Wednesday, 21 September 2016

Guest Artist "Snapshot" - Troy O'Donnell

‘An Inspector Calls’ marks Troy's third appearance at Rosebud Theatre, previously appearing as Mr. Van Daan in ‘The Diary of Anne Frank’ and Father Christmas / Giant Rumblebuffin in ‘The Lion, the Witch, and the Wardrobe’. A founding member and Artistic Associate with the Freewill Shakespeare Festival, Troy has also performed at the Citadel Theatre (‘Julius Caesar’ and ‘Hamlet’), Mayfield Dinner Theatre (‘The 39 Steps’), Concrete Theatre (‘Smokescreen and The Early Bloomer’), Quest Theatre (‘The Umbrella’), Punctuate! Theatre (‘Adult Entertainment’ and ‘The End of Civilization’), Thou Art Here (‘The Falstaff Project’), Workshop West, Shadow Theatre, Theatre Yes, Trunk Theatre, Theatre North West, Northern Light Theatre and Leave It To Jane.
 
Troy O'Donnell & Glenda Warkentin in An Inspector Calls. Photo by Morris Ertman.
Where do you call home?
Edmonton. Born, raised, studied there.

What’s your “must-have” morning ritual?
A little bit of peace and quiet. No music. No radio chatter. No TV. Nothing.

What’s a particular Rosebud thing you fill your time with when you’re not performing?
I’ve fallen in love with the new giant gazebo. I hang out there at all different times doing all kinds of stuff: reading, eating, listening to music, working.

You’ve worked extensively (and serve on the board) with Edmonton's Freewill Shakespeare Festival. Do you have a favourite play, or a go-to monologue?
Although I’ve been in it eight times and directed it twice, I still find such joy and magic in A Midsummer Night’s Dream. There are a couple of monologues from it that I will jokingly use in real life from time to time. I also have a soft spot for the Chorus speeches in Henry V.

Troy O'Donnell as Malvolio in Twelfth Night, Freewill Shakespeare Festival. Photo by Epic Photography Inc.

Any dream roles on your bucket list? (Shakespearean or otherwise)
Friar Laurence in Romeo and Juliet. Richard III.

In ‘An Inspector Calls’, you play the patriarch of the Birling family, a man who has worked himself into a position of power, but has sins to atone for. What aspects of the character resonate with you? How do you find common ground?
While there are a lot of aspects to Birling that are unattractive and even, perhaps, nasty… I believe his motivations are pure. It’s just his execution leaves something to be desired at times. Ultimately, he’s trying to do the best for his family and that extends to his business practices. He is fiercely loyal, even in his criticism of them, and always trying to protect them and what he’s built for them. I can understand and appreciate that loyalty and drive.

What's the best acting advice you’ve ever been given?
An instructor at University had a very 'meat and potatoes' approach to acting that has stuck with me. “What do you want? How badly do you want it? Go get it.”

Coffee or Tea, and how do you take it?
On a daily basis: neither. During rehearsals there’s often a pot of coffee on so I’ll drink it mostly because it’s there. I rarely order coffee out unless I’m having the full-on 'greasy spoon' breakfast: eggs, bacon, toast, hashbrowns… a coffee completes it. One cream, one sugar.

What’s currently inspiring you?
Recent theatre school grads not waiting around for the phone to ring but going out and creating their own opportunities.

‘An Inspector Calls’ is a classic mystery with contemporary relevance. Is there a modern mystery you’d like to see resolved?
With the new photos just released, I’d like to know what that really is in Loch Ness. But I also hope no one ever catches anything.
Biggest mystery these days, to me, is how the minds of a great deal of the American electorate are working. I’m at a loss for understanding and words (on a daily basis) as I follow that circus sideshow.


