Based on Frank Wedekind's 1891 play of the same name, Spring Awakening depicts a group of young people making their way through the thrilling, complicated and mysterious time of sexual awakening. Heir to the Frankish throne, the young prince Pippin is in search of the secret to true happiness and fulfillment. He seeks it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power (after disposing of his father, King Charlemagne the Great). In the end, though, Pippin finds that happiness lies not in extraordinary endeavors, but rather in the unextraordinary moments that happen every day. Director & Choreographer—Julie Tomaino* Music Director—Chris Tsujiuchi ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1178/thumbnail.jpg
Heir to the Frankish throne, the young prince Pippin is in search of the secret to true happiness and fulfillment. He seeks it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power (after disposing of his father, King Charlemagne the Great). In the end, though, Pippin finds that happiness lies not in extraordinary endeavors, but rather in the unextraordinary moments that happen every day. Director: Saccha Dennis* Music Director: Greg Carruthers Choreographer: Beau Dixon ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1179/thumbnail.jpg
A musical with music by Benny Andersson and Bjorn Ulvaeus, formerly of ABBA, and lyrics by Tim Rice. The story involves two chess grandmasters, an American and a Soviet citizen, fighting over a woman who manages one and falls in love with the other—all in the context of a politically-driven, Cold War-era tournament between the two men. Director: Darcy Evans Musical Director: Adam White ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1000/thumbnail.jpg
Pippin was created by Stephen Schwartz (Godspell, Wicked) and Roger O. Hirson as a college project, it was a cute and sentimental story about a travelling theatrical troupe putting on a play about a young man finding meaning in his life. It was fairly innocent and innocuous – until Bob Fosse got a hold of it. It was Fosse who invented the Leading Player and embedded a dark Vaudevillian mystique to the piece, making it a Broadway sensation in 1972. For Fosse the piece was autobiographical, the two main characters representing the two opposing sides of his own personality: Pippin, the innocence and hope and the Leading Player the dark, lurid drives, requiring satiation. Fosse used Pippin as a vehicle for playing out many of his sexual fantasies and personal concerns (war, religion, power, politics). The Theatre Sheridan production explored the themes presented through Fosse's original staging and choreography. The group of players were placed at some point in the future. It asks the question: if our society and our consumptive need for entertainment and the mass media continues to grow, where will we be in the future? What forms of entertainment will be required in the future to satisfy our needs? What are we leaving for future generations? Pippin, the character, in some respects is an extraordinary human being because he dares to ask the question – what will give meaning to my life? It is a celebration of the human spirit and the radical hope we can all possess. Pippin chooses life but he is no Pollyanna, he continues to ask extraordinary questions and finds hope in simple human connection. A stage musical with music and lyrics by Stephen Schwartz and a book by Roger O. Hirson. Bob Fosse, who directed the original Broadway production, also contributed to the libretto. Director: Marc Richard Choreographer: Robin Calvert Musical Director: Stephen Woodjetts ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1029/thumbnail.jpg
This is not a musical about Nazi Berlin. Instead, Joe Masteroff's book takes us into the world of the uncertain and chaotic Weimar Republic – a post-World War I, wild and art-filled nightclub scene mixed with the threat of the unknown. When the show first starts in 1929 we see how the morality in Berlin is decaying as rapidly as the democratic system – the Emcee welcomes and introduces us to the Kit Kat Klub, a place where life is trouble-free and "beautiful." And yet, as the show progresses, we see the decline of this way of life as the Emcee is slowly abandoned and betrayed by all those around him. In the months that precede the outbreak of World War II, American writer Clifford Bradshaw lands in Berlin and soon finds himself at the notorious Kit Kat Klub. There he falls madly in love with the English ex-patriot entertainer Sally Bowles. Their affair is tested as her reckless lifestyle overwhelms him and as the world around them marches towards chaos. Throughout, the Kit Kat Klub's Emcee taunts and satirizes with dazzling musical numbers in a score that includes "Wilkommen","Money (Makes the World Go Around),"Maybe This Time", and the unforgettable title tune. Book by Joe Masteroff, music by John Kander, lyrics by Fred Ebb. Director: Tricia Lackey Choreographer: Jeff Dimitriou Musical Director: Donna Garner ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1032/thumbnail.jpg
Marivaux (1688-1742) the author of the play on which this delightful chamber musical is based, was a commissioned playwright for the Comedie Italienne, a troupe of exiled Italian actors who performed Commedia dell' Arte inspired comedies in Paris. Marivaux wrote one play a year for this company over a period of 20 years, all of them dealing with characters who discover they are in love, but have difficulty expressing their feelings. Although the action of this piece takes place in ancient Greece, you will discover that the setting and costumes are distinctly mid-1700s. It was Marivaux's practice to dress his actors in contemporary clothing in order to underline the parallels between the situations encountered by his characters to those in contemporary life. To honour this tradition, the musical adds anachronistic modern references to its text and its music is a stylistic blend of ancient militaristic, Baroque, and modern swing. The setting: Ancient Greece: The manicured gardens on the estate of Lord Hermocrates on the outskirts of Sparta. Book by James Magruder. Music by Jeffrey Stock, lyrics by Susan Birkenhead. Based on the play by Marivaux. Director: Greg Peterson Choreographer: Gillian Saunders Musical Director: Steve Thomas ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1058/thumbnail.jpg
