Author: Guest Author


Gardeners and Flowers: Nathan Carroll on Next to Normal

By: Nathan Carroll

Nearly everyone I’ve ever met knows I’m obsessed with Will & Grace.

For the better part of 20 years, I’ve watched at least one episode a day.  The characters mean so much to me that I’ve got their apartment number tattooed on my skin.

In one of my favourite episodes, ‘The Unsinkable Mommy Adler,’ Grace brings up how Will sees people:

“Will has a theory about relationships. One person is the gardener who tends, and the other person is the flower who gets tended to.”

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Musical As Immersive Ritual

By: Mitchell Cushman
Director, Dr. Silver: A Celebration of Life More


An Artist in Transition: Stephanie Graham

Join Stephanie Graham as she reflects on being an “artist in transition” and discusses her many roles within the theatre community. Stephanie recently completed her term with The Musical Stage Company as the Intern Artistic Director, shadowing Mitchell Marcus as part of Theatre Ontario’s Professional Theatre Training Program. Her history with us doesn’t end there – Steph has choreographed many of our productions including Fun HomeGrey Gardens and The Wild Party. Don’t miss Stephanie’s choreography for Fun Home at the CAA Theatre, on stage until May 20th!


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The Role of a Supervisor, Arranger & Orchestrator on a New Musical

By: Lynne Shankel

I got an email this spring from two lovely women who were co-producing a new show called Life After.  They were looking for a music supervisor/arranger/orchestrator and I had been recommended to them by a colleague of mine. First off, you’re probably wondering “What the heck does all that mean? Supervisor? Arranger? Orchestrator?” Welcome to my weird, wonderful world. 
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The Role of a Director on a New Musical

By: Robert McQueen

When Britta Johnson contacted me in December of 2015 to say that she had been awarded the Toronto Fringe Festival’s Paul O’Sullivan Award for her new musical Life After I was, of course, thrilled for her. I had first heard Britta’s theatre composition a year earlier when she participated in our annual Noteworthy session, and immediately I had became an ardent admirer of her work;  so, when shortly after our first conversation, she rang me again  and asked if I would direct the Fringe production,  I was thrilled. More