DORA AWARD WINNERS!!!

AND THE DORA GOES TO . . . 

The recipients of Outstanding Production in each of the divisions are as follows:

General Theatre: School Girls; Or, The African Mean Girls Play - Obsidian Theatre in association with Nightwood Theatre;

Musical Theatre: Next to Normal - The Musical Stage Company presented by David Mirvish;

Independent Theatre: The Runner - Human Cargo with the support of Theatre Passe Muraille;

Opera: Eugene Onegin - Canadian Opera Company;

Dance: Blood Tides - DanceWorks / Kaha:wi Dance Theatre;

Theatre for Young Audiences: New Owner - Harbourfront's Junior Festival presents The Last Great Hunt;

Touring Production: Grand Finale - a Hofesh Shechter Company production presented by Canadian Stage(which was bestowed at the 2019 Dora Nominees Toast, a reception honouring all the nominees on June 10).

_______________________________________________________________________

ELLEY RAY HENNESSEY GREETING NOMINEES AND AUDIENCE 

IN THE LOBBY OF THE SONY CENTRE

RICK MILLER WITH BAND AND DANCERS 

IN THE OPENING NUMBER 'CHANGES' (VERSION OF DAVID BOWIE ORIGINAL)

CELEBRATING DIVERSITY AT THE DORAS

SILVER TICKET AWARD 

PEGGY BAKER, RECIPIENT OF THE SILVER TICKET AWARD

Peggy Baker is acclaimed as one of the most outstanding and influential dancers of her generation. Born in Edmonton in 1952, her unique abilities are the result of an education in both dance and theatre, pursued initially through the drama department of the University of Alberta, with the School of Toronto Dance Theatre, and further in New York City.

A vivid presence in contemporary dance since 1973, she performed internationally with Lar Lubovitch, Mark Morris, Mikhail Baryshnikov’s White Oak Dance Project and Doug Varone (NYC); Fortier Danse-Creation (Montreal); and James Kudelka, Dancemakers and Toronto Dance Theatre (Toronto).

She established Peggy Baker Dance Projects in 1990, and for the first 20 years, she dedicated herself to solo performance, winning praise for the eloquence and depth of her dancing, and accolades for her collaborative partnerships with extraordinary musicians and designers. Since 2010, her choreography has focused on visually and sonically striking works for small ensemble, collaborating with exceptional artists such as composers John Kameel Farah and Ahmed Hassan, dancer Margie Gillis, director Daniel Brooks, actor Jackie Burroughs, instrumentalist Andrew Burashko (piano) and as well as the Toronto Symphony Orchestra under Jukka-Pekka Saraste, among numerous others.

One of the highlights of her mentorship is her Choreographer’s Trust, a ten-year initiative that enabled Ms Baker to share six dances from her outstanding repertoire with thirteen remarkable younger dancers. Now complete, she also published a series of booklet/DVD sets that document those six landmark solos. She is also the subject of a book by Carol Anderson, Unfold – a Portrait of Peggy Baker, published by Dance Collection Danse.

Beyond the concert stage, Ms. Baker has premiered five all-night choreographic events for Toronto’s Nuit Blanche, and situated three hour-long choreographic installations – move, interior with moving figures and land | body | breath in public spaces and galleries across the country. Over its 29-year history, Peggy Baker Dance Projects has been presented at major festivals and dance centres in North America, Asia and Europe. A master teacher, Ms Baker teaches regularly at universities and professional training programs throughout Canada and the U.S. including Canada’s National Ballet School where she is Artist-in-Residence.

Ms Baker’s many honours include the Governor General’s Award for Lifetime Achievement, Premier’ Award, Order of Canada, six Dora Mavor Moore Awards, honorary doctorates from the University of Calgary and York, Walter Carsen Prize, and the George Luscombe Mentorship Award, among others.

Previous winners of the Silver Ticket Award are listed here: https://tapa.ca/dora-awards/awards/silver-ticket-award/

for the full list of Dora recipients see:

TAPA - Toronto Alliance for the Performing Arts      at

https://tapa.ca/announcement-congratulations-recipients-40th-anniversary-dora-mavor-moore-awards-tapa/

and

https://www.broadwayworld.com/toronto/article/Full-List-of-Winners-Announced-For-the-40th-Annual-Dora-Awards-Soulpepper-Theatre-Canadian-Opera-Company-and-More-20190626

TORNTO FRINGE - 'MOLLY BLOOM'

presents

'MOLLY BLOOM'

at the Toronto Fringe

HELEN GARDINER PHELAN ​PLAYHOUSE 79 St George st. July 3 8pm July 5 10pm July 7 8:15pm July 9 4:30pm July 10 6:30pm July 12 10:30pm July 13 8:30pm

​

“Genius.” “Bawdy.” “Nothing but praise.” - Mooney on Theatre

​Molly Bloom is an original adaptation of James Joyce's Ulysses’ final chapter. Four actors collectively play the consciousness of Molly Bloom as she lies awake in bed in this sensual and shocking exploration of one woman’s psyche. As the four women move and speak as one, Joyce’s infamous soliloquy is refashioned into a four person one-woman show. Molly Bloom is a fascinating, vivacious, and hilarious race through one hour of unrelenting thought.

DIRECTOR'S NOTE:

In 2014, a year of studying Ulysses with historian Peter Wylde cumulated in a staged reading of select excerpts from Joyce’s infamous novel. The final of these excerpts was the origin of what you are going to see today. Seven women (Annie Tuma, Caitlin Fysh, Jocelyn Adema, Lena Maripuu, Priscilla Taylor, Reanne Spitzer, and Sarah Doyle) gave breath and life to “Penelope”, the episode written as a stream of consciousness, charting the thoughts of Molly Bloom as she lies sleepless in bed. The text is so beautiful, so fertile, so intoxicating, that as we brought Molly to life, she brought something alive in us. We found ourselves wanting to let Molly speak again, and so a second staged reading was performed at Hub 14 on Bloomsday, June 16, 2015. Yet still the voice of Molly in us nagged, wanting more.