Catch the dynamic Troy O'Donnell evade investigation in 'An Inspector Calls', playing until October 29 at Rosebud Theatre. A masterpiece of 20th century theatre, this drawing room mystery will keep you questioning long after the curtain goes down. For tickets and information, visit rosebudtheatre.com

Friday, 16 September 2016

Director's Chair - Karl Sine on 'An Inspector Calls'

Karl Sine is an Actor, Director, and Certified Fight Director with the Academy of Fight Directors Canada. Selected Directing Credits include 'Soldiers Heart', 'Jacob Marley's Christmas Carol' (Loudly Whispered Theatre); 'Solo Joe' (Burnt Thicket); 'We Won't Pay, We Won't Pay', and 'Jake & the Kid' (Rosebud Theatre). Selected Actor Credits include 'The Crucible', 'Enron', 'A Christmas Carol' (Theatre Calgary); 'The Hound of the Baskervilles' (Vertigo Theatre); 'Macbeth', 'Othello', 'Land of the Dead' (The Shakespeare Company); 'Boy's Own Jedi Handbook' (Ground Zero Theatre); 'Queen Milli of Galt', 'Mary's Wedding', 'Oliver!', and 'The Lion, the Witch, and the Wardrobe' (Rosebud Theatre). Karl has been awarded three Betty Mitchell Awards for his work as a Fight Director, as well as the recent Outstanding Actor award for his role in 'The Crucible'. 

Karl Sine directs Justin Lanouette on the set of An Inspector Calls. Photo by Nathan Schmidt.

Let’s get this out of the way. You’re a tea fanatic. You own a tea company, Fireside Tea. What tea were you drinking during 'An Inspector Calls'? 
Yes, I am a tea fanatic. Exceptional tea is one of those things in my life that is an essential. Life is too short to drink bad tea. During An Inspector Calls I tended to gravitate towards three different teas.
#1 – Assam Banaspaty: a black tea from India that is brisk and malty, goes perfect with milk.
#2 – Rou Gui: a roasted oolong from China that has a nutty cinnamon flavor.
#3 – Hojicha: a green tea from Japan that is also roasted, woody and nutty in flavor.

Have you considered making one for the show? What would it be?
If I had to make a tea for An Inspector Calls I would probably create a blend of black teas, maybe a blend of assam, qimen and Ceylon. Something that would feel English and go well with milk.

You drink tea, this show is set in England. It’s a mystery, you recently played Dr. Watson… Seems like the world of the play is right up your alley. Do you feel an affinity for the time period and place?
I do have an affinity to the place, always have. Some of my ancestry is from England so I think that plays into it a bit… but truthfully, I’ve always loved the culture and the history. I’ve been to England a couple times and loved every second of it. My wife and I are huge fans of Downton Abbey, so getting to direct a play during that period is a real treat.

In ‘An Inspector Calls’, a pre WWI wealthy family is put under question for the seemingly unrelated death of a young woman. Were there modern references you used as touchpoints in directing this show?
I think what J.B. Priestly has created is something that has resonance no matter the year in which it’s being produced. Like any great playwright the themes explored in the play are relatable because they centre around the human condition and therefore are timeless. One quote that I kept coming back to as I was researching was from Mother Teresa:

“We think sometimes that poverty is only being hungry, naked and homeless. The poverty of being unwanted, unloved and uncared for is the greatest poverty. We must start in our own homes to remedy this kind of poverty.”

Do you, as a professional actor, approach scripts differently as a director?
I guess to some degree I do, because I’m having to look at the bigger picture and overall arc of the story. That said, my sensibilities as an actor shine through. I have always believed to my core that the theatre is the actors’ medium and film is the directors’ medium. Therefore it’s impossible for me not to think like an actor when approaching directing a theatre show. At its most basic level, theatre is actors telling stories, whereas in film, so much can change once the director gets to the editing room. Neither medium is “less-than”, just different. As a director, my biggest job is to help clarify the story that the actors are telling.

What surprised you in the process?
Just how personal and relevant this story can be. It’s not a history play, it’s a play for now and for each one of us.

This last year you garnered MULTIPLE Betty Mitchell Awards (and Calgary Critics' wins) for Acting and Fight Direction. What was the most challenging artistic endeavor of the last year?
Without question playing the role of John Proctor in Theatre Calgary’s production of The Crucible. The role required so much of me and it truly was an exhausting experience, incredibly rewarding, but exhausting.


