“For Your Eyes Only” April 28th YOUNG FRANKENSTEIN · Following in the footsteps of Anish...

April & May 2012

The Magazine of the Rose Theatre Brampton

YOUNG FRANKENSTEINTHE BROADWAY SMASH HIT MUSICAL OPENS MAY 22ND

SHEENA EASTON“For Your Eyes Only” April 28th

JUST FOR LAUGHSROAD SHOW

with Host Pete Zedlacher

Summer Theatre SeriesYour Preview to What’s Happening at The Rose

3rosetheatre.caBOX OFFICE: 905.874.2800

Rose Theatre Box Offices1 Theatre Lane, Brampton

Mon. to Sat.: 10:00 AM - 6:00 PM Sun.: Closed if no event

905.874.2800www.rosetheatre.ca

Lester B. Pearson Theatre150 Central Park Drive

Main Floor, Civic CentreHours are subject to change, please call

ahead or check the times online.

In gratitude for the purchaseof specialized equipment

o·de·um 1. A small building of ancient Greece

and Rome used for public performances of music and poetry.

2. A contemporary theatre or concert hall.

Odeum is the monthly magazine of the Rose Theatre Brampton

EditorGenevieve DeMerchant

[email protected]

Art Direction & DesignTina Mulliss

[email protected]

ContributorsCostin Manu

Theatre [email protected]

Alison Broverman, Harry Currie, Ashley Goodfellow, Nick Krewen,

Renata Lobato (photography, Scene at the Rose)

To advertise

with The Rose contact:Gaye Storozuk

Supervisor of Sales and [email protected]

905-793-6347

April & May 2012

Manager’s MonthlyScene at The Rose Services & PoliciesCommunity VitalitySponsor & Donor Recognition

every month569

1030

on stagecontents

2418

Canadian ImprovUnscripted and Interactive

Just for Laughts Road ShowWith Host Pete Zedlacher

Classic Albums Live: LA WomanThe Doors Final Album Live and Uncut Guido BassoWith Surprise Guest Vocalist

Special Feature: Elvis by RequestFind Out How You Can Help Program the Show

Sheena Easton 80s Icon Discusses her Interesting and Varied Career

Young FrankensteinMel Brooks’ Masterpiece Direct from Broadway

Dean McTaggartBrings Brampton a Taste of Nashville’s Hallowed Bluebird Cafe

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16

18

20

24

26

28

22

22

IN THE GALLERY

Kaamar ThiyaExplorations of the Divine Feminine

2 odeum april & May 2012

Following in the footsteps of Anish Kapoor, Indian-born artist Kaamar Thiya takes his unique artistic style from India to the Americas with extraordinary success.

Artist Biography When renowned actor and celebrity Suresh Menon first walked into an exhibition of artist Kaamar Thiya’s work back in 2004, he instantly became a fan. A big supporter of the arts, Suresh knew good work when he saw it, and Kaamar’s work was very good. So moved was Suresh that he became a collector and friend to the young artist. Now eight years later, their friendship remains and Kaamar’s artistic presence has blossomed across two continents. Born in India as the youngest of seven children, Kaamar idolized his older brother, also a professional artist. From the age of six, Kaamar started to paint. His artistic appetite was insatiable. Looking through the kaleidoscope of childlike wonder, he found nirvana in the unassuming beauty of nature. Nature was his teacher, subject and mistress all at once. Encouraged by his family, he dedicated himself to his craft, developing artistic proficiency and vision well beyond his years. He eventually took his Masters of Fine Arts where he went on to develop a unique style of drawings he terms “psychological line drawings”. He was subsequently commissioned to lecture at the university on the relationship of his drawings to his paintings and to the world of art in general.

Read Kaamar’s full story online at rosetheatre.ca


LET USENTERTAIN YOU!

MANAGER’S MONTHLY

pring is already here and that means we are busily putting the finishing touches on our professional presenting series for the 12-13 season. Over

the last twelve months we have attended many showcases, festivals and presenting conferences in Canada and the United States to see emerging young artists, new musicals and plays and gain fresh perspective. We have researched numerous artist management agencies from across the world to find performances exclusive to Brampton that we think you will enjoy while also teaming up with colleagues from presenting theatres across Ontario and Canada to bring some wonderful tours to The Rose. Speaking of fresh perspective, we welcomed Greg Henderson this year as artistic programming coordinator. Greg has worked tirelessly beside Genevieve DeMerchant, who now heads up the department of programming, marketing and development to coordinate the 12-13 season. Booking dates in the Rose Theatre’s busy calendar is an arduous and meticulous task as agents and artist managers work to facilitate the multiple demands from their artists in the many different countries. The artist fee is always a determining factor as well as we must respect the approved budget and consider how the fee will impact ticket prices. Long hours of negotiations and scheduling sessions go into programming the Rose Theatre Presents Series. We are now busy collecting photos, videos and artist information for the selected shows. Genevieve and her staff are already working on pulling all of these elements together to produce the 2012/2013 Rose Theatre Presents Season Brochure, which will be ready in mid-May for distribution first to subscribers and shortly thereafter for all our patrons. For subscribers, our annual subscriber nights will be held on May 24th & 25th this year. This is always an exciting time as we prepare to launch the upcoming series. You will see Canadian premieres, exclusive artists appearing only at The Rose and many more original and exciting shows to help you plan and populate your entertainment calendar for the next eight months starting in September. Thank you for your attendance this season and … enjoy the show!

SAnd... we’re back!

YOUNG FRANKENSTEINMAY 22-23, 8PM

IN THE STUDIO

BRAMPTON PERFORMING ARTS COMPANIESThis Spring at the Rose Theatre

Theatre Alive presentsOliver!March 22 & 23 at 8PM

Brampton Symphony OrchestraMarch 31 at 8:30PMMay 5 at 8:00PM

Brampton Festival SingersTribute to the BeatlesMay 27 at 7:30PM

CONTACT THE BOX OFFICE AT


CANADIAN IMPROVAPRIL 14, 8PM

GUIDO BASSOAPRIL 27, 8PM

ON THE MAIN STAGE

CLASSIC ALBUMS LIVEAPRIL 18, 8PM

SHEENA EASTONAPRIL 28, 8PM

JUST FOR LAUGHSAPRIL 17, 8PM

R O S E T H E A T R E P R E S E N T SAPRIL & MAY

Costin ManuTheatre Manager Rose Theatre Brampton

6 odeum april & May 2012 7rosetheatre.caBOX OFFICE: 905.874.2800

3

1

SCENE AT THE ROSE SCENE AT THE ROSE

Sub

The band from “Replay the Beatles” dropped in to a reception of Rose Theatre sponsors and donors before the show.From Left to Right: Justice Nancy Kastner, Bob Pesant, Cast of Replay The Beatles: Jean-Francois Cyr, John Oriettas, Ted Doyle, Ricardo Branchini, Gaye Storozuk, Anne & Gerry Bell, Christine & Ray Olijnyk (Lowes Canada) In Front: Brigitte & Gottfried Schwarzer

“John”, Stephen Pelley & “Ringo”

Sarah and Joe Cullen

Leslie Taman and Lynn Maxwel Karen and Kathleen Saylas

Michael Kaeshammer (L) with drummer Larnell Lewis (second from left) and Larnell’s family.(Right to Left) Sheila Roberts, Megan Roberts, Michael Kaeshammer, Emily Guhl, Joann Varickanickal

Renata Leho and “John Lennon” from Replay the Beatles.