I decided to helm Molly’s next incarnation as a staged production. The original seven actors had whittled down to four, and I saw an exciting opportunity to get inside Molly’s head and give character to her thoughts. Creating identities for Molly’s thoughts gave us as women an opportunity to own the stories of our bodies and make our bodies heard. It’s been an inspiring process. This show has since performed in the In the Soil Festival, then for a three week run at Toronto’s Majlis Art Garden.

We now are performing at the Helen Gardiner Phelan Playhouse in the Toronto Fringe. We have a new team - Beatriz Arevalo is creating the scenography, Logan Raju Cracknell (again, thank god) is lighting us up, Kathleen Jones keeps us in tip-top shape, and Jenna Lee is lighting up a new cortex in the Molly Brain. But we stand on the shoulders of all of the artists who have contributed to this project’s five-year development: Peter Wylde, Jesse Beam, Priscilla Taylor, Sarah Bridget Doyle, Caitlin Fysh, Logan Raju Cracknell, Alex Norton, Niki Nikita, Blair Bouskill, Nick Boon, David Hoekstra, Hub 14, In the Soil Festival, Monica Dufault, Majlis Art Garden, The Watson Hub, and many more. Our new team is a reflection of how far this show has come. It is a testament to the diligence, rigour, and integrity of these fine artists, that I’m beyond honoured to call my colleagues.

Thank you for joining us in Molly’s current incarnation.
Who knows when she will come again?

JOCELYN ADEMA

____________________________________________________________________

Directed & Adapted by:

Jocelyn Adema

Performed by:

Annie Tuma

Jenna- Lee Hyde

Lena Maripuu

Reanne Spitzer

Stage Managed By:

Kathleen Jones

Set & Costume Design by:

Beatriz Arevalo

Lighting Design:

Logan Cracknell

for more info see;
https://www.fourthgorgontheatre.com

AT THE TORONTO FRINGE!!!

'NEWS PLAY'

After botching a major publishing deal, 
two estranged children's book writers 
return to their hometown to revitalize 
the local newspaper. From the best-selling, 
award-winning losers behind 2018 Patron's Pick, 
“Everyone Wants A T-Shirt!,” and 
“Madeleine Says Sorry,” comes a new comedy 
about fake news, self-improvement and a home printer named Stanley.

Theatre ARTaud and Lal Mirch Productions in association with Prairie Fire, Please and the 2018 Toronto Fringe Festival present: NEWS PLAY a new comedy by Madeleine Brown at The Annex Theatre (736 Bathurst Street) from July 4 to 14, 2019

“Exuberant, absurdist and smart... a great find!” - My Entertainment World (A- Letter Score)

“This smart, funny, and unpretentious comedy about the perils of charsing success if just what we need.” - Kendra Jones

 photos by Graham Isador

CAST Madeleine Brown Andrew Cromwell Charlin McIsaac Rouvan Silogix Greg Solomon

CREATIVE TEAM Playwright: Madeleine Brown Director: Aaron Jan SM: Aidan Shepherd Set/Lighting Designer: Logan Raju Cracknell Sound Designer: Ross Somerville

SHOWTIMES Thurs. July 4 – 6:30 PM Sat. July 6- 10:30 PM Sun. July 7 - 2:45 PM Tues. July 9 - 7:30 PM Wed. July 10 - 5 PM Fri. July 12 – 3 PM Sat. July 13 - 12:45 PM

FROM THE CAST 
& CREATIVE TEAM OF 

NEWS PLAY!!!

"Adults are like kids, Phoebus. 

Big, ugly kids."

Madeleine Brown (Playwright/Co-producer/Actor - WINNY): It's Prairie Fire, Please's biggest production yet--the design, the cast and the scope of the script. I'm excited--and terrified--by the goals we've set this year and how it will all come together. I'm also excited to return to my favourite audiences: Fringe audiences. There's never a crowd more accepting and fun than them. And to return to them with a comedy makes me even more excited. As far as the script itself, of course I'm delighted to hear how audiences will engage with it and its subject matter. I love those conversations outside the theatre and at the Fringe Tent. It means something entirely different to me when I'm not just a performer, but also the playwright.  

Aaron Jan (Director/Dramaturg/Co-Producer): As a left wing guy, I'm always excited to see work that takes a shot at liberals. I think it's really important to see where we mess up and make mistakes. I also really adore fringe. It's the only time where everyone in the city seems excited about theatre universally and willing to take a chance on unknown artists.

Charlin McIsaac (Actor - JOY): News Play excites me because it asks complicated questions – how do we properly care for others while pursuing our own success? Whose responsibility is it when a relationship is fractured due to mental illness or addiction? Should a home printer be named Stanley and spoken to as if it was a real guy? There's something interesting, something appealing about discussing serious things irreverently. I like the tone of it. And the family relationships at the heart of the story are what pull me in most. For me personally, I'm drawn to the complexity of the dynamic between Joy and Winny – how do you love someone who is dangerous to you? How do you love someone who can't help herself? It's a question that I've encountered a couple times in my life. I keep finding new answers to it.

Greg Solomon (Actor - PHOEBUS): NewsPlay excites me because we are exploring themes and social issues while making you laugh. Hopefully. Maybe only we’ll laugh. It excites me because this show feels like something new, something unique. It’s a new way of exploring the saviour complex. This show is a Prairie Fire, Please classic, and being a part of that is exciting enough for me. 

Andrew Cromwell (Actor- ART): Very recently, I've wanted to step back on stage to work on a theatre project. Over the last 5 years the bulk of my performing experiences have been either in a recording studio booth or as an improviser. This play is a chance to get back to traditional theatre. I'm excited to get back into a rehearsal process with a director who's vision is able to pull out my strengths and challenge my performing skills. It's always a pleasure to work with an ensemble that is talented, and it is my sincere hope that I will be able to perform at half the level of intensity they bring to the rehearsal process. They're a good bunch.