Karl Sine in Theatre Calgary's The Crucible. Calgary Herald "Shaking Off the Demons in Old Salem" (full article)

What’s currently inspiring you?
I am always inspired by my wife, Lindsey, and my kids Olivia and Charlie! Having a family in the arts is a challenge and a dance. I am so thankful for my family.

What’s a moment in rehearsal that has stuck with you?
Our first real tech/dress was an exciting moment. I loved seeing it all come together!

What’s next for you, artistically?
Fight Directing Richard III for The Shakespeare Company.
Acting in Theatre Calgary’s A Christmas Carol in the role of Bob Cratchit.

And lastly, what tea are you drinking NOW?
Right this moment, I’m drinking a beautiful Bai Hao (Oriental Beauty).


Don’t miss your opportunity to catch Karl Sine’s singular direction in the riveting ‘An Inspector Calls’, now playing at Rosebud Theatre until October 29. For tickets and information, visit rosebudtheatre.com

And if you’d like to drink what Karl’s been drinking, visit Fireside Tea and taste the wonders of his beautifully handcrafted teas!

Wednesday, 31 August 2016

J.B. Priestley's 'An Inspector Calls'


by J.B. Priestley


Up next on our mainstage is An Inspector Calls, by English dramatist J.B. Priestley. Written in the winter of 1944-45 (near the end of World War II), this drawing-room thriller is picturesquely set in an upper-middle-class home just before the advent of World War I. Taking place on a single night in 1912, the Birling family is visited by a an Inspector who subjects the family to a relentless series of questions regarding the death of Eva Smith: a young working class woman.

Priestley began writing plays in the early 30’s after a successful career as a novelist and essayist: his book The Good Companions (1920) became a bestseller and largely freed him financially. Writing for the stage offered the opportunity to experiment – particularly with the dramatic possibilities of time. Priestley explored a mystical dimension in his work that led the psychologist Carl Jung to praise his “superhuman faculty of looking at things with a straight and an inverted eye.”

An Inspector Calls received its West End debut in August 1946, but initially opened in Russia in the autumn of 1945. As there were no theatres available in London at the time, Priestley responded to the invitation for an extraordinary seven week tour immediately after the war ended.

Long considered one of the classics of 20th century theatre, An Inspector Calls has been hailed as a scathing critique of Victorian / Edwardian society and an expression of Priestley’s political values. Packaged in a comforting period remoteness, and presented in the manner of an Agatha Christie mystery, the play evolves into a confrontation between capitalism and socialism, embodying principles not typically found in a detective genre. Though every member of the family denies connection with the victim, as the evening wears on, the contrary becomes quickly apparent, and the implications call everyone's conscience into question.

J.B. Priestley

After a remarkably productive lifetime, spanning most of the 20th century, J.B. Priestley died on August 14, 1984. His plays are performed all over the world, spurred on by Stephen Daldrey’s triumphant and imaginative 1992 production of An Inspector Calls, called “Theatrical Perfection” and the “winner of more awards than any other production in history.” (The Daily Telegraph)

So, come and join the inquisition, to see if you can catch the culprit. Directed by Karl Sine, Rosebud Theatre’s An Inspector Calls plays Sept 9 – October 29 and stars Nathan Schmidt, Troy O’Donnell, Glenda Warkentin, Andrew Cooper, Meghan Hanet, Junstin Lanouette, and Cassie Garbutt. For tickets and information, visit rosebudtheatre.com

Thursday, 25 August 2016

Sound Bites with Paul Zacharias


Paul Zacharias is a producer, singer, songwriter, engineer and the Sound Designer and Composer for this summer's 'The Sunset Limited', now playing on our BMO Studio Stage. A Rosebud regular behind-the-scenes, selected credits include 'The Last Train to Nibroc', 'The Wizard of Oz', 'Freud's Last Session', 'Jake & the Kid', and 'May & Joe'. Other designs include 'We are the Body' (Burnt Thicket Theatre) and 'Winter's Tale' (Shakespeare Company / MRU). He is one half of the folk duo 'Me & the Mrs.', currently on a Western Canada tour, and the head of doG House Studios.
Paul Zacharias working his magic. Photo by Lauren Hamm Photography.