Marcel and Joyce Spidalieri

8 odeum april & May 2012 9rosetheatre.caFor tickets call 905.874.2800 or visit www.rosetheatre.ca

Live Performances From Brampton’s Hottest Young Talent!

Follow us on Twitter @RoseTheatreBram #CentreStage2012Become a fan facebook.com/RoseTheatreBrampton

SUNDAY APRIL 15, 7PM ROSE THEATRE BRAMPTON

SERVICES AND POLICIES

Hearing AssistanceDevices may be attained from the Box Office, free of charge.

Coat Check There is a complimentary coat check located

next to the entrance for the Secondary Hall.

Free ParkingThe following operation of the Market Square parking garage will now be in effect for allscheduled Rose Theatre shows. During the week, the gates lift at 6:30 pm and remain up until 7 am the next day.

On weekends, the gates will remain up from Friday @ 6:30 pm to Monday @ 7:00 am.

Bar Service - Most events at The Rose will include bar service. When this is the case, the

bar will be open one hour before show time and during intermission.

Pre-Order Service - Avoid long lineups at the bar by taking advantage of our pre-order drink service. Purchase drinks before

the show starts and they’ll be ready and waiting for you at intermission.

Cell phones/pagers Please keep electronic devices turned off during the performance. The light from texting is also distracting for other patrons and performers.

FragrancesDue to allergies and sensitivities, please refrain from wearing perfumes, colognes, or other scented products.

Cameras/RecordingCameras and recording devices are not allowed in the theatre unless otherwise specified in the pre-show announcement by the presenter.

Food & DrinkOnly bottled water is allowed inside the theatre. Try to unwrap candies or lozenges prior to the performance as the crinkling paper can be distracting.

Arriving LateLatecomers will be seated at the discretion of Front of House during an appropriate break in the performance.

Babes in ArmsAre not permitted in the theatre, except for certain age-appropriate shows indicated; however each person –including children – requires a ticket.

For the Benefit of All Patrons, Please Take Note..

WE LOVE HEARING FROM YOU

Our Service CommitmentIf there is anything we can do to make your experience more enjoyable, please do not hesitate to ask one of our volunteer ushers or staff members for assistance.

Visit www.rosetheatre.ca

While you’re online, sign up to receive our e-newsletter or subscribe to our blog (find it on the homepage). You’ll enjoy insightful commentary, interviews with artists, photos and videos.

Enjoy and feel free to comment. Your opinion is important to us.

Follow us on Twitter @RoseTheatreBramBecome a fan facebook.com/RoseTheatreBrampton

10 odeum april & May 2012 rosetheatre.caBOX OFFICE: 905.874.2800

Committed to Contributing to the Cultural Fabric of

BRAMPTON

Rose Theatre Presents the Centre Stage Program Centre Stage is a community focused program, which began in 2007, and is open to students from grade school through to the end of high school. This talent search features all genres of performing arts. “We mostly see vocalists at the auditions, mixed in with some dance troupes and bands,” said Beverly Ritchie, programmer at the Rose Theatre, “but we would love to see more instrumental players and unique special talents at next year’s auditions!”

The Centre Stage Program is dedicated to supporting pre-professional artists through mentorship and performance opportunities. This program gives students priceless opportunity to get the full star treatment, and play for an audience from a professional stage. Once the performers have been selected, they are mentored, and prepared for their journey to take “centre stage” at the Centre Stage Concert & Awards Gala held at the Rose Theatre.

Each finalist is given

the opportunity to be

matched with

a professional in

their field for

one-on-one training,

guidance and

mentorship support.

They may even

choose to participate

in a master class.

Many Centre Stage

finalists are already

honing their craft

through private study.

However, engaging in

healthy competition,

wherein they also receive

fresh artistic feedback

can lead to new insights.

Ultimately, this can

provide the inspiration

required to get to

the next level of

performance quality.


COMMUNITY VITALITY

Headliner

MICHELLE BENNET

Headliner

SHANE HARTE

HeadlinerNATIONZ

Spotlight PerformersSTEPHEN & ALLISON JAWORSKI

Spotlight PerformersGEETA & REKHA SINGH

Spotlight PerformersRORY & KAYLEE MCDONALD

Spotlight PerformerALEX AZZOPARDI

Spotlight PerformersCHRISTINE ORTIZ, ZAK LALIC, & ABBEY FRIAS

New this year, each of the concert’s young performers will receive a professional headshot to use as they continue to promote themselves as independent artists. The Rose Theatre serves as a bridge between emerging artists and the professional world by introducing young artists to professionals in their artistic field. Centre Stage provides support from the audition time in November to the gala performance in April but our support does not end when the gala is done. Throughout the year many finalists are invited to perform at local city events like Canada Day, the Farmers Market, and Brampton’s New Years Eve celebrations, engaging the broader community, and offering a variety of performance experiences. New this year, we have also invited past Centre Stage performers to host the event, adding yet another layer of opportunity for those students who continue to pursue their performing dreams once their Centre Stage experience has “ended”.

This is a pioneering program that the Rose Theatre is very proud to facilitate. We do have a mandate to serve and entertain the community, but beyond that, this program remains special for all those involved in its creation and execution. Donor and sponsor funds help to support this fantastic opportunity for our rising stars and now, the support these artists really need is a robust audience! We invite you to come out and support Brampton’s young talent by attending the Concert & Awards Gala on April 15th at 7pm. This year’s Center Stage participants will thank you!