A classic drama about the Salem witch trials. A gripping cautionary tale of individual courage in the face of mass hysteria and misguided morality. When the Puritans settled in New England in the mid-1600s, they believed wholeheartedly that they had been chosen by God to create a new righteous society - one that would not fall prey to the ornate trappings of the Catholic Church. Theirs was a holy mission that faced many threats. A vast forest surrounded their tightly knit communities. That forest was considered to be the last bastion of the Devil - as was evidenced by the attacking armies of naked red men (the Devil's spawn) that would emerge from it to do battle. Petty grudges and rivalries, land-grabbing and liberal thought also threatened this most Christian society. And so, it is not wholly surprising that it fell prey to the cataclysmic event that we now generally call 'The Salem Witch Trials.' Arthur Miller wrote The Crucible in 1953 at a time when the United States was seized by the mania of Joseph McCarthy's senate hearings. Those hearings fueled the fear that Communists had infiltrated the U.S. Department of State and other government offices. Many innocent people fell prey to the Committee's damning accusations and the resultant popular condemnation and blacklisting cost hundreds their jobs and reputations. Perhaps the most ringing message to emerge from Miller's masterpiece is that, because of our own transgressions, we must not put ourselves in a position to judge others for theirs. Written by Arthur Miller Director: Greg Peterson ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1092/thumbnail.jpg
The Club was first performed in 1976. Not really a play, not really a full 'book' musical, it is described in the script as 'A Musical Diversion', and all of the music you will hear comes from the period 1894-1905. The setting is a very exclusive Gentleman's Club, which could be in New York, London or even Toronto. The time is 1903, and these are wealthy men, come to pass a little time with 'the boys' at their favorite 'getaway from the fairer sex' – to paraphrase the gentlemen themselves. Their songs and stories about women show an attitude that would hardly be tolerated in these 'politically correct' times. However, there's something a little bit different here. All the gentlemen in this show are played by women… Director: Christina James Choreographer: Nina Penner Musical Director: Jean Minielly ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1112/thumbnail.jpg
Set in 1920's to 1930's Berlin, when avant-garde Germany is shifting to reflect Hitler's totalitarian regime. Clifford Bradshaw, an aspiring American writer finds himself wandering into a Berlin nightclub, Kit Kat Club, and meets a cabaret performer, Sally Bowles. Their relationship develops into a romance and is complicated by stirrings of Nazi conspirators. Cliff decides to leave Nazi Germany and encourages Sally to come with him to America but she is unwilling to leave her Berlin lifestyle. Cabaret is an unflinching political musical with songs by John Kander and Fred Ebb. Adapted for theatre by Joe Masteroff from the Christopher Issherwood's The Berlin Stories. Director: Greg Peterson Choreographer: Andrea Mann Musical Director: Greg Andrews ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1113/thumbnail.jpg
Surely there has never been a spring more filled with portent in the history of the young Canadian Dominion than this of 1916. Across the sea in Europe, the Great War continues to be waged-while here at home, events less sanguine but hardly less explosive, nor in any way less crucial to the future of the infant nation, seem even now to be building to a climax. On January 27th last (1916), in consequence of the indefatigable efforts of a tiny but valiant group of remarkable women, our sister province of Manitoba became the first in all of Canada to grant her female citizens the franchise. Even now the crucial votes are approaching in Saskatchewan and Alberta as well. Can the eastern provinces and, nay, the very Federal Parliament be far behind? Yet how can we feel certain of victory, when so many such measures - approved, the Members of our Society have no doubt, by all just-minded citizens of either sex - have nevertheless been defeated, time and time again, in every Legislature in our land? The East Arrow Bend Artistic and Literary society, renowned throughout the area for its efforts to maintain a bastion of enlightened culture on the very doorstep of Philistinism, adopted resolutions in favour both of Woman Suffrage and of Prohibition at the time this territory attained its provincial status, eleven years ago. We admit that our record since may not have placed us in the forefront of local politics, yet none will deny that many a diverting and illuminating evening has been spent at our concerts, recitations, and lectures. Now, for the first time, Theatre Sheridan takes great pride in presenting a drama – a drama, moreover, celebrating the recent triumph of Mrs. Nellie McClung and her brave Political Equality League. As an added treat, Theatre Sheridan has incorporated several of the favourite songs of the Suffrage and Temperance movements, and even one or two from the Music Hall repertoire (we trust the ladies will not find them too risqué!) For surely now is the time when all right-thinking citizens must put ...
