy, practical and self-righteous housewife, but perhaps not above using her own family connections to gain power within her new family; and Candy brings a lovely ick factor to her snake-like brother Harry, a cunning man driven by avarice and giving no thought to his nieces’ futures beyond marrying them off. Jackson Allamby gives us an Emma who struggles to keep the family peace, but is terribly worn down by constantly being caught in the middle – put upon and wanting out as much as Lizzie, but lacking the rage to rouse herself to action. And Steven Burley does a nice job with his dual roles as the Defense and Dr. Patrick, the latter a particular delight as Lizzie’s charming and flirtatious friend and playmate, a married Irishman grappling with their complex relationship.
With shouts to the design and creative team: Margaret “The Costumator” Spence’s gorgeous period costume design, featuring Lizzie in hunter green and the Actress in deep purple; Ed Rosing’s magnificent set design, with its deep wood and sea foam green tones, and highlights of red throughout – realized by master carpenter Sandy Thorburn, with painting crew led by scenic artist Mark Cope – and lighting by Gabriel Cropley, especially effective in the carousel fantasy scene. With Razie Brownstone’s props selection, everyday household items like a silver tea service becoming projectile weapons – the civilized trappings of society covering darker emotions that lie just beneath the surface. And, of course, the ax. Speaking of, who doesn’t like a little Ragtime with their ax murder (thanks to Rick Jones’ sound design)? And to SM Margot “Mom” Devlin, who ran the lighting board and kept things moving along smoothly.
Did she? Alumnae Theatre’sBlood Relations is a sharply drawn, darkly funny and eerie look into the mind of Lizzie Borden – and the assumptions others have about her.
Blood Relations continues its run on the Alumnae mainstage until February 7. Alumnae usually does a talkback with the director, cast and creative team following the second matinée performance, so keep an eye out for that on Sunday, January 31. For ticket info and reservations, click here. Go see this.
“Sex is never just about sex, it’s about so much more.”
The Junes Company* production of Aromas, written and directed by Andrew Faiz, and starring Andy Fraser, opened at Red Sandcastle Theatre last night.
Shifting between time, space and – possibly – reality, Aromas is a one-woman show, featuring two main characters (ice dancer Katalin and professional escort Chanel) and two supporting characters (Katalin’s immigrant mother and former schoolmate Angela), among others. Katalin resides in the past, recounting stories of the people, places and parties she’s experienced on tour. A traumatic childhood encounter with Angela and an ecstatic first time seeing Swan Lake with her mother were defining moments for her, flipping on a switch inside, directing her future path. Chanel talks about her life in the present; straightforward and professionally detached, her body is a commodity and its commercial activity allows her the experience of physical intimacy without the underlying baggage that accompanies romantic relationships. A grown-up Angela, still dealing with ongoing anger management issues, sees Katalin’s life as exciting and glamourous – and can’t help but take credit for being a catalyst for it.
The question of identity arises: are Katalin and Chanel the same person? Is Chanel a fantasy for Katalin – or an evolution of spirit? Katalin wonders herself, who is she – is she merely a product of her experiences, set on certain paths by critical life events? One of the most touching – and telling – lines from the play comes from Chanel: “The Kama Sutra is a book of prayers you do with your body. Even a broken body wants to pray.” Here, this reference touches on the true physical intimacy – and spirituality – of being totally present, as well as making reference to a severely disabled young client – and possibly even regarding Katalin. In the end, we see that, while Katalin is damaged, she is not broken; drifting and in need of closure, but not without hope.
Fraser gives a stunning performance. As Katalin, she is vibrant, vulnerable, irreverently funny and flirtatiously sexy, seizing the day and acting on instinct and, in some cases, impulse. Chanel is wry-witted and sophisticated, approaching her work in a detached and professional manner – but not without sensuality, empathy and compassion. Or is that Katalin? The performance is compelling in its character and time shifts – and the storytelling is gut-wrenching and deeply poignant, with hints of edgy humour.
Brandon Kleiman’s set, with boxed rows of hotel room keys as a backdrop, provides an visually appealing and versatile playing area for this production, the story unfolding nowhere and anywhere, past and present; and his costuming both distinguishes and describes the characters. Ed Rosing’s lighting provided atmosphere for the action, most notably some warm, sensual ambers, as well as cues to the shifts in time and scene. Sound designer Richard Jones built a soundtrack around contemporary pop and snatches from Swan Lake, and original composition, from incidental to industrial synth, nicely underscoring the storytelling. The sense of smell, a highly evocative key to memory, and what it perceives – hence, the play’s title – while not physically present, is highlighted in the text.
All of this is held together and kept running by the production’s intrepid stage manager Margot “Mom” Devlin (a name that Alumnae Theatre Company fans will recognize from countless shows there), who was multitasking as sound and lighting operator, as well as box office for the opening performance.
Aromas is a heartbreaking, erotic and darkly funny journey of identity and intimacy, a moving piece of non-linear storytelling, compellingly told.
*The Junes Company is “a flexible collective of comprised of professional theatre/film/TV performers, creators and producers.” Past shows include A Damn Fine Nite of Actors, an evening of short plays written, directed and performed by the “Monday Niters.” The company will be mounting a production of The Lion in Winter at Alumnae Theatre next year, directed by David Ferry, and featuring Shawn Lawrence and Rosemary Dunsmore.
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.
It’s full-on holiday hustle and bustle, with gatherings and errands galore! Wanted to send out a quick note to say that I’m still here, I just needed to take care of a few things, which left me no time to post over the past little while. Hope you’ve been enjoying the reblogging of some other fabulous bloggers in the meantime.
Here’s what I’ve been up to (in addition to the f/t office job as a copy editor, which has been super busy the past couple of weeks, and some fabulous holiday gatherings, and arts and culture):
Rehearsing and reading in Siobhán Dungan’s radio comedy The Receptionist, which featured 8 actors reading 120 characters, and a violinist – we did that on Dec 6 at Innis Town Hall and had a blast!
Auditioning for the Village Players’ upcoming production of Daniel MacIvor’s Marion Bridge (directed by Greg Nowlan, running Feb 28 – Mar 22). I made it to callbacks and didn’t get cast, but really looking forward to seeing this.
I’ve been working as a scenic artist with set designer Ed Rosing on Alumnae Theatre’s upcoming production of Christopher Fry’s The Lady’s Not For Burning (directed by Jane Carnwath, running Jan 24 – Feb 8 on the mainstage).
Seeing amazing arts events like The Gay Heritage Project (Buddies In Bad Times), Lizzie Violet’s Cabaret Noir (The Central) and Lizzie Violet’s Poetry Open Mic (Amsterdam Bicycle Club).