Rouvan Silogix (Actor - LYLE): There is a subversive biting politic that encompasses the show; our society's guilt, saviour complex, tokenism-ing, and fascination with pain. Are these things innate to our present-day society, or are they embedded in our humanity? Modern journalism is often categorized as sensationalist torture porn - where everything is "breaking news", and everything is exaggerated to be better or worse than the truth - so there will be more viewers, so the companies can generate more advertising revenue. But, the reason that has worked successfully, is because it taps into a very base human desire. The play is also hilarious - an impressive artistic feat in and of itself. 

Madeleine: Exhausting! And exhilarating. I wouldn't have been able to pull any of it off without Aaron Jan though. He challenges me and forces me to push myself further than I ever think I'm capable of. It's been a major learning curve. I'm also simultaneously studying in the Second City Consevatory program and feel that has fed hugely into my writing process this Fringe. Another major component of our experience is the cast. I admire them a lot. It's a group of people whose work I've admired from afar, and apart from Charlin, have never had the chance to work alongside before. They're also funny. And nothing wins over my affection more than a good sense of humour. 

Aaron: Quite exhausting, but also really rewarding. It's been incredible seeing Madeleine delve deeper into the questions she's exploring and to be gifted with a cast willing to take that dive with her.

Charlin: The cast and crew are both made up of the best and most generous people. I love the wacky energy in the room and I think we’re all great at listening to each other and offering the best version of ourselves. Madeleine and Aaron are an incredible team - they really push each other to always bring their A game and they ask the tough questions. There's really no ego involved from anybody, nobody is bringing energy into the room that's defensive or too possessive or precious. We work really well together and I think that we take ourselves seriously while still allowing a lot of levity and play, and especially with a new work I think that's very exciting. It gives us room to improvise or ad-lib and it makes the process really organic. As an actor, I'm given the opportunity to follow my instincts or to make offers based around my knowledge of the character, and that knowledge grows and changes as we progress through rehearsals. It's fun! And it's freeing to have a voice in the room.   

Greg: Working on this show has been a delight. Getting to watch Aaron Jan and Madeleine Brown transform this script draft-to-draft, day-to-day is a masterclass in creative collaboration. Between the cast and creative team, there are no egos in the room. We all get to try things out, laugh together, and tell each other when “that’s stupid, keep it.” 

Andrew: Four months ago, I welcomed my beautiful son into the world. As a new father, it has been an incredible experience. My partner is an amazing and supportive woman. Outside of the rehearsal process I have a full time job, auditions, a second show I'm working on, and its a juggling act to say the least. The production team has been incredibly generous and accommodating of my schedule, which is only half as busy as that of my new mom partner...

Rouvan: The team is great. Aaron is legitimately a fantastic director - and as a Kafka scholar snob who has worked around the world - there is something quite refreshing about the no-bullshit approach taken to creating the art. The high-minded ideas can only work well if the performance creation is grounded with a realistic approach to the mindset and ideas.Also, the play is hilarious - what's not to love?

Madeleine: I never feel there’s enough comedic plays on Toronto stages. (Or maybe I’m just a glutton for them.) Otherwise I like to believe News Play is a catalyst for conversations about news, sure, but also our fascination with victim-based narratives, small town culture and family dynamics around mental illness. We’re a young, energetic and silly team. I like to think that energy will radiate from the show itself. And who doesn’t want to be around young, excitable, beautiful people being ridiculous? Also Aaron, our set and lighting designer, Logan, and me are on the cover of this year’s program guide, so we’re basically celebrities. You should want to see celebrities.

Aaron: We're the only show to light a fire in the Annex this year. The very thought of our show strikes fear into the Fringe technical team. You can also come and see how our faces have changed since the fringe cover shoot. Mine has gotten rounder and more wrinkly.

Charlin: If you want to laugh hard and see a tight piece of theatre with good pacing, come see this show. If you wanna spice up your life with a little absurdity, come. If you want to see Rouvan act the shit out of being an entire bus, come. I think that anyone who's into any sort of surreal millennial/Gen Z energy and humour is going to find something they like in this piece. It's got a good grasp of that sort of youthful spirit and zany meme energy that is kind of the calling card of our generation, along with that determination to improve, to make the world better, to find someone to blame, to call out and call to action

Greg: Audiences should see this play because there’s something for everyone to glean. Exploring themes and issues such as fake news, utilitarianism, selfish social justice, sensationalism, pyromania, and offering support to the ones you love even when you don’t like them, this show will make you laugh, and unpretentiously make you think. 

Andrew: The production teams knows what they're doing. Madeleine knows what she's writing. Aaron knows what he's directing. Greg, Charin, and Rouvan know what the scene's require. Put it all together and BAM, you've got a play. I just happen to be on stage from time to time.

Rouvan: I'm not sure if I've mentioned this, but the show is hilarious. In these dark and ever changing times, perhaps we all need some levity - a hilarious reminder about the lighter side of life; with the subversive politic still ringing true. I'm also very handsome, just ask my mother she'll tell you.

DORA AWARDS 2019 - NOMINATIONS - 40TH ANNIVERSARY!!!

  

Nominations Announced for
40^h Anniversary Dora Mavor Moore Awards!

Soulpepper Theatre tops General Theatre Division with 14 nominations.

The Musical Stage Company & Young People’s Theatre tie in Musical Theatre Division with 14 nods each.

Coal Mine Theatre front runner in Independent Theatre Division with 10 noms.

Canadian Opera Company leads in Opera Division with 33 nods.

DanceWorks flies highest with 13 taps in Dance Division.

Solar Stage heads Theatre for Young Audiences Division with 10 noms.