Headliner

SHANNON BOUDREAU

Spotlight Performer

JESSICA MACNEILLHeadlinerAMER DHALIWAL

P lan an UNFORGETTABLE EXPERIENCE

for your group!Celebrate a special event

at the Rose Theatrewith Family, Friends,

Colleagues or Customers!GROUPS SAVE UP TO

DISCOUNTEDGROUP TICKETS

ON ALL RTP SHOWS!

25% We offer personal service.Let us help you plan

a pre-or post-show reception,dinner and a show

or we can suggest one of ourexcellent local restaurants.

T: 647.438.5559 Toll Free: 1.866.447.7849www.thegrouptixcompany.com


IN STUDIO TWO APRIL 14 AT 8PM

mprovised performance, or improv, is as old as performance itself. From the 16th to the 18th centuries, Commedia

dell’arte performers improvised in the streets of Italy. In modern times improv had a dramatic resurgence when the Second City Theatre opened in Chicago in 1959, expanding to several other cities including Toronto, and producing television programs in the United States and Canada. Since its debut, the Second City has consistently been a starting point for comedians, award winning actors, directors, and others in show business, including Mike Myers, Chris Farley, Dan Aykroyd and John Belushi. But how do you define improv comedy, and what are the rules, if any? I posed this question to Matthew R. Lawrence – Matt – the founder of Canadian Improv Showcase. “I’d define improv comedy as unscripted, interactive, and fully integrated to reach everybody.” They go on stage with no script,

Canadian Improv April 14 at 8PM in Studio Two

I

R7

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only with ideas on how to involve the audience.“That’s right, but basically, I myself as the host have a piece of paper with the games we’re going to use and themes we’ll use. Backstage they know what the first theme is going to be, but from then onwards it depends on audience reaction and how best I think my 15 performers are going to fit in with the feeling I get from the audience.”There are two types of improv comedy in general use, called shortform and longform.“We use shortfom almost exclusively,” said Matt. “Shortform consists of short scenes usually constructed from a predetermined game structure, or ideas driven by audience suggestions. Most people are familiar with shortform from the various television shows based on improv comedy. Longform, on the other hand, often utilizes short scenes which are interrelated by a story line, or continuing characters or themes.

We’ve found that the variety provided by shortform works best with our audiences – it’s far more interactive.”When many suggestions come from the audience a choice must be made almost instantly. “I weigh up what the suggestions are, then try to pick the one that will fit best with our performers. We all have our strengths, so it’s just a matter of choosing something that will utilize the strengths of the group. We also have to consider the type of audience we’re playing to and tailor our improv accordingly – it’ll be quite different if we’re in front of a corporate group or in a school setting instead of a general audience. Unlike many comedic groups we don’t cross the line – we try to give the audience what they want.” Matt founded the Canadian Improv Showcase in March, 1997, partly so young performers could improve their acting skills, but the concept developed a life of its own.

14 odeum april & May 2012

IMPROVimproving with

by Harry Currie

“We’ve just hit our 15th anniversary,” he said, “and we’re about at our 700th performance, which I’m quite proud of.” The Canadian Improv Showcase has collected quite an array of accomplishments over the years, including being voted ‘best of the fest’ at both the London and Toronto Fringe Festivals two years in a row. They hold the mantle of being the only improv company to perform at the St. Lawrence Centre for the Performing Arts in downtown Toronto. They have won numerous improv competitions including the “Wide Mouth Studios Improv Competition” in 2002. In 2004 the troupe was selected as the improv company to represent Canada in a cultural exchange with Singapore, performing at the prestigious ‘Bar None’ club as well as two other venues. “I think it’s quite remarkable that we don’t have a home theatre yet we’ve been able to build such a dedicated following that it keeps us totally busy and committed,” said Matt. “Our bookings are based solely on the merit of our last performance and the power of word-of-mouth advertising.” Literally dozens of testimonials are summed up in this one. “I laughed until I hurt. I just can’t get enough! “Our amazing nucleus of talent may be the biggest factor of our success,” said Matt, “but it can’t just be about the talent – we also work together remarkably well. The group chemistry is second to none and the entire company is dedicated to not only our craft, but to the company as a whole – we’re a family.”It’ll be no surprise to see the comedy stars who will emerge from the Canadian Improv Showcase.

R7

Ad Number: PW1_LOW_P096914Publication(s): ODEUM Magazine

This ad prepared by: SGL Communications • 2 Bloor St. West, Toronto, Ontario • phone 416.413.7495 • fax 416.944.7883 File Location: SGL_A-M:Volumes:SGL_A-M:Lowes-SWL:Current:O20150-Rose Theatre $500 Gift Card Winner:PW1_LOW_P096914.indd

JOB SPECIFICS

Client: Lowe’sCreative Name: Rose Theatre Gift Card Win-nerAgency Docket #: PW1 LOW O20150Main Docket #: SWP LOW O20150Art Director: NoneCopy Writer: NonePrint Production: Ellie LeeRetoucher: NoneLive: NoneTrim: 3.65” x 4.85”Bleed: 3.9” x 5.1”Artwork Scale: 1:1Print Scale: 100%

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Operator: Jason RooneyCorrection: Sara Damphousse

SIGNOFFS:

Creative:

Production:

Premedia:

Proofreading:

Account:

Client:

PREMEDIA OPERATOR:

Operator: RJ

INKS:

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hen he was in college, Godfrey Danchimah Jr., decided he had two attributes that might direct

him towards a career path in comedy. “Me being opinionated, and talking too much,” says the comedian known simply as “Godfrey” down the line from a recent tour stop. Turns out he was right. After living most of his life in Chicago, he gambled on a move to New York, where he landed the warm up gig for Cosby, comedian Bill Cosby’s successful four-year series that followed his massively successful The Cosby Show. “It was the one that also starred Madeline Khan,” Godfrey recalls. “I’d spend eight hours – with a one-hour break – talking to everyone about anything under the sun. “It’s a thankless job, but I think it’s a good thing for comedians, especially if you’re struggling. You’re getting some money every week. I did the same thing for Dan Aykroyd when he was starring on Soul Man, too, for ABC. He’s a really nice guy.” Since then, Godfrey has carved out a niche for himself on VH1, providing commentary and the occasional skit; frequently plays himself on Louie, the FX Network series created by -

