Though our season opening night didn't quite go as planned, the rest of the week was full of high energy, resounding cheers and high praise. We'll have more great reviews for you as more productions have their official openings - including The Tempest - but here are just a few of the highlights so far:

The Music Man

"This kind of joy is what it's all about"

"Eye-popping choreography"

"I didn't want this show to end"

- Toronto Star

"A gift to the audience"

"A heart-thumping drumline and acrobatic dance number that alone is worth the price of admission"

"Thrilling dance"

- Postmedia

"Hits all the right notes - with an incredibly talented company"

"What truly makes this production shine is that each and every performer is excellent"

"Utterly spectacular"

"Superb"

- Broadway World

Long Day's Journey Into Night

"Masterful production"

"Tour-de-force performances"

"A glorious trek well worth taking"

- Postmedia

"Captivating from start to finish"

"An absolute must-see this season"

"The stellar company keeps the audience captivated"

"Heartbreakingly beautiful" 

- Broadway World

"Gloriously gobsmacking"

"Brilliantly portrayed"

- The Globe and Mail

"Excellent cast"

- Toronto Star

An Ideal Husband

"Delightfully fun and well-cast production"

"Hilarious"

"The play is enjoyable from beginning to end"

- Broadway World

"Theatre that's clever, compelling and thought-provoking"

"This production deserves great praise"

"A skilled and well-directed cast results in an hysterically funny play"

- Postmedia

"Sparkling new production"

"Wildean mix of comedy and melodrama"

- The Globe and Mail

"Immensely entertaining"

- Toronto Star

The Comedy of Errors

"Adventurous production"

"Sexy, eye-catching"

"Colourful and witty"

"Genuinely hilarious"

- Toronto Star

"Delightfully winning and forward-thinking"

"Sheer fun"

"Marvelously innovative production"

"William Shakespeare would be truly appreciative"

- Postmedia

To Kill a Mockingbird

"resonates deeply"

"powerful"

- The Globe and Mail


"Goad excels with a moving performance of truth and courage"

"Casting is top-notch from the supporting actors to the leads"

"Matthew G. Brown delivers a heartfelt, touching and gripping performance…both moving and breathtaking"

"Provocative and thought-provoking, To Kill a Mockingbird is must-see theatre."

- Postmedia

 
The Rocky Horror Show

"4 out of 4 stars"

"Giddy, triumphant Rocky Horror Show rocks" 

"High-energy rock-concert staging"

- The Globe and Mail

"Grabs the audience and doesn't let go until everyone dances the Time Warp"

"A gender-bending, intergalactic sexcapade"

"Titillating and tantalizing talents"

- Postmedia

"Brings top-notch musical theatre talent"

"Sexy choreography"

- Toronto Star

It was one of those dream-like moments in which everything changes.

One fateful Monday morning, André Morin was at home in the Parkdale flat he shared with friends, preparing for an audition later that day, when his phone rang.

"I looked and saw that it was Antoni Cimolino calling from his personal cell phone," recalls Mr. Morin. "I thought to myself, 'What is this about?' and answered. Antoni briefly explained that The Tempest's original Ariel, Brent Carver, would be unable to continue with the role, and made me the offer - asking me if I could start rehearsing that Thursday. Of course, I said yes immediately!"

The logistics of changing your life's direction at such short notice can be daunting, but things fell neatly into place for Mr. Morin.

"It all happened so fast! But as luck would have it, my brother was available with a vehicle, so he helped me move to Stratford the very next day. I was in a daze for the whole drive - it was all so overwhelming. I moved into a flat the Festival had arranged for me, spent Wednesday getting in a few groceries and going over the script like a mad thing, and then walked into the rehearsal hall on Thursday."

Luckily, Mr. Morin is no stranger to the Festival. A graduate of the Birmingham Conservatory, he's performed at Stratford in five previous seasons, in such roles as Edmund in The Lion, the Witch and the Wardrobe and Peter van Daan in The Diary of Anne Frank. Stepping into the shoes of such a beloved performer as Brent Carver must be nerve-racking, but Mr. Morin has felt surrounded by friends from the outset.