Toronto (May 28, 2019) – At a press conference held May 28 in the Davies Takacs Lobby of the Elgin and Winter Garden Theatre Centre, the Toronto Alliance for the Performing Arts (TAPA) announced 282 nominations for the 40^th Anniversary Dora Mavor Moore Awards, which recognize excellence in professional theatre, dance and opera in Toronto. On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented. 

As TAPA announced in April of 2018, all performance categories for the Dora Mavor Moore Awards for the 2018-19 season are gender neutral. All former binary male and female titles have been replaced with gender inclusive designations as applicable to "Outstanding Performance" categories. Notably, the Doras are the first professional theatre, dance and opera awards show in Canada to adopt a fully gender-inclusive policy. Other changes to the Dora Awards include new stand-alone Divisions for Musical Theatre, Opera and Touring. 

For the 2018-2019 season, running May 2018 to May 2019, 108 producing companies registered 219 eligible productions. Below are some nomination highlights.  

GENERAL THEATRE DIVISION:

In the General Theatre Division, Soulpepper Theatre Company heads the nominations list with 14 taps over 5 productions. Soulpepper also earns 11 nominations in the Musical Theatre Division, bringing its grand total to 25. 

Soulpepper’s The Royale garners 7 nods including Outstanding Production, Outstanding Direction for Guillermo Verdecchia, Outstanding Performance in a Featured Role for both Christef Desir and Sabryn Rock, Outstanding Scenic/Projection Design for Ken MacKenzie, Outstanding Lighting Design for Michelle Ramsay and Outstanding Sound Design/Composition for Thomas Ryder Payne. Soulpepper’s Orlando sees 4 nods: Outstanding Performance in a Leading Role for Sarah Afful, Outstanding Performance in a Featured Role for Alex McCooeye, Outstanding Costume Design for Gillian Gallow and Outstanding Lighting Design for Lorenzo Savoini. Single taps go to The Virgin Trial for Outstanding New Play to Kate Hennig, Ma Rainey's Black Bottom for Outstanding Performance in a Leading Role to Lovell Adams-Gray and Wedding at Aulis for Outstanding Costume Design to Michelle Tracey.

Crow’s Theatre earns second spot overall in the Division with 10 nominations over 4 productions, 6 of them for Middletown: Outstanding Production, Outstanding Direction for Meg Roe, Outstanding Performance in a Leading Role for Gray Powell, Outstanding Performance in a Featured Role for Jeff Meadows, Outstanding Scenic/Projection Design for Camellia Koo and Outstanding Lighting Design for Kevin Lamotte. The Wolves, produced by The Howland Company and Crow’s Theatre, sees Amaka Umeh earn a tap for Outstanding Performance in a Featured Role and Sarah Doucet one for Outstanding Costume Design. Kimberly Purtell earns a nod for Outstanding Lighting Design for We Are Not Alone and Julie Fox gets one for Tartuffe (in a co-presentation with Canadian Stage).

Obsidian Theatre follows with 9 nods over 2 productions, 7 of them for School Girls; Or, The African Mean Girls Play, tying Soulpepper’s The Royale for top spot for a production in the General Theatre Division. Obsidian also earns 1 nomination in the Independent Theatre Division for a grand total of 10 nods. School Girls taps are: Outstanding Production, Outstanding Direction for Nina Lee Aquino, Outstanding Performance in a Leading Role for Natasha Mumba, Outstanding Performance in a Featured Role for Bria McLaughlin, Outstanding Scenic/Projection Design for Rachel Forbes, Outstanding Costume Design for Joanna Yu and Outstanding Sound Design/Composition for Reza Jacobs. Obsidian’s Oraltorio: A Theatrical Mixtape sees nods for Outstanding Direction to Mumbi Tindyebwa and Outstanding Sound Design/Composition to DJ L'Oqenz.

Other Outstanding Production taps in the General Theatre Division go to bug (Luminato) and Secret Life of a Mother (The Theatre Centre), both of which earn 4 taps in total including Outstanding New Play for Yolanda Bonnell and Hannah Moscovitch, respectively. Bonnell is also up for Outstanding Performance in a Leading Role in bug while Maev Beaty is nominated for Outstanding Performance in a Leading Role for Secret Life of a Mother. Luminato’s total nomination count is 5: 4 in General Theatre and 1 in Touring, while the Theatre Centre’s grand total is 6 including 2 in the Independent Theatre Division.

Other Outstanding New Play nominees are Charlotte Corbeil-Coleman for Tarragon Theatre’s Guarded Girls (which also earns Vivien Endicott-Douglas a nod for Outstanding Performance in a Leading Role) and the team of Lisa Karen Cox, Maggie Huculak, Raha Javanfar, Amy Nostbakken, Norah Sadava and Cheyenne Scott for Now You See Her, a Quote Unquote Collective, Nightwood Theatre and Why Not Theatre co-production. 

Additional Tarragon nods include Outstanding Performance in a Leading Role to Virgilia Griffith for Harlem Duet, which also sees Allen Booth earn an Outstanding Sound Design/Composition tap. Stephanie MacDonald earns a tap for Outstanding Performance in a Featured Role for New Magic Valley Fun Town, bringing Tarragon’s total nominations to 5.

Other notable taps include, for Canadian Stage, Outstanding Direction to Brendan Healy for Every Brilliant Thing, and Outstanding Performance in a Featured Role to Jenny Young for Romeo and Juliet. Canadian Stage’s total count in General Theatre is 3 plus 3 in Touring for a total of 6. 

MUSICAL THEATRE DIVISION:

In the Musical Theatre Division, The Musical Stage Company and Young People’s Theatre (YPT) tie in leading the pack with 14 nods each, for two productions each. Soulpepper rounds up 11 nods for its production of Rose, and David Mirvish tallies in at 9 for Dear Evan Hansen.