and starring – Louis C.K., and has also landed a guest spot on the episode of NBC’s Tina Fey goldmine 30 Rock called “The Bubble.” You may have seen him in Zoolander or Soul Plane, but it was just recently that Godfrey, 46, hosted his first Comedy Central special, Godfrey: Black By Accident. “Once you get your first hour, you start thinking about your second,” says Godfrey, a stand-up veteran making his first appearance at the Rose Theatre. In this Just For Laughs evening hosted by Pete Zedlacher, a Canadian Comedy Award winner who writes for CBC’s The Ron James Show, CBC Radio’s The Debaters and formerly, for The Hour With George Strombolopoulos, Godfrey will be joined by fellow comedians Brent Ernst (Weeds, CSI:NY) and, for the estrogen factor, Paula Bel (Last Comic Standing). There are much easier careers to tackle than comedy, and even though Godfrey is somewhat established, he’s always working hard and thinking of material he can add to his promotional reel, one that circulates amongst casting agents and producers. So when he makes a high-profile appearance such as the one on 30 Rock, hopefully someone will take notice. “I’m always looking for that next gig, “ Godfrey admits. “Even though I have gigs booked up until the middle of the summer, you still never know. I don’t ever take anything for granted. This business just changes all the time. “As far as the 30 Rock thing is concerned, you just never know. Not only does it look good on a résumé, but hopefully someone has seen you, will call you and say,

by Nick Krewen

Hosted by Pete ZedlacherPaula Bell

Bret Ernst

featuringGodfrey

ON THE MAIN STAGE APRIL 17 AT 8PM

W

Just For Laughs Road Show April 17 at 8PM on the Main Stage

GODFREY Rockin’ 30 Rockand Other Tales

‘Hey, I saw you on 30 Rock and we’re now considering you for this.’ “It’s another notch on your belt.”Godfrey, who was brought up on a steady diet of the ‘50s and ‘60s movies of Jerry Lewis, Dean Martin, Don Knotts and Jackie Gleason – and a huge fan of iconic TV talk show host Johnny Carson and innovative comedian Redd Foxx - says the ultimate payoff would be the chance to be the lead of his own series. “It doesn’t have to be a big role - I’d just like to be on a show where I can feature my dramatic comedic talents,” he explains. “Or where I’d have the ability to develop something on my own and having the freedom to pick and choose. “I guess it’s the freedom to do what I wanted and not have anybody telling me what to do that means the most to me.” Godfrey says the type of set he performs depends on his mood and the venue. He’s extremely adaptable. “I’m not a filthy comic,” he says. “I may use profanity, but I like it only because it’s fun to me. But most of my stuff doesn’t need profanity, and if it’s either subject matter or a family show, it’s easy to adjust: I don’t talk about anything too controversial.” Prepping to play the role of a detective next month in the film Three Days in Vegas. Starring Danny Trejo, the leather-faced Mexican star of Machete, Godfrey, whose routines can also be seen on YouTube, does have one other career desire. “Yeah, I’d like to be loaded,” he laughs.



raig Martin has no shortage of praise for The Doors,

the 1967 self-titled debut album that introduced the California rock band featuring singer Jim Morrison, guitarist Robby Krieger, keyboardist Ray Manzarek and drummer John Densmore to global audiences. “The Doors’ first album changed everything,” says Martin, the brainchild behind Classic Albums Live series, the musical concept that recreates notable works note-by-note in a concert setting yearly for more than 100 audiences around the world. “I have this ongoing conversation with Classic Albums Live musicians on what is the greatest American album, and that’s either Born To Run (Bruce Springsteen), Hotel California (The Eagles), Michael Jackson’s Thriller or The Doors. “As far as a game-changing album goes, Thriller sold the most, and sure Springsteen was great and Hotel California was a progression, but nothing changed things the way the first Doors album did. “It’s an American artform album, more than anything else. I think this album takes you on such a trip, and it’s a real work of art, not just a pop album. And that’s why I think this record stands out.”Produced by Paul Rothchild, The Doors is certainly full of classics that are album rock radio staples: the exuberantly dynamic rocker “Break On Through (To The Other Side)”; the expansive “Light My Fire” highlighted by Manzarek’s lengthy organ solo; the lively Berthold Brecht (“Alabama Song”) and Willie Dixon (“Back Door Man”) covers, and the epic and disturbingly psychotic 11-minute tour-de-force known as “The End,” which brought the band plenty of notoriety and controversy at the time. “Morrison had a crazy voice,” says Martin. “He played without the rulebook. He had no rulebook. He was a film student who broke out, dropped acid, and started writing poetry. It was stream of conscience and something

Classic Albums Live: LA Woman April 18 at 8PM on the Main Stage

by Nick Krewen

1pm: spa treatment 3pm: the perfect hair cut

4pm: pepermint tea and a magazine 5pm: a new outfit

6 pm: reservations for 2 8pm: world class entertainment

10 pm: nightcap

5:30pm: cocktails!

Coming to Brampton Downtown for a Show?

Make the most of your day and treat yourself to a morning, afternoon and

evening in Brampton Downtown.

We've got everything you need to create the perfect day.

Make the most of your day in Brampton Downtown

THE DOORSLIGHT MY FIREBREAK ON THROUGHBACK DOOR MAN

An American Artform

C

nobody had done up to that point. “Next to (Bob) Dylan, it was the first time, in a real band sense, that somebody had stepped up and made you think about what he was saying. “A lot of that stuff, when you put it under the microscope, it sounds like hippie trippy kind of acid talk, but no matter what it is, it ignites a memory and a feeling and a vibe at the time, and I think that’s why a lot of young kids are seeking this stuff out as well. “Morrison was a compelling figure, a tragic hero in the same way that Kurt Cobain and John Lennon were – a bit of a tortured soul and a romantic heart. “It was quite innovative.” The Doors also helped usher in the psychedelic era as a bit of an anomaly: when they toured, they did so without a bass player, with Manzarek often using the bass pedals of his instrument as a substitute. However, Martin says that’s not going to be the case at the Rose Theatre. “We’re using a bass player for most of the album,” he promises. “We do a couple of songs without one, but for the most part, we bring one in.” Martin also declares, with a wink, that the Classic Albums Live band will do “their same old boring show.” “We’re going to stand there and play and recite the album perfectly,” he explains. “There will be no interaction, no clapping or singing along. There will be no flashy lights.

We won’t be talking to the audience. We won’t be wearing costumes. It’ll be the most boring show of the year, and yet, somehow, people will enjoy themselves immensely and it will

strike a sublime chord with the audience and they’ll go, ‘This is one of the best shows I’ve ever seen.’

“I want my show to be more boring than anything. I want to be like drying paint, and

that seems to be the secret that everybody else misses, and that’s just fine with me.” Martin, a lifelong musician who has also dabbled in TV scoring and cabaret has been perfecting the show for over a decade, recreating classic albums by a

variety of acts ranging from Led Zeppelin to Pink Floyd and everything in between.