"I am so grateful that there was such great support in the room when I joined the cast for my first read-through," he says. "I sat down at the table, and right away Lucy Peacock reached over and took my hand. 'I'll be okay,' I thought."

Q: When were you first interested in stage performing? Did you always want to be an actor?

Alexander Elliot: Let's see - I'm 13 now, so I guess I was seven when I started doing shows for fun with the CharActors Theatre Troupe in Thornhill. Actually, the truth is that my parents forced me to go! Not that it hasn't turned out pretty well in the long run, but I just hated it that first year. But I got into it the second year and really started enjoying learning how to perform and doing shows for large audiences. Every year, we'd present a musical production like Grease and High School Musical.

A big turning point for me came during our production of Annie. The agent of one of the girls in the cast was in the audience that night, and she was really impressed that I played five different roles, and liked how I made each character really distinct. She asked me to join Artist Management Inc., and I've been with the AMI agency since I was 11. Being a professional actor is definitely my Plan A in life. Plan B would have to be something to do with science - particularly space.

Q: Tell us a bit about the audition experience. Has being in the Festival been a dream goal of yours?

AE: The first time I ever came to Stratford, I saw Twelfth Night and Guys and Dolls and they were both so absolutely mind-blowingly fun. I watched all those crazy dance numbers and thought to myself, "There's no way that I can ever do this - everyone up there is so amazing!"

My first The Music Man audition in Toronto was nerve-racking. Auditions were held over a three-day stretch, and I was the very last kid that they saw on the last day. Instead of getting nervous about it, I thought, "Well maybe they'll remember me the best."

The callback two months later in Stratford was a totally crazy day. We had a group dance audition from 10 until 11:30, and then my solo audition was at 1:30. I did my scene and a song, and then waited outside with two or three other kids. We were going back in and out of the room for hours!

My mom came up with a funny way to tell me I got the part. I'd already been cast as the lead for the CharActors production of Tom Sawyer, and I was in the car on my way to rehearsal when my mom called my cell and asked, "Hello - may I please speak with Winthrop Paroo?" Then I called all my friends to share the news - my reaction was about 50% crying and 50% calling!

Ladies and gentlemen - time to don your fishnets and toss on your most towering high heels for the best ongoing party of the season! I see you shiver with antici… pation, so let's get straight to the point.

I'm sure you're well aware, my darlings, that you may purchase delightful adult beverages to enjoy before - and even during - the magnificent debauchery onstage. But did you know our Avon Theatre bars will stay open after the show? You can toast the evening's shenanigans with wine or beer, or really enter the spirit of the occasion with our very own super-special Rocky cocktail: the Velvet Darkness! Mingle and meet, and maybe talk a few new friends into dancing the Time Warp with you.

But wait - there's more!

Because The Rocky Horror Show is the ultimate in after-dark fun, the Festival is offering two wild and crazy late-night performances! Things get rockin' at 10 p.m. on Saturday, June 16 (book now and don't miss out!), and again just before Halloween, on Saturday, October 27.

The party never stops!

No matter when you come to the show - and you WILL come see us, won't you, my sweets? - a fantastic party awaits. We encourage one and all to dress up as your favourite character or just as a wilder, weirder version of yourself. Leather, corsets and thigh-highs - oh my! Check out our trailer for some costume inspiration:

Explore Artistic Director Antoni Cimolino's top three Forum picks for June and July - and reserve your spot at these unique events! The dates will be here before you know it.

Assassinating Thomson | June 17 & June 24

Art, politics, ambition, love and murder are intertwined in this one-man tour-de-force, which delves into the mysterious death of famous Canadian painter Tom Thomson and the subsequent rise of the Group of Seven.

Creator and performer Bruce Horak, a legally blind painter, actor and playwright, paints the audience's portrait live on stage as he explores the facts and fictions surrounding the death of one of Canada's greatest artists, and shares the unique way he sees the world.

Here's an exclusive video of Bruce's performance of this piece at the Thousand Islands Playhouse in 2016:

In Search of Global Freedom | June 23

There are many places in the world where citizens' freedoms are constrained; and citizens' concerns about their ability to direct their future transcend national borders. Join Randall Hansen, Director of the Munk School of Global Affairs, along with other experts, to discuss the global meaning of freedom.