For ‘The Sunset Limited’, you’re Sound Designer AND Composer? What’s the distinction?
A Composer creates original pieces of music and (in my case) performs and records them to be presented with the production. A Sound Designer puts together sound effects and music to help tell the story. As a composer I did everything from writing music, lyrics, singing, playing guitar, drums, bass and of course engineering and mixing the recording. On the design side I recorded sound effects such as neighbors quarreling in the hall, doors being slammed, and manipulating trains sounds to fit our production (to name a few). A special thanks to my dear friend Jason Bertsch who came into the studio to record many of the lead guitar parts for the show. He’s fabulous!

When you’re given a project like this, where do you begin?
I lay down on the couch and read the script, making notes as I go, about my first impressions of the piece. Often it’s very obvious what genre I will be approaching the show from… in this case, Blue Collar Blues just jumped off the page at me!

"Broke My Heart Over You" - 'The Sunset Limited', Paul Zacharias

Is there a best part to your process? Hardest part?
The best part of the process on this show was the tiny window between writing and recording. I wrote all of the songs in the studio. Often I’ll have to wrestle a song to the ground to get it right… on this show they mostly happened quite naturally and easily. As soon as the last word was written and in place I’d set up all the microphones and gear to start tracking. Having the songs fully realized before I even knew what I had written was a thrill. Having Jason come in and add his guitar magic was a very special experience. He’s an amazing blues player and I loved collaborating with him.
Coming in each day and seeing the way that Nathan and Carl poured themselves into the work, into their characters and the story they are telling was amazing. I have SO MUCH admiration and respect for both of them. They make the story so true, so heartbreakingly human and emotionally three dimensional!
The hardest part: wanting more time with the show before letting go. Putting it down and being done.

What resonates with you about the world of ‘The Sunset Limited’?
The way that these two men who are so very different are able to share moments of communion just grabs me every time I see the show. The importance of loving your brother and making the criteria of who is your brother broader.

"Brother, Father" - 'The Sunset Limited', Paul Zacharias

As a singer/songwriter, how’s the process different than creating for a show?
It’s different in a number of ways but perhaps most significantly when writing for the band the only creative parameters I have are self imposed. I don’t have to align what I’m writing with anything or anyone else… I can if I want… but I don’t have to: the SONG is the show. When writing for the theatre, the song is a small cog in a big machine. I see it as very much a supporting role. It involves tuning in to what everyone else is doing: the director, other designers, the script-writing, the actors and trying to get caught up in that same wave that everyone else is riding.

Read anything fantastic this summer? (or binge watch any Netflix)?
Yes! Frederick Buechner’s The Hungering Dark is a beautiful book full of good things for the soul. Stranger Things on Netflix was good fun. And, Stuart McLean’s Vinyl Café Podcast Episode: Dave Buys a Casket.

What are you listening to right now that’s inspiring you?
Into The Mystic by Van Morrison. Man, that song has EVERYTHING!

Coffee or Tea, and how do you take it?
Earl Grey, little bit of sugar, little bit of milk, little bit of love.

'Sunset Limited' is set in a gritty New York tenement. Do you think sound has stereotypes, or does any style of music have the potential to be universal?
Yeah, I think sound has stereotypes and often for good reasons… but I think things can always be flipped on their head, truth transcends.