However, he says this is one of the last times you might see him conducting the band.

“I’m 50 now, and I think it might be time for a change,” he admits. “It seems that every 10 years – every

time I hit an age with a “0” at the end of it, I usually like to change things up.”However, if he decides to depart the regular gig, the show will carry on without him. “I’m starting to let go of control of the company – my sister and my family are running a lot more of it. I’ve realized that after 10 years of working with these musicians, I can’t tell them what to do anymore – they know instinctively. “But this will always be my first love, and I’ll always be involved in some way. I’m just ready to take a left turn.” When one Door opens…

I think this album takes you on such a trip,

and it’s a real work of art, not just a

pop album.

20 21rosetheatre.caBOX OFFICE: 905.874.2800

GUIDO BASSOFrom Playing For His Supper to Playing For Fun

Guido Basso April 27 at 8PM in Studio Two

odeum

IN STUDIO TWO APRIL 27 AT 8PM

april & May 2012

ou know how the saying goes: behind every great jazz musician

stands… an encouraging older brother? Maybe that’s not exactly how the old saying goes, but nevertheless, it was Guido Basso’s older brother who gave the Canadian jazz legend his first trumpet. Thanks to his brother – who was 16 years older than Basso and already playing saxophone in a band – Basso was surrounded by music at an early age, blowing his first horn at the tender age of nine. He had his first professional gig at the ripe old age of 11, playing with a band of kids at a local restaurant. “We got paid one dollar an hour each,” he remembers. It was good pocket money. But then the owner thought he might save money if he paid the young musicians in food by way of the all-you-can-eat buffet. That sounded pretty good to the band of growing boys. “We did one weekend like that, and during the break we were just gorging ourselves,” he laughs. “So the owner said ‘ok guys, let’s go back to a dollar an hour.’” Basso was considered a music prodigy, and became well-known on the Montreal club scene when he was a teenager. Soon he was playing for more than a go-round at the all-you-can-eat buffet. The list of people he’s played with reads like a Who’s Who of jazz greats since 1950 – Frank Sinatra, Duke Ellington, Pearl Bailey, Ella Fitzgerald, and Tony Bennett to name a few. He made his name early on as a jazz trumpeter, but soon he added another

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instrument to his repertoire: the flugelhorn. “The first time I heard a flugelhorn was on this beautiful Miles Davis record Miles Ahead,” he says. At the time, flugelhorns were rare in North America, and had to be imported from Europe. “Eventually Jack Long from Long and McQuaid found me one – an old clunker – and I started playing the flugelhorn and loved it.” The flugelhorn has a much more mellow sound than the trumpet, he says. But he still plays both, switching it up depending on the song. “I play the trumpet for the faster, hotter numbers,” he says. “And the slower, more melodic ones I’ll play on the flugelhorn – it’s the same fingering, but two different timbres.” Basso has been a staple of the Canadian jazz scene since the 1950s, and still plays regularly – although as a member of the Order of Canada (since1994) he can afford to be pickier about what gigs he accepts. These days, the gigs have to be pretty good to lure him from his farm in Prince Edward County (immediately before this interview, he’d been out in the barn feeding the horses and cats). But he’s delighted to be returning to the Rose Theatre, where he’s played once before. This time, he’ll be playing a set list of some of his favourite old standards, and he’s bringing four bandmates to form a quintet: John Sherwood on piano, Pat Collins on bass, Kevin Dempsey on drums, and Pat LaBarbera on saxophone. He’s also bringing a surprise female vocalist. “I was actually hired as a quartet, but I’m going with more people,” he says. “We’ll all be making a bit less, but we’ll have more fun!”

by Alison Broverman

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by Ashley Goodfellow

SPECIAL FEATURE APRIL 27 AT 8PM

f you thought Elvis Presley pushed the boundaries with his risqué hip-swiveling dance moves and his head-to-toe leather digs, just wait until you see what Stephen Michael Kabakos can do when he pays tribute to the one and only King of Rock ‘n’ Roll. Along with his extraordinary talent for resurrecting the voice, the moves and the passion of Elvis, Kabakos will bring an entirely new format to the stage—one that flirts with mystery and anticipation. And, one that—dare we say it— supersedes what Elvis himself was able to do in front of a live audience.What makes it even more exciting for his enormously enthusiastic Brampton fan base is that he’s premiering this special presentation at our very own Rose Theatre. “Brampton has been incredibly good to us and we feel we shouldn’t take that for granted,” said Kabakos. “And that’s why we strive to present something new to our loyal fan base.”

Ladies and gentlemen… do we have your attention?

On Friday, April 27, Kabakos will perform, for the very first time, Elvis By Request—a show programmed completely by the audience. “This is the first show of its kind, or at least that I know of, that has been produced in the tribute world,” said Kabakos. “The idea is to offer the audience something new, something where our attendees have the opportunity to program the show. “It is uncharted territory and that in itself will be interesting.”So how exactly does it work? Will he have to fend off hollers of “Heartbreak Hotel!” and “Hound Dog!” from over-zealous fans? Will audience members have to clamor wildly for Kabakos’ attention to have their requests heard? Not quite. Instead, the master of Elvis stylings has come up with an innovative—and civilized—method so that every audience member has the chance to request not one, but 16 different songs. Kabakos and his team devoted a lot of time to the idea and came up with this: Ticket holders who want to help design the set list for the show can make their requests through an online forum that asks about songs relating to milestone moments in Elvis’ life— both in his personal and career life. Based on the

Elvis by Request April 27 at 8PM on the Main Stage

results of that questionnaire, a unique set list will be tabulated for the show. “We will need to come prepared to perform every song we have offered, and then create a show based on what our audience wants,” said Kabakos, noting that the survey results will only be revealed to him and the ensemble the day of the show. “We’ll be in the dark until hours prior to show time…and there lies the challenge!” he said, adding that not knowing is part of the thrill. The concept for the show is particularly interesting for viewers as well, because each show is a completely unique experience for both the audience and the performers. In true form, Kabakos offers a shiny new platform for Elvis’ music and brings it to life— with a twist. The interactive element used to draft the blueprint for the show has ushered Elvis into new media, and confirms that Kabakos has successfully married modern-day implements with the entertainment of a classic, bygone era. And, he promises the interactive element will continue well into the two-hour show. “There will be moments where the audience will interact