Les Вelles Soeurs created quite а stir when it was first presented at the Theatre du Rideau-Vert in 1968. Some people found the language incomprehensible (Michel Tremblay used the Joual dialect particular to Montreal's working class) and many felt it presented them negatively. Les Вelles Soeurs is probably more important for Canadians today than it was in 1968. Then, it meant to confirm what most Quebecers already knew-that their society is distinct. Michel Tremblay illustrated over 20 years ago а particularly Canadian paradox-that this country's cherished, vast cultural diversity is also one of the reasons for its frail unity. This was never meant to be а grand political statement or а message of doom, but rather а simple statement of fact. Tremblay also deals with very universal issues. He touches on the haves and the have-nots of any society. The play is about pride, jealousy, envy, independence, greed, lust, betrayal, loyalty and family. As English Canadians, we tend to think of ourselves as passive, sometimes even boring, as we bemoan а lack of identity. After the October Crisis, Free Trade, Meech Lake, Oka, and Les Вelles Soeurs, we can say without hesitation that we are like any other distinct society on this planet-incessantly human. Director: Paul Lampert ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1116/thumbnail.jpg
The Rover is a restoration play set in the 1930's. Such (period up-dating is often controversial, so a word might be said about it here. The 1930's and the real Restoration (1660-1685 approximately) have a lot in common. In the midst of the Great Depression, 30's movies were inevitably stylish and gay, their heroes and heroines rich and witty. People went to the movies to escape the harsh economic reality around them. Similarly, the Restoration followed immediately on the heels of the Puritan Revolution and the ten year interregnum under Cromwell. People were sick of politics and strife. They went to the theatre to be entertained and diverted. Like the 30's Movie, the Restoration play was about Romance and Glamour and Wit. Another similarity concerns the use of music and dance. Restoration audiences were mad for both. So was the 30's audience, and that was indeed the golden age of the movie musical. You will no doubt see this influence in our production. So sit back and get ready to be entertained, which is all a Restoration play strives to do. In doing so, you will also be enjoying a work written by the first woman in the English speaking world who ever earned her living from the pen. She is a much over-looked artist and it is a pleasure to be able to share her genius with the audience. Director: Christopher Covert Choreographer: Vince Parrell ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1124/thumbnail.jpg
A musical about a legendary Texas brothel in Gilbert, Texas that operated from 1840s to 1973. The brothel was protected by a sheriff and was frequented by patrons that ran the gamut from politicians and football teams to regular Texans. The brothel was forced to shut down when a radio commentator from Houston and his conservative audience drew attention to the brothel. Music and lyrics by Carol Hall. Book by Larry L. King and Peter Masterson. Based on a story by Larry L. King. Director: Rod Maxwell Choreographer: Vince Parell Musical Director: Marilyn Campbell ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1127/thumbnail.jpg
A delightful but poignant comedy set on the east coast of England in 1907. The action centres around the drowning of a young man and the repercussions, emotional and political, it has on the tight, inward-looking village. It is not a play remarkable for anything more than its rational simplicity. In fact, shortly after premiering at London's Royal Court Theatre to wide acclaim, Bond wrote "So the sea is a symbol of hope justified by constant new changes and opportunities. (It deals with) your moral involvement in society." This play provided the performers with the double challenge of making their play both entertaining and thought-provoking. By Edward Bond. Director: Bryan Foster ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1134/thumbnail.jpg
Explores an enduring legacy of 16th-century English history regarding Henry VIII's ambitions to divorce his wife so that he could marry his mistress and potentially have an heir and the Chancellor, Sir Thomas More, who defied him and refused to support the divorce. More is framed by political intrigue in the court and is eventually tried and found guilty of treason. By Robert Bolt. Director: Jo Havilland Musical Director: Jean Minielly ; https://source.sheridancollege.ca/faad_visu_uniq_theatre/1145/thumbnail.jpg