"Black & White" - 'The Sunset Limited', Paul Zacharias

Lastly, you do it all! What's next for you? Any shows coming down the pipe? Projects we can look forward to?
Me & the Mrs. Are about halfway through our BC, SK, AB tour and now getting to spend some time playing around our home province(AB). We’re really looking forward to a very special concert we’ll be doing in Rosebud September 3rd with our good friends The Dearhearts and The Fig and the Flame. I’ve [also] been working with my dear friend, film maker Michael Janke as a sound engineer on his Web Series, Youth in Decline. (Watch it!) The work involves live off the floor recording sessions with the fabulous Calgary band, Young Neighbours. I’ll [also!] be sound designing/composing for Rosebud Theatre’s Miracle on 34th Street this Christmas. The script is lovely and I can’t wait to see what director Paul Muir will do with it. I’m going to be writing SO much music for the show and can’t wait to jump into the wonder of Christmas with our team!
Also, I haven’t played a lick of tennis all summer long… that’s gonna change soon!


You’ve got one weekend left to catch the intensely thought provoking 'The Sunset Limited', playing on our BMO Studio Stage until Saturday, August 27th. For tickets and information visit rosebudtheatre.com

And for more information on 'Me & The Mrs.' and their upcoming concerts, click here. Better yet, listen to one of their latest songs!

"The Bend in the Road" - Me & The Mrs.

Monday, 22 August 2016

The Theatre and Spiritual Offence

Theatre at its best isn’t a one-way presentation: it’s a meeting place for artists and audiences to experience the places they easily come together and discover distances they still seem miles apart.

Rosebud Theatre. Photo by Morris Ertman.
Declan O'Reilly as George in Tent Meeting. Photo by Morris Ertman.

On our stage right now is Tent Meeting, a play that celebrates how music can release the Spirit while simultaneously offering characters antagonistic to a church’s well meaning, but often off-putting invitations to relationship. 
On the surface, it’s a church oriented play. After all, it’s called Tent Meeting. We’ve had a wide range of responses, through, which means it isn’t so easily categorized. It's an opportunity for discussion. So as a starting place, we’d like to share where we’re coming from, particularly with this piece.

Jesus is very dear to us, and we present what we present out of love for Him and for our audience. I’ve been a Christian since I was 6 years old, brought up in the faith in a rural Alberta Baptist church. Tent Meeting is a tribute to the saints of that church, and to the power of community to heal relationally.
 
It was also in that church that I saw my very first play. It was a play about a missionary in Russia, who was martyred because of his faith. In the play, there was a moment where soldiers took the missionary off stage and a gun-shot was fired. I don’t know how they did it, but it was jarring and scary and “real” to my young ears. They then dragged the man on stage, blood pouring from a wound in his chest - dead. The altar of our church was the place where arguably the worst possible sin - murder - was depicted in all its gore and cruelty. I’ll never forget that moment. And, I’ll never forget the power of a story portrayed by amateur-acting, Bible-believing farmers that dared to illustrate the horrific along with the good.  

One could ask why such a grotesque portrayal? Not only the sin, but the detailed depiction on the altar of the church. Was it necessary? How can such a thing be justified?

I’ve spent the better part of my life wrestling with how to express the grace of Christ in the theatre. I’ve looked through scriptures to find a model for using it as a divine expression. The Bible says nothing about theatre. It says much about music, but nothing about the theatre. There are, however, many instances of people using theatricality to communicate.

The Lord told the Prophet Isaiah to strip naked to illustrate to Israel that putting their trust in the might of Egypt would lead to unspeakable shame. God asked His prophet to embody the unspeakable so people would understand the gravity of the situation. I’d surmise that many who saw Isaiah would have found his illustration distasteful - even sinful. They would have herded their children down another street to protect them from such a vile sight. But Isaiah did what the Lord commanded so people could not ignore the message he was called to deliver.

The writer of the Psalms did not edit out David’s sexual relations with Bathsheba and consequent assassination of her husband. The Bible does not soften the slaughter of innocents or the destruction of entire cities like Jericho, saving only a prostitute most likely looking out for her best interests. The Bible, as arguably one of the most important story-telling book ever written, shares stories of the desperately sinful, often with grotesque accuracy, so we can see the work of God and the sometimes repentant, sometimes not, response of humanity.

In Tent Meeting, George is so angry