The Musical Stage Company’s nods comprise 10 for Next to Normal and 4 for Dr. Silver: A Celebration of Life, co-produced with Outside the March. 

Next to Normal nominations are Outstanding Production, Outstanding Direction to the team of Philip Akin and Tracey Flye, Outstanding Musical Direction to Lily Ling, Outstanding Performance in a Leading Role to each of Ma-Anne Dionisio and Stephanie Sy, Outstanding Performance in a Featured Role to both Brandon Antonio and Louise Pitre, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Steve Lucas and Outstanding Costume Design to Alex Amini. 

Dr. Silver: A Celebration of Life nabs nods for Outstanding New Musical to Anika Johnson and Britta Johnson, Outstanding Original Choreography to Barbara Johnston, Outstanding Performance in a Leading Role to Bruce Dow and Outstanding Performance in a Featured Role to Peter Deiwick.

Young People’s Theatre’s 14 nods in this division are comprised of 9 for Mary Poppins and 5 for Under the Stairs. With an additional 3 taps in the Theatre for Young Audiences Division, YPT’s total nomination haul is 17.

Mary Poppins earns taps for Outstanding Production, Outstanding Direction to Thom Allison, Outstanding Musical Direction to Wayne Gwillim, Outstanding Original Choreography to Kerry Gage, Outstanding Performance in a Leading Role to Vanessa Sears, Outstanding Performance in a Featured Role to Jade Repeta, Outstanding Scenic/Projection Design to Brandon Kleiman, Outstanding Costume Design to Bill Layton and Outstanding Lighting Design to Jason Hand. 

Under the Stairs earns nods for Outstanding New Musical to writer Kevin Dyer and composer Reza Jacobs, Outstanding Original Choreography to Viv Moore, Outstanding Scenic/Projection Design to Teresa Przybylski, Outstanding Costume Design to Anna Treusch and Outstanding Lighting Design to Michelle Ramsay. 

The 11 nominations to Soulpepper Theatre Company for Rose are: Outstanding Production, Outstanding New Musical to writer Sarah Wilson and composer Mike Ross, Outstanding Musical Direction to Mike Ross, Outstanding Direction to Gregory Prest, Outstanding Original Choreography to Monica Dottor, Outstanding Performance in a Leading Role to Hailey Gillis, Outstanding Performance in a Featured Role to each of Peter Fernandes and Sabryn Rock, Outstanding Lighting Design and Outstanding Scenic/Projection Design to Lorenzo Savoini and Outstanding Costume Design to Alexandra Lord. 

The David Mirvish production of Dear Evan Hansen sees nominations for Outstanding Production, Outstanding Direction to Michael Greif, Outstanding Musical Direction to Elizabeth Baird, Outstanding Performance in a Leading Role to Robert Markus, Outstanding Performance in a Featured Role to each of Allessandro Constantini and Sean Patrick Dolan, Outstanding Scenic/Projection Design to the team of David Korins and Peter Nigrini, Outstanding Costume Design to Emily Rebholz and Outstanding Lighting Design to Japhy Weideman.

Other notable nods in the Musical Theatre Division go to Eclipse Theatre Company for its presentation of Kiss of the Spider Woman which earns a total of 6 nominations: Outstanding Production, Outstanding Direction to Evan Tsitsias, Outstanding Musical Direction to Chris Barillaro, Outstanding Original Choreography to Sara-Jeanne Hosie, and Outstanding Performance in a Leading Role to each of Kawa Ada and Tracy Michailidis.

INDEPENDENT THEATRE DIVISION:

In the Independent Theatre Division, Coal Mine Theatre takes the lead with 10 nominations, 5 of them in co-production with Studio 180 Theatre for The Nether and the others spread out over three productions. Human Cargo and Saga Collectif tie for second spot with 7 hits each, both for a single production: respectively, The Runner and Iphigenia and the Furies (On Taurian Land), making each the leading production in this division. Native Earth Performing Arts follows closely with 6 nods: 4 for Isitwendam and 2 for After the Fire in a co-production with The Theatre Centre.  

Coal Mine Theatre and Studio 180 Theatre’s The Nether nods are: Outstanding Production, Outstanding Performance of an Ensemble to Katherine Cullen, Hannah Levinson, Mark McGrinder, Robert Persichini and David Storch, Outstanding Scenic/Projection Design to Patrick Lavender and Nick Bottomley, Outstanding Lighting Design to Patrick Lavender and Outstanding Sound Design/Composition to Richard Feren. 

Coal Mine scores 3 hits with Hand to God: Outstanding Direction to the team of Mitchell Cushman and Marcus Jamin, Outstanding Performance of an Individual to Frank Cox-O'Connell and Outstanding Scenic/Projection Design to Anahita Dehbonehie. 

Coal Mine’s The Father earns Eric Peterson a nod for Outstanding Performance of an Individual while The Wonder Pageant sees Ron Pederson, Kayla Lorette, Matt Baram, Jan Carauna, Paloma Nunez, Waylen Miki and Kris Siddiqi nominated for Outstanding Performance of an Ensemble.

Human Cargo’s 7 taps for The Runner are: Outstanding Production, Outstanding New Play to Christopher Morris, Outstanding Direction to Daniel Brooks, Outstanding Performance of an Individual to Gord Rand, Outstanding Scenic/Projection Design to Gillian Gallow, Outstanding Lighting Design to Bonnie Beecher and Outstanding Sound Design/Composition to Alexander MacSween. 

The Saga Collectif 7 nods for Iphigenia and the Furies (On Taurian Land) are: Outstanding Production, Outstanding New Play to Ho Ka Kei (Jeff Ho), Outstanding Direction to Jonathan Seinen, Outstanding Performance of an Individual to Virgilia Griffith, Outstanding Costume Design to Christine Urquhart, Outstanding Lighting Design to Jareth Li and Outstanding Sound Design/Composition to Heidi Chan. 

