It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity – and therefore storytelling – for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy,
the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come.
The Festival is committed to continuously deepening our understanding of equity, inclusion, and anti-racism and we acknowledge that the work of reconciliation is an ongoing journey. The Conservatory seeks to create a respectful environment of learning and exchange where every participant is asked to
embrace an inclusive learning experience with an openness of heart and humility and where all those that lead are open to feedback.
The program is actively looking to partner with artists whose talent, energy, commitment and creativity will shape the future of the theatre both at the Festival and across the country.
THE PROGRAM
The Conservatory is a paid two-year intensive which serves as an incubator for artists to flourish and grow alongside and within the professional environment of the Festival’s repertory company. It is focused on the development of craft required to tackle text and language-based plays through material rich in character,
storytelling, song, dance, fights, and challenging themes. Shakespeare will be at the centre of the exploration, but not to the exclusion of other culturally rich material.
There will also be a focus to support the development of the artist’s own voice and work: members of the program will have access to the Festival’s numerous resources in the areas of mentorship, as well as archives, the playwriting department, and rehearsal space.
This is not an introductory training program: it is designed for artists who have acquired a foundational training (either from a theatre school, or a non-conventional, experiential learning process) and have professional experience. The ensemble allows for
eight participating actors only.
The invitation is such that all artists fully commit to the journey of the training, both in the season and the studio work. Therefore, participants must be interested and available to make the entire two-year commitment as the Festival commits to their development.
CIRCLES OF LEADERSHIP FOR THE 2024 ENSEMBLE
Circles of Leadership support, inform and direct both the content of the program and way the program is delivered. All those participating in the Circles of Leadership (whether directly or indirectly) are involved in supporting the artists of the program.
Artistic
Director – Antoni Cimolino
Guides the artistic
direction of the Festival, including the vision and direction of the
Conservatory
Director of the Conservatory – Janine Pearson
In addition to teaching
and coaching, the Director serves as a facilitator to the work of the program
Directors' Office
Works to fulfill the
artistic direction of the Festival, including the Conservatory
Anita Gaffney, Executive Director
David Auster, Producer
Bonnie Green, Heather Cassels, Associate Producers
Jason Miller, Creative Planning Director
Ari Weinberg and Jennifer Emery, Casting Director and Casting Associate
Keith Barker, Director of the Foerster Bernstein New Play Development Program
Franklin Brasz, Director of Music
Esther Jun, Artistic Associate, Planning and Director of the Langham Directors’ Workshop
Julie Miles, The Meighen Forum Director
Director of Human Resources, Director of Equity, Diversity and Inclusion and the Company Manager –
Work to create a healthy,
safe and inclusive work environment for all Festival members
Director of Human Resources, TBC
Daviorr Snipes, Director of Equity, Diversity, and Inclusion
Meineka Kulasinghe, EDI Coordinator
Hilary Nichol, Company Manager
Artistic Advisors – Walter Borden, David Latham, Yvette Nolan
These
artistic elders have tremendous experience and wisdom. They are resources in
teaching, directing and leading conversations regarding the work.
Associate Artists – Keith Barker, Jessica B. Hill, André Sills, Michael Spencer-Davis, Sara Topham
These artists are involved
in advising and supporting the leadership and speaking to the direction of the
Conservatory, providing feedback on the work, participating in short-term
teaching, and mentoring artists in the program.
Developing Teachers and Coaches – tba
These mid-career artists
will have the opportunity to develop their pedagogical skills (in specific
areas: eg. voice, movement, text) by having the opportunity to work alongside a
chosen mentor (who is teaching or directing in the program).
Directors, Teachers and Coaches
A
great teacher is a facilitator: one who walks alongside, one who nurtures, not
one who wishes to mould the artist in their own image.
Molly Atkinson – Hedda
Gabler, Director
John Beale – Le Jeu
Eric Charbonneau – Choral singing
Antoni Cimolino – London
Assurance, Director
Rebecca Cuthbertson – coaching on Romeo and Juliet
Paul deJong – Co-Head of Coaching; coaching on London Assurance
Martha Farrell – Voice
Donna Feore – Something
Rotten, Director
Dean Gabourie – Folio work
Jane Gooderham – coaching on Something Rotten, The Diviners
Adrienne Gould - Period Dance and Movement
Krista Jackson with Geneviéve Pelletier – The Diviners, Directors
Esther Jun – Cymbeline, Director
Josue Laboucane – Neutral Mask
Cathy MacKinnon – Co-Head of Coaching; coaching on Twelfth Night, Cymbeline
Kelly McEvenue – Alexander Technique
Seana McKenna – Twelfth
Night, Director
Lucy Peacock – onstage work
Janine Pearson – program director; coaching on Hedda Gabler
Jennie Such – Singing
Tim Welham – Text and Understudy
Sam White – Romeo and
Juliet, Director
Jonathan Ullyot – theatre scholar
Company
The company (actors, stage managers, crew, artisans, etc.) all play a role in nurturing and supporting the Conservatory artists.
Community
The community and
surrounding area provide the program with an opportunity to explore and
participate in experiences outside of the Stratford Festival.
LOOKING to 2025-2026
This condensed program outline is subject to change
First Year - 2025
February (pre-season)
There will be an Intensive prior to the beginning of rehearsals, providing an orientation to the Festival and the community, and to introduce training in voice, movement, music, text, and stage combat.
March – October
During the first season actors will have a role(s) and understudy roles. They will also receive individual and group instruction in voice, movement, the Alexander Technique, singing and text. Training goals in these disciplines will be driven by the
artists.
October
Close of the Festival season.
November – December
At the end of the season, artists return to the studio (the rehearsal hall) for six weeks, during which time they will rehearse and present a play.
December – January
Three to four weeks away from the Festival
Second Year - 2026
January – February
Artists return to studio training after a month away from the Festival. During this six-week period, the artists will rehearse and present a play.
March – October
In the second season, artists will be cast in two productions and will once again receive individual coaching throughout the repertory season.
October
Close of the Festival season.
The primary focus of the studio training is centred on the foundational work of voice (including singing), movement and text work which will be delivered in both individual tutorials, group classes, scene study and in-studio production exercises.
Birmingham Conservatory Alumni
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