Steven Page and Art of Time | July 13

Steven Page teams up with the virtuosic Art of Time Ensemble in a concert of works by Leonard Cohen, Randy Newman, Radiohead, Barenaked Ladies, Elvis Costello and others. Favourite songs reinvented by some of the greatest minds in classical, pop and jazz, and delivered by a defining voice in contemporary rock.

With an incredible line-up of music, performances, workshops, special dining events and fascinating guest speakers, there's so much more for everyone to explore at the Forum this season. Visit our website and expand your Festival experience!

Toronto-based playwright Jordi Mand has long been fascinated by the Brontës. She'd already entertained for some years the idea of developing a play about the famous trio of literary sisters - Charlotte, Emily and Anne - when she was invited to participate in the Stratford Festival's Playwrights Retreat in 2014.

"It was a phenomenal opportunity," says Ms Mand. "Over three weeks in the fall, I spent time with a handful of amazing Canadian playwrights. I saw all of the shows that season and got an intimate behind-the-scenes look at the Festival, getting a day-to-day taste of life in Stratford. It's a special place."

But it was the work on stage in the Studio Theatre that had her most enthralled.

"Christina, the Girl King was playing that year, and I found it to be such an exciting piece," she says. "Director Vanessa Porteous did a wonderful job telling this powerful woman's story, and I couldn't be happier that she is now directing my play on that very same stage this season. The Studio Theatre space itself is so intimate - it almost feels like a secret club.

"And in subsequent years, with the debuts of Kate Hennig's The Last Wife and The Virgin Trial and Hannah Moscovitch's Bunny, there seemed to be a huge interest in new plays at the Festival with female-driven narrative. It felt like the right place for my story about the Brontë sisters."

Following her time with the Playwrights Retreat, Ms Mand approached Bob White, the Festival's Director of New Plays, with her idea for her piece. After developing a draft, a reading was staged and the play was officially commissioned by Stratford.

"When I made a visit to the Brontës' home in Haworth, I was struck by their unique world and the relationships of the three sisters," says Ms Mand. "Even today, the place feels very remote - they lived their lives cut off from the rest of the world in this obscure location, battered by constant winds and visited by deadly illness. Death was a constant companion.

"I wanted to explore the nuances of the complex female relationships between the siblings. People have this idea that they were submissive and quiet Victorian women, but the sisters weren't like that: they had wildly complicated relationships with each other, and were both lifelong mutual staunch supporters and fierce rivals."

Q: What is your background as a theatre practitioner and playwright?

Erin Shields: After high school in Hamilton, I studied acting for three years in a conservatory program at Rose Bruford College of Speech in Drama in London, England, and then moved to Toronto. It was incredibly difficult to break into the acting scene, so I decided the only way forward was to start writing and performing my own material.

The first play I wrote was called Hotdog, a one-woman show about a vegetarian who eats a hotdog. (It all goes downhill from there!) I self-produced the show and toured it to fringe festivals across the country, which was an incredible experience.

The following years I collaborated with my theatre peers (Andrea Donaldson, Maev Beaty, Alan Dilworth, Brendan Healy, Gideon Arthurs and many more who are still working in theatre today) to write, act and produce my own shows with my company, Groundwater Productions, in festivals like Rhubarb and the Fringe. My breakout play was If We Were Birds, which Alan Dilworth directed for the Summerworks Festival in 2008. It was picked up by Richard Rose and played at the Tarragon Theatre in 2010.  

Since that time, most of my work has been as a playwright rather than an actor. I have written shows for larger theatres such as Shaw, Tarragon Theatre and the Segal Centre, but continue to write small-scale pieces as well. In 2014, I moved to Montreal, where I live with my husband and daughters. Most recently I premièred a piece in Montreal in both French and English with a site-specific company called Théâtre à corps perdus.

 
Q: When did you first have the idea to adapt Paradise Lost as a theatrical piece? How did it find its way to Stratford?