The Native Earth Performing Arts 4 nods for Isitwendam are: Outstanding Production, Outstanding New Play to Meegwun Fairbrother, Outstanding Performance of an Individual to Meegwun Fairbrother and Outstanding Scenic/Projection Design to the team of Hans Saefkow and Andy Moro with Melissa Joakim. After the Fire scores taps for Outstanding New Play to Matthew MacKenzie and Outstanding Performance of an Ensemble to Sheldon Elter, Jesse Gervais, Kaitlyn Riordan and Louise Lambert.

Other notable nods in this division include Outstanding New Play and Outstanding Performance of an Individual to Augusto Bitter for Theatre Passe Muraille’s CHICHO, Outstanding Direction to Erin Brubacher for Generous Friend’s Noor and to Leora Morris for PARADIGM productions’ The Philosopher's Wife, and Outstanding Performance of an Individual to Catherine Fitch for Leroy Street Theatre’s Her Inside Life and to Mattie Driscoll for Cue6 Theatre’s Dry Land. 

As well, Outstanding Performance of an Ensemble nods go to ARC for Human Animals, DopoLavoro Teatrale for If on a Christmas Night, Obsidian Theatre for Judas Noir, Aluna Theatre for Stones and Why Not Theatre for Wring the Roses.

OPERA DIVISION:

In the Opera Division, the Canadian Opera Company’s (COC) productions lead with a total of 33 nominations over six productions, making the COC the leader in overall nominations as well. The COC’s Otello earns 8 taps, the most for a production in the Opera Division. The COC’s Otello, Eugene Onegin, Hadrian and La Bohème all vie for Outstanding Production, as does Against the Grain Theatre’s Kopernikus which, along with Eugene Onegin and Hadrian, sees a total of 7 nods and earns Against the Grain second spot in the Opera Division.

Hadrian also receives a nod for Outstanding New Opera for writer Daniel MacIvor and composer Rufus Wainwright as does Hook Up, a Tapestry Opera production in partnership with Theatre Passe Muraille, for writer Julie Tepperman and composer Chris Thornborrow as well as the Canadian Children's Opera Company’s The Monkiest King for writer Marjorie Chan and composer Alice Ping Yee Ho.

Otello garners the following additional hits: Outstanding Direction to David Alden, Outstanding Musical Direction to Johannes Debus (who also earns the same for the COC’s Elektra and Eugene Onegin), Outstanding Performance of an Individual to both Gerald Finley and Tamara Wilson, Outstanding Scenic/Projection Design and Outstanding Costume Design to Jon Morrell, and Outstanding Lighting Design to Andrew Cutbush.

Additional Outstanding Direction nods go to the team of Joel Ivany and Matjash Mrozewski for Kopernikus, John Caird for La Bohème, Robert Carsen for Eugene Onegin and Jessica Derventzis for Opera 5’s Il Barbiere di Siviglia. Outstanding Musical Direction nods also go to Bernard Labadie for the COC’s Cosi fan tutte and to Topher Mokrzewski for Kopernikus.

Joining the race for Outstanding Performance of an Individual are Ambur Braid for Hadrian, Angel Blue for La Bohème, Christine Goerke for Elektra, Thomas Hampson for Hadrian and Tracy Dahl for Cosi fan tutte. Johnathon Kirby wades in for his role in Il Barbiere di Siviglia.

As well, Outstanding Performance of an Ensemble nods go to Cosi fan tutte and Eugene Onegin as well as Kopernikus, Opera 5’s Open Chambers: Hindemith & Shostakovich, along with the Canadian Children's Opera Company’s The Monkiest King and The Snow Queen.

DANCE DIVISION:

In the Dance Division, DanceWorks hits top spot with 13 nominations including 5 for Blood Tides (DanceWorks / Kaha:wi Dance Theatre), 5 for No Woman’s Land (DanceWorks / Jaberi Dance Theatre) and 3 for The art of degeneration (DanceWorks / Louis Laberge-Côté). All of them are up for Outstanding Production as well as Outstanding Original Choreography: Roshanak Jaberi for No Woman’s Land, Louis Laberge-Côté for The art of degeneration and Santee Smith with Jahra Wasasala and Marina Acevedo for Blood Tides. Additionally, Louis Laberge-Côté is tapped for Outstanding Performance of an Individual while Blood Tides and No Woman’s Land are up for Outstanding Performance of an Ensemble.

The National Ballet of Canada dances into the runner-up slot with 7 nods including 5 for Frame by Frame: Outstanding Production, Guillaume Côté for Outstanding Original Choreography, Jack Bertinshaw for Outstanding Performance of an Individual, Antoine Bédard for Outstanding Sound Design/Composition and Étienne Boucher for Outstanding Lighting Design. Hannah Fischer vies as well for Outstanding Performance of an Individual for Paz de la Jolla while Anna Karenina earns a nod for Outstanding Performance of an Ensemble.

Third place goes to Red Sky Performance with 4 taps, all for Trace: Outstanding Production, Outstanding Original Choreography for Jera Wolfe, Outstanding Sound Design/Composition for Eliot Britton and Outstanding Lighting Design for Alexis Bowles.

Additional Outstanding Performance of an Individual nods go to Dreamwalker Dance Company’s Andrea Nann, nominated twice for her company’s All of Our Dreaming program: once for the piece A Crazy Kind of Hope and the other for In a Landscape. Evelyn Hart and Johanna Bergfelt are also nominated for the same for Citadel + Compagnie’s Four Old Legs and SKOW, respectively. José Maldonado earns a tap in this category as well for Esmeralda Enrique Spanish Dance Company’s El Caudal Que Yo Tengos from its show Impulso.

Joining the Outstanding Performance of an Ensemble race are Dreamwalker Dance Company for Dual Light: Brendan and Yuichiro (from All of Our Dreaming), Esie Mensah Creations for Shades, Peggy Baker Dance Projects for who we are in the dark and Toronto Dance Theatre with two entries: Slow Dance and This Shape, We Are In.