with our live stage performance,” he said. “But I don’t want to say too much more than that, and ruin the surprise!” He’s an innovator in the post-Elvis world, and demonstrates the same ingenuity and flair for his craft as The King himself—the same qualities that handed Elvis over to fame and kept him there even 35 years posthumously. Kabakos has made a name for himself with his dynamic and authentic Elvis performances. He’s developed and starred in eight shows, and this past year took his first role headlining a Broadway-style spectacular called Return to Grace. His love of Elvis sparked at a young age when his Mom was a fan, and since then he has carved out a tribute persona that is unparalleled: in voice, dance and costume, he is just like Elvis, but in between songs—even with a Memphis accent and crooked smile—he’s got the charm and charisma of Stephen Kabakos from Milton, Ont. And, this is what makes his show unique, even with a cult-like following—especially with respect to the ladies in the house. Not only are the female fans getting to see a remarkably accurate Elvis, they are also lapping up every second that Kabakos infuses his own charm and charisma into the show. They are star-struck, times two. And though he has the ladies swooning at his feet, Kabakos has more than enough talent, spark and appeal to satisfy a vast demographic—young, old; male, female; Elvis fans, non-Elvis fans. He puts a show on for everyone. And he’s brought that inclusive mandate to a new, incredible level with Elvis By Request. “I have always said ‘There is an Elvis song that someone, somewhere knows and can relate to. You don’t have to be the biggest fan, but you can appreciate the song’,” shares Kabakos. “With that, there have been people who have developed a new appreciation for the man after seeing my show, and they have been kind enough to tell me that after their third, fourth and sometimes fifth time in the audience.” As for his own evolution as an artist and performer—and avid Elvis fan—he says over the years he’s grown to appreciate the rock ‘n’ roll icon as an entertainer, Hollywood superstar and person. “As every performing year passes, I see things a bit differently,” he muses. “It’s less trying; now, it’s from the heart.” To take part in this exciting Elvis By Request experience, visit www.stephenkabakos.com and link to the official offsite request page where you’ll find instructions on how to make your selections, using the password “Brampton”. Requests will be accepted up until 4 p.m. the day of the show (April 27). For More on Stephen KabakosVisit his Website www.stephenkabakos.com Find him on Facebook: (facebook.com/stephenmichaelkabakos) or Follow him on Twitter (@SMKTVB2012)To purchase tickets, call the Rose Theatre box office at 905-874-2800 or visit www.rosetheatre.ca.

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T


he first one is a no-brainer: in 1981, hot on the heels of two massive hit singles, “Morning Train (9 to 5)” and the James Bond theme for the film “For Your Eyes Only,” the diminutive Scottish spitfire captured Best New Artist. It’s the second one that’s a bit of a brain scratcher: 1984’s Grammy for Best Mexican-American/Tejano Music Performance for “Me Gustas Tal Como Eres,” a duet she recorded with Luis Miguel.

What? “It sort of falls into the history of my life,” says the four-time-divorced, single mother of two over the line from her Las Vegas home. “My career started out with a bang: that “Morning Train” was No. 1 all over the world. At one time, I was No. 1 in so many places, that in order to fulfill my record company obligations I had to go there, perform and promote it, and it was horrendous. “But it was great, in a sense, it got me established internationally, and that was followed up with “For Your Eyes Only,” the Bond theme, and that kind of established me in a lot of different places. “One of the places I was doing reasonably well was in Latin America. At the time, somebody came to me and said, ‘We’d really love to do an album with you in Spanish.’“Now I don’t speak Spanish –never claimed for a moment that I do. But I really wanted to do a foreign-language album, so we went ahead and did it. “I got all the translations, knew what everything meant, and then I was taught phonetically how to pronounce it reasonably well, and then they asked me to do a couple of duets, and one of them was with Luis Miguel, who at that time was just a kid. “We did this cute duet that was very

well received in the Latin American community because of him. And I guess when Grammy time came along, they voted for us.” At 52, Easton, born Sheena Shirley Orr in Bellshill, Scotland, has had a career that she likes to describe as “random.” Her career began when she was chosen for a documentary called The Big Time. Initially, she was supposed to record a single, “Modern Girl,” that would be released by EMI, but when the record company heard her, they offered her a multi-album deal. Later in the ‘80s she enjoyed a consistent run of chart-topping and Top 10 hits all over the pop and AC genres: “You Could Have Been With Me,” “Almost Over You,” “We’ve Got Tonight,” “Strut,” “The Lover In Me” and the song that Prince wrote for her, “Sugar Walls.” “Back in the day, he used to write non-stop,” Easton recalls. “I was recording an album at the time, and my sound engineer was his sound engineer. He was in town working on an album himself, and he saw me on The Tonight Show. He went right into the studio after the show finished, literally this was how fast he works – he wrote ‘Sugar Walls’, put it down on track, and the next morning at the studio, the engineer walked in and said, ‘I want to play you something. Prince had me bring it over. If you like it, you can go in and do vocals.’ “ I listened to it. I loved it. The rest was history.” Despite rumours at the time, Easton said the relationship between her and Prince remained platonic. “We got on well, because I just loved his sense of humour. He used to crack me up and I used to make him laugh, so we just became friends. He would come into town and say, “Come down and hear something I’m doing!” and I’d listen to a track.” Easton wrote the lyrics to “The Arms Of Orion,” which Prince included on the Batman soundtrack, but they haven’t seen too much of each other recently. “When my kids came along, my life changed completely. I was not about to jump in a car and go leave my kids to go hang out with friends. You drift apart from different people.” From music, Easton’s career has jumped into different directions: she’s appeared on Broadway, had a much-hyped multi-episode arc on TV in Miami Vice, and voiced a few characters in cartoons. “I loved doing the cartoon work,” she admits. “I did a bunch of cartoon voices. That was not the most highly paid job I ever had, but I have to tell you, I would have done it for free because it was hysterically funny 99 times out of 100 we were in the studio.” Today her kids are teenagers, and Easton isn’t looking forward to the day the empty nest arrives. But will she keep a busy schedule? “I don’t know,” she responds. “Most of my youth was so overscheduled, like high octane, not-a-moment-to-myself overscheduled, that I barely remember my 20s, and I’m not exaggerating. And my 30s were not much better. “I’m going to be 53 in a month or two, so I’m not terribly sure that I want to do that high octane thing as I stagger into my ‘60s. I don’t want to stop working. Don’t get me wrong - I love working, but I like my life being well-paced now.”

Sheena Easton April 28 at 8PM on the Main Stage

by Nick Krewen

A Varied CareerIf you play pop music trivia, and you’re looking for a real

stumper to ask your opponent, try this one on for size: Name the two categories for which pop singer Sheena Easton won her

Grammy Awards.