ES: While I was forging my way as a young theatre-maker, I decided to do a part-time degree in English literature at the University of Toronto. In my third year, I took a course exploring John Milton through an intertextual study of Paradise Lost and scripture. My professor, Dr. Paul Stevens, is the person who really cracked open Paradise Lost for me. He approached the text with respect, but also a healthy dose of irreverent humour, and his passionate, often provocative, lectures led us on a journey through the text.

We did not work chronologically but rather thematically, examining the Old Testament from a Protestant perspective in an attempt to comprehend Milton's relationship to the Bible. Professor Stevens facilitated an in-depth investigation that linked the texts so completely I often felt as though I was observing a dialogue between the texts - not only noting the Bible's influence on Paradise Lost but also the impact Milton had had on a contemporary reading of the Bible. At the completion of that class, I knew my curiosity for both texts had only just begun.

Paradise Lost stayed with me long after that course. The theatrical potential beckoned to me, and I wrote a couple of pieces before this one, using Paradise Lost as source material. Finally, I decided I was ready to take on the whole poem, and proposed a contemporary theatrical adaptation to the Stratford Festival.

I reached out to the Director of New Plays, Bob White, about my idea for the adaptation, and he asked me to prepare a two-page description of the project, which was then green-lit for a first-draft commission. For about ten months, I worked on the first draft (which was more like a third draft by the time I submitted it), then sent it back to Bob. The Festival then offered me a full commission to finish the play. We had a couple of workshop readings along the way.

Q: What were some of the main challenges you faced in creating this theatrical interpretation of such a dense work of literature?

ES:Paradise Lost is often held up as The Greatest Work of English Literature. So … that was intimidating. Milton was blind when he wrote Paradise Lost and therefore dictated the epic poem, so I decided the best place to start would be to read the text aloud - in some manner channelling the way in which it was originally written. Like Shakespeare, Milton's text resonates in the body, so reading it aloud gave me a deeper understanding of the text. As I worked to contemporize the poem, I made choices about which elements of the text to stay close to and which elements to veer away from. I gave myself permission to bend the story and language - staying true to what I felt to be the drive of Milton's work, but freeing up the details.

Everyone loves Anne Shirley.

Recognized and adored by audiences worldwide for her ACTRA/Gemini Award-winning starring role in the Anne of Green Gables TV movies, Megan Follows has had a stunning and varied career in television, film and theatre. Her most recent iconic role brought her back into the international spotlight, portraying Queen Catherine de'Medici in the CW Network/CBS Studios series Reign, which chronicled the rise to power of Mary Queen of Scots. Ms Follows was nominated each year for a CSA for her layered portrayal of this fan-favourite villain. 

Never out of the spotlight since her childhood, Ms Follows has enjoyed a remarkably varied career that has encompassed critically lauded lead roles on stages across Canada - including her highly acclaimed Juliet at the Stratford Festival in 1992 and her portrayal of Mozart's wife, Constanze Weber, in our 1995 production of Amadeus - as well as memorable appearances in such TV series as Hollywood Heights, Longmire, Second Chances, World Without End, House M.D., Heartland, The Border, CSI, ER and Law and Order.. 

Her feature film work includes leading roles in Allan King's acclaimed Termini Station; Stephen King's Silver Bullet; Gregory Nava's A Time of Destiny, with William Hurt and Timothy Hutton; Christmas Child, with William Moses; Foreign Affair, with David Arquette; and Reluctant Angel, among others. She now divides her time between directing and acting, and is currently shooting a key recurring role in SYFY's genre-breaking hit series Wynonna Earp.

An intimate night of celebration

The 2018 Stratford Festival Gala will celebrate Megan Follows's outstanding career on Monday, September 24, at the beautiful Four Seasons Hotel in downtown Toronto. This unforgettable gala evening will include tributes, music and entertainment presented by Stratford Festival artists. We'd love you to join us!

For an information package about the event and to book tickets to our annual Legacy Gala, please contact our Director of Advancement, Rachel Smith-Spencer, at rsmithspencer@stratfordfestival.ca or call 1.800.567.1600, ext. 2402.

Lasting legacy

All proceeds from the gala evening will support the Stratford Festival's key initiatives of creating thought-provoking productions for an increasingly diverse audience, and to foster and develop the very best of Canadian theatre practitioners.