THEATRE FOR YOUNG AUDIENCES DIVISION:

The Theatre for Young Audiences Division sees Solar Stage lead the pack with 10 nods over four productions followed by Théâtre français de Toronto and Why Not Theatre in a tie with 5 each, both for one production. Why Not Theatre’s Eraser and Théâtre français de Toronto’s Les Zinspirés: L'âge de raison each come out on top with the most nominations for a production in this Division. (With 3 in General Theatre and 1 in the Independent Theatre Division, Why Not’s total nods come to 9.)

Eraser sees taps for Outstanding Production, Outstanding Direction for the duo of Bilal Baig and Sadie Epstein-Fine, Outstanding Performance of an Ensemble, Outstanding Achievement in Design for Maddie Bautista (sound design) and Outstanding New Play for the team of Bilal Baig, Sadie Epstein-Fine with Christol Bryan, Marina Gomes, Yousef Kadoura, Tijiki Morris, Anthony Perpuse and Nathan Redburn.

Les Zinspirés: L'âge de raison scores nods for Outstanding Direction for Chanda Gibson, Outstanding Performance of an Ensemble, Outstanding Achievement in Design to each of Simon Rossiter (lighting design) and Glenn Davidson (scenic design) and Outstanding New Play for the team of Olivia Cyr, Mariam Guira, Errine Jean Charles, Cathlin Jiaqi Han and Abigail Morin; Coached by: Krystel Descary, François Macdonald, Marie-Claire Marcotte, Pierre Simpson and Donald Woo.

Other Outstanding Production nods go to Harbourfront Centre for both We Are All Treaty People and New Owner as well as to the Wee Festival’s KNOCK! and Young People’s Theatre’s The 26 Letter Dance.

Both Shakespeare in Action’s Suddenly Shakespeare and Puzzle Piece’s The Little Prince: Reimagined garner 4 hits: Suddenly Shakespeare’s are Outstanding Direction to Michael Kelly plus 3 taps for Outstanding Performance of an Individual to each of Chris George, Alexandra Montagnese and Mussie Solomon; while Puzzle Piece’s are Outstanding New Play to Richard Lam, Outstanding Performance of an Individual to each of  Kira Hall and Richard Lam, and Outstanding Achievement in Design to Anahita Dehbonehie (scenic design).

Additional taps for both Outstanding New Play and Outstanding Performance of an Individual go to Makambe K Simamba for b current performing arts’ Our Fathers, Sons, Lovers and Little Brothers which also sees Donna-Michelle St. Bernard earn a nod for Outstanding Direction for a total of 3 hits for the show.

Two Solar Stage shows also earn 3 nods apiece: Ugly Duckthing nods include Marty Stelnick for Outstanding New Play and Outstanding Achievement in Design (puppetry design) as well as Outstanding Performance of an Ensemble; Treasure Island gets on board with Outstanding Performance of an Ensemble, Outstanding Performance of an Individual for Faly Mevamanana and Outstanding Achievement in Design for Marysia Bucholc (scenic design). Other notable Solar Stage nods include Outstanding Performance of an Ensemble for A Merry Munsch Pyjama Party! with the duo of Dahlia Katz and M. John Kennedy up for Outstanding Direction. 

Other notable nods include Outstanding Performance of an Individual to Morgan St. Onge for Roseneath Theatre’s Head à Tête, and Outstanding Performance of an Ensemble for both the WeeFestival’s Tweet Tweet and Young People’s Theatre’s Antigone: 方.

TOURING DIVISION:

Canadian Stage leads in the Outstanding Touring Production award race with 3 out of the 5 nominations: Hofesh Shechter Company’s Grand Finale, Akram Khan Company’s XENOS and Kidd Pivot’s Revisor.  Also in the ring are Luminato with Teac Damsa’s Swan Lake / Loch na hEala and Aluna Theatre with Wilson Pico’s Los Materiales de la Ira y el Amor presented at its RUTAS International Multi-Arts Festival. (This award will be given out in advance at a special invitation-only reception honouring all the nominees.)

***

See the accompanying complete list of nominees. The full list is also available online at tapa.ca as of 1pm today.  Of note, the following and various designers all received 3 nominations: Gillian Gallow, Jason Hand, Thomas Ryder Payne and Lorenzo Savoini.

Twitter - @doraawards :  #DoraAwards #DORAS2019 #theatreTO

SPECIAL PRIZE ANNOUNCED:

For the fifth year in a row, the Pat and Tony Adams Freedom Fund for the Arts will provide a cash prize of $1,000 each to the recipients of Outstanding Performance in a Leading Role in the General Theatre Division and Outstanding Performance in a Featured Role in the General Theatre Division

ANCILLARY AWARDS PRESENTED:

In addition, the recipients of the Pauline McGibbon Award, George Luscombe Mentorship Award and Leonard McHardy and John Harvey Award were bestowed at the press conference. 

The recipient of the 2019 Leonard McHardy and John Harvey Award is the extraordinarily talented arts producer Sherrie Johnson who was recently appointed Executive Director for Crow’s Theatre after serving as Executive Producer at Canadian Stage for six years. The award recognizes the important work of theatre, dance and opera administrators and is named after the founders of Toronto’s Theatrebooks (1975 to its closure in 2014). The winner receives a plaque and a cheque for $1,000 through the generous sponsorship of the late Elizabeth Comper. Recipients of the LMJH Award have at least 10 years of demonstrated commitment to the performing arts, in addition to having made an impact on the industry in Toronto. 