Sheena Easton’s performance at the Rose Theatre is sponsored by:


ON THE MAIN STAGE MAY 22-23 AT 8PM

by Ashley Goodfellow

Young Frankenstein May 22-23 at 8PM on the Main Stage

MONSTER-SIZED Masterpiecenlike Dr. Frederick Frankenstein whose mission is to re-animate the dead, the producers of Theatre

League’s touring Young Frankenstein have created a theatrical masterpiece that is very much full of life—as well as monster-sized laughs. Based on the 1974 film of the same name directed by Mel Brooks, the live version of this monster musical comedy was born from an inside joke between the film’s star, Gene Wilder, and Brooks. The result was a runaway hit parody of the original horror films Frankenstein (1931, adapted from the Mary Shelley classic) and its sequel Son of Frankenstein (1939). The musical version first took Broadway in 2007 where it ran for over a year, and now, the producers have remounted this hysterical re-imagining of the Frankenstein legend in a touring show which, lucky for us, closes out the 2011/2012 season at the Rose Theatre on May 22 and 23. Meet Dr. Frederick Frankenstein (played by A.J. Holmes), a bright young scientist that inherits his grandfather’s estate in Transylvania and decides to continue the legacy of his lifework to bring a corpse to life. The show begins with the funeral procession of Dr. Victor Frankenstein in Transylvania, and moves back to young Frankenstein at a New York medical school. The junior family scientist and brain surgeon travels out to Transylvania and its there that the sparks really start to fly—literally. Together with all the beloved film-version characters—Igor, Inga, Elizabeth, Frau Blucher, and of course The Monster—Frankenstein Jr. makes a madcap scientific breakthrough. The one we’ve all been waiting for. Stocked with the same classic Brooks gags and catch phrases that captured viewers 38 years ago, Young Frankenstein will not only satisfy the audience’s expectations but will exceed them with the ramped up musical element. Infused with electrifying Mel Brooks numbers—including The Transylvania Mania, He Vas My Boyfriend and Puttin’ On The Ritz— the show is one exciting musical “experiment” after the other. But touring director Jeff Whiting suggests those who are familiar with the original black-and-white film will have more than a splash of colour to look forward to in the live

adaptation. With more jokes, and new music, there will be a fresh and modern twist on this classic comedy thriller. The musical also showcases the extraordinary talents of five-time Tony winner Susan Stroman’s choreography (The Producers), with mesmerizing and monstrously entertaining dance numbers by the cast and ensemble. And if it’s not enough to see a “7-foot-tall, 4-foot-wide gorilla with the mind of a child”, as the show says, tap-dance on stage, well, you’ll have lots of other freaky features to focus your attention on. Like, say, the set which includes an onstage lab, the insanely delightful special effects and the costumes and make-up, which give the musical a high production value. As quoted in the New York Post, Clive Barns said it was “the Broadway musical at its dizziest, glitziest and funniest.” Similarly, The Hollywood Reporter called Young Frankenstein a “hilarious crowd-pleaser.” Fans of musical theatre—or comedy, or Mel Brooks, or creepy goings-on in Transylvanian castles— won’t want to miss a show that screams Broadway, and is scientifically-proven to be an enjoyable evening out. The phenomenal cast includes A.J. Holmes (Frederick Frankenstein), Lexie Dorsett (Elizabeth), Elizabeth Pawlowski (Inga), Rory Donovan (The Monster), Pat Sibley (Frau Blucher), Christopher Timson (Igor), Britt Hancock (Inspector Kemp), and an ensemble composed of Edward Charles Carignan II, Gregory Dassonville, Michael Peter Deeb, Jerome Doerger, Brett Figel, Kinsland Howell, Lauren Kadel, Graham Keen, Stephanie Madden, Caitlin Maloney, Kevin Metzger, Ashley Gale Munzek, Sarah O’Connor, Kristen Schoen-Rene, Tug Watson, and Eric Weaver.

For More on the ShowVisit the official website for The New Mel Brooks Musical Young Frankenstein (the official title) at www.youngfrankensteinthemusical.com

U


JULY 13 - 28 MAIN STAGE $37/$32

AUGUST 17 - 25 MAIN STAGE $37/$32

JULY 6 - 28 STUDIO $27

AUGUST 3 - 25 STUDIO $27

FEATURE ARTICLE APRIL 12 AT 8PM

Dean McTaggart is bringing a bit of the Bluebird Cafe to the Rose Theatre. It was the ownership of the famed Nashville nightspot that initially introduced the concept of the Songwriters Circle, also known as the Guitar Pull: where three or four songwriters gathered with their guitars, played tunes and exchanged stories. “It’s very intimate and very relaxed,” notes McTaggart, who has played a few of them in his time. “And nobody makes a sound. In fact, if you do at the Bluebird, they’ll shush you once, then show you the door.” They probably won’t be so restrictive in the Rose Theatre studio, but it will be an evening where you’ll get to know the two songwriters McTaggart has invited to share their impeccable talent. Emm Gryner may be the more familiar of the two: frequently played on CBC, Gryner hails originally from Forest, Ontario and had a big hit in the ‘90s with “Summertime,” before eschewing the major label scene with her own indie imprint,