The recipient of the George Luscombe Mentorship Award is Jacquie P.A. Thomas, founding Artistic Director of Theatre Gargantua since 1992. Named in honour of Toronto Workshop Productions’ revolutionary theatre founder and artistic director, the award is administered by TAPA and comes with original artwork by Theo Dimson, a copy of the book Conversations with George Luscombe: Steven Bush in conversation with the Canadian Theatre visionary and a $500 prize. Ms. Thomas has maintained an unwavering commitment to producing original Canadian theatre and to the development and support of the artist, including young and emerging artists. A pioneer of Canadian multi-disciplinary devised theatre, she has created numerous socially relevant, award-winning works. This year, Jacquie P.A. Thomas celebrates her 27^th season as the Artistic Director of Theatre Gargantua, one of the longest serving female Artistic Directors in the country. 

Toronto-based scenic artist Ksenia Ivanova is the recipient of the 2019 Pauline McGibbon Award, created in honour of former Lieutenant Governor Pauline McGibbon for her support and patronage of the arts. It includes a $7,000 prize and a medal designed by Dora de Pédery-Hunt. The award is presented to an Ontario-resident professional artist in the early stages of their career who displays unique talent and has the potential for excellence. Every three years, the award goes to a designer, then to a director, and the third year to a production craftsperson. Born in St. Petersburg, Russia, Kesia moved to Canada in 2010 and enrolled in Humber College’s Theatre Production program. Since graduating in 2013, she has contributed scenic work to more than 100 productions across Ontario for companies such as Tarragon Theatre, the Stratford Festival, Soulpepper, Crow’s Theatre, Factory Theatre and Coal Mine Theatre. Though still in the early stages of her career, she has embraced her role as a teacher and mentor, leading her teams with a commitment to creativity that will ensure a strong next generation of theatre creators. 

JON KAPLAN AUDIENCE CHOICE AWARD VOTE:

TAPA’s third annual Jon Kaplan Audience Choice Award in honour of the beloved, long-time NOW Magazine theatre critic will be given out at the Dora Awards show and ceremony on June 25. The Jon Kaplan Audience Choice Award is co-sponsored for the third year in a row by NOW Magazine and Yonge-Dundas Square. The public is invited to choose a winner and vote for their favourite show from the list of nominees for Outstanding Production – or they can choose their own! Theatre, dance and opera fans can cast their votes online at at nowtoronto.com/jonkaplan-audience-choice-award May 31 at noon through to June 19 at 12 midnight. The winner receives a special plaque from NOW Magazine.

***

40^th ANNIVERSARY DORA MAVOR MOORE AWARDS:

On Tuesday, June 25 at the Sony Centre for the Performing Arts, 49 Dora Mavor Moore Awards, the Silver Ticket Award and the Jon Kaplan Audience Choice Award will be presented. Fresh from touring his new solo show BOOMX, the incomparable Canadian theatre artist Rick Miller hosts this very special celebratory evening. A director, actor, comedian, musician and playwright, Mr. Miller is well-known across the country for his widely acclaimed one-man shows that include MacHomer, BOOM and Bigger Than Jesus (for which he won a 2006 Outstanding Performance Dora). The 40th Anniversary Dora Awards are penned by actor and  writer Diane Flacks, currently starring in the title role of Nathan the Wise at the Stratford Festival, and directed by Ed Roy, recipient of Pauline McGibbon and Dora Awards for directing.

Tickets go on sale May 28 through the Sony Centre Box Office at 1 Front Street East or call 416.368.6161 x 1 or book online at the Ticketmaster website:  https://www.ticketmaster.ca/event/100056B7E690656E

In honour of the 40^th Anniversary of the Dora Mavor Moore Awards, an Early Bird special price is being offered: Just $40 for both the Awards Show and After-Party! The Early Bird offer expires on Tuesday June 11 at 5pm, after which regular ticket prices will be in effect.

After June 11 at 5pm, ticket prices are: 

Regular Tickets (Awards Show & After-Party) are $90.00 (+HST & Ticketmaster fees) 

Student, Senior and Artsworker Tickets (Awards Show & After-Party) are $70 (+HST & Ticketmaster fees)
Pre-Show VIP Reception Tickets (includes Awards Show & After-Party) are $190 (these are only available by emailing Scott Dermody at scottd@tapa.ca to reserve)
After-Party ONLY Tickets (purchase at the door beginning 10:30pm) are $20. 

40^th Anniversary Dora Mavor Moore Awards

- Toronto's Theatre, Dance and Opera Awards -

Tuesday June 25, 2019

Hosted by the multi-talented, multi-award-winning Rick Miller

Written by Diane Flacks, Directed by Edward Roy, 

Musical Direction by Evelyne Datl, Lighting and Production Design by Andrea Lundy, Produced by Jacoba Knaapen 

At the Sony Centre for the Performing Arts, 1 Front Street East, Toronto, ON M5E 1B2

6:00pm-7:00pm Pre-Show VIP Cocktail Reception in the Lower Lobby of the Sony Centre for the Performing Arts

7:30pm Dora Mavor Moore Awards Show in the Sony Centre 

10:30pm After-Party in and around the Sony Centre for the Performing Arts

TICKETS ON SALE May 28, 2019 

For both Early Bird and Regular tickets, visit the Sony Centre Box Office at 1 Front Street East 

or call 416.368.6161 x 1 or book online at https://www.ticketmaster.ca/event/100056B7E690656E

EARLY BIRD DISCOUNT!
Awards Show & After-Party
$40 for the 40^th
Offer expires Tuesday, June 11, 5:00pm

Regular Tickets (Awards Show & After-Party): $90.00 (+HST & Ticketmaster fees) 

Student, Senior, Artsworker Tickets (Awards Show & After-Party): $70 (+HST & Ticketmaster fees)

Pre-Show VIP Reception Tickets (includes Awards Show & After-Party): $190
(email Scott Dermody at scottd@tapa.ca to reserve)

After-Party ONLY Tickets (purchase at the door beginning 10:30pm): $20 

For information visit http://tapa.ca Twitter: @doraawards   #DoraAwards #DORAS2019  #theatreTO