by Nick Krewen

Dead Daisy Records. She has released more than 10 albums, toured as a backing singer with David Bowie, collaborated with Def Leppard’s Joe Elliott, and is an immensely talented multi-instrumentalist. Her most recent releases include her latest album, last year’s Northern Gospel, and more recently, She’s Gone, a four-song EP of her favourite Daryl Hall & John Oates songs. Prince Edward Island’s Tim Chaisson started off as a member of his family’s contemporary Celtic band Kindle before releasing his first album at the age of 15. His 2009 album Broken Hearted Beat was co-written by Joel Plaskett and Big Sugar’s Gordie Johnson (as well as produced by Johnson) and he’s since made major inroads into Australia. Now 26, Chaisson has won eight East Coast Music Awards, including Song of the Year for “The Source” and Songwriter of the Year for “Wasn’t For You.” ‘”I’ve known Emm for awhile and I love what she does,” McTaggart explains. “Last February, I went out and hosted a songwriter’s night for all the PEI Music Awards nominees for their Songwriter of the Year, and Tim was on that show. We kept in touch, and we’re going to do some writing right around the time that he’s here, too.” McTaggart is no slouch himself when it comes to songwriting credentials. He wrote two big Amanda Marshall hits – “Dark Horse” and “Alabama” – as well as Wynonna Judd’s “Heaven Help My Heart.” Throughout his career, he’s transitioned into any number of styles, from the radio-friendly pop of The Arrows, for which he was lead singer over seven years, to solo albums, to his current project Ultrasound, which he describes as an “eight piece soul band with a three-piece horn section.” McTaggart, who also curates the Rose Theatre Brampton’s annual Friday Night Concert Series during the summer, says the whole Songwriters’ Circle affair is a casual one. “There are no rehearsals,” says McTaggart. “You just yell out a key and every one on stage is encouraged to join in and play along on each other’s tunes. “We’ll play two sets, around five songs each, over the course of the night.” This is the eighth edition of McTaggart’s Songwriter’s Circle, with the impressive list of previous guests including Marc Jordan, Kevin Breit, Shirley Eikhard and Dala. He says one of the most appealing aspects of the Circle, aside from the great music, is the insight to the creative process. “For me, you actually get the guys who write their own tunes and a chance to hear them play it,” McTaggart explains. “In my case, people may know my material, but the majority of the people haven’t got a clue who I am. So I think that’s cool about it. It’s really intimate, and anybody that comes, especially those who don’t know what a guitar pull is or a songwriter’s circle is, usually go away thinking, ‘Hey, that’s a pretty cool night’s entertainment.’” The Bluebird Café still manages to squeeze in 40 people on a nightly basis to listen to songwriters ply their craft, but why travel to Nashville when you have the best of the best right here?

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MUSICThursday’s Lunch Hour Folk 12PM to 2PMFriday Night Concert Series 7:30PM to 9:30PMSaturday Farmer’s Market 10AM-12PM

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performances and films.*All Flower City Festival events are weather permitting.

summer theatreSeason2012

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Welcome to an exciting and diverse SummerTheatre Season!On the Main Stage we present two heart-warming pieces.

Forever Plaid is a goofy musical filled with the nostalgic close-harmony tunes of the 50s. One decade later, Neil Simon’s quirky romantic comedy Barefoot in the Park is the

original “odd-couple”- with romance!

Enjoy a more intimate affair in Studio Two.The Last 5 Years is an honest and poignant musical look at the rise and fall of love

from the first kiss to the final goodbye. Set in the early 50s, Storm Warning is a sly romantic comedy masquerading as serious threatre.

In it, two polar opposites find themselves - and love - in Canadian cottage country.

dean mctaggart


FRIenDs oF The RoseEva Andrews • Lorraine & Peter Boyd • Tamara Brickman • Charles Bull • Xandra Busche • Amanda Cavan

Brian & Yvonne Commons • Paul Condie • Trent & Joanne Cosgrove • Leslie Davidson Carole Edgar & Harry Mays • Barbara East • Carolyn & Rick Evans • Gail Fielder • Barabra Flavell

Todd Futher • Susan Goodwin & Ron Sturk • Richard Grabowski • Rico Grella • Vicki Griffiths-McColl Heather & Gary Gunter • Mary Hall • Steven & Jeannette Harrison • K.A. Henderson • Karin Henderson

William & Margaret Johnston • Sally-Ann Kerman • John Kirkham • Kenneth & Kathy Kruger Keltie Macneill • Kevin & Leanne Maloney • Donald & Anne Marion • Grete McQuaid • Ann & Jack Murphy Ruth Murray & Rollie Philips • Stan O’Neill • Bill & Tina Parnaby • David Philips • Larry Pope • Chris Power

Judith & Larry Reid • Antonio Rosa • Audrey Ross • Karin Schenk-Galdenzi • Jennifer Simon Josephine Simmons • Rick & Eileen Soo • Jacqueline Teunissen • Peter & Barbara Waisanen

Robert Wheelans • Don & Heidi Wilker • Bob Wilson • Janet Winicki • Henry & Lucy Verschuren

ThAnk you!

LeGACy DonoRHer Worship Mayor Susan Fennell

oFFICIAL VehICLe sPonsoRPolicaro Automotive Family

ARTs ADVenTuRes eDuCATIon sPonsoRLowe’s Home Improvement Warehouse

oFFICIAL DesIGn sPonsoRDr. C. Sterling-Case, Sterling Dentistry

sPonsoRsAcco Brands Canada Inc. • Brampton Downtown Development Corporation

Brampton Guardian • Langlois Financial Services Inc. • Prouse Dash & Crouch LLP The New AM 740 and The New Classical 96.3 FM • TransCanada Corporation

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Justice Nancy Kastner & Bob Pesant

DonoRs sPeCIALSpecial Acknowledgement to Lois Rice • In Loving Memory of Dr. Reginald Allman

Charles & Lenore Armstrong • Gerry & Anne Bell • Brampton Golf Club Comfort Inn Brampton • Jan De Grijs • Gregory & Jean De Reske

Carol & David Dickson • Gordon Edgar • EVANSMARTIN LLP Councillors Grant Gibson & Elaine Moore • Barb & Bryan Held • George Elmer Henry

Ursula Hopkins • Jim & Joanne Horne • Harry & Karen Lockwood • Frances Lucks Sheila Martin • Martin & Barbara McCreath • Klaus & Ingrid Sander • Gottfried & Brigitte Schwarzer Antonietta & Anelio Sincovich • Diljat Singh • Janice Smith & Ron King • Kevin & Catharine Sterritt

The Stephens Family • Louise Swinton/Richard Moreal • Ward Funeral Home

ROSE THEATRE APPLAUDS OUR5Th AnnIVeRsARy sPonsoRs & DonoRs

Rose Theatre Donations

Rose Theatre’s presentations and programs provide a great opportunity for sponsorships that contain strong value-added benefits for corporate partners of various levels.

The greatest value of the arts is the ability to build bridges across generations and cultures. You have the opportunity to enrich your life, both personally and professionally, by contributing to the impact of arts in your community.

Photo credit: Bill Stodolny

Help Us Keep Raising The Curtain. Call us today to discuss your Sponsorship or Donation Opportunities.

Gaye StorozukSupervisor of Sales & [email protected]

Please consider making a tax deductible gift to the Rose Theatre Brampton. Your donation brings world class entertainment to our stage and it also enriches the whole community. We need your support to remain the vibrant community resource so many have come to depend on.

There is no Business like Show Business for Your Business‘‘

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“For Your Eyes Only” April 28th YOUNG FRANKENSTEIN · Following in the footsteps of Anish...

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Transcript of “For Your Eyes Only” April 28th YOUNG FRANKENSTEIN · Following in the footsteps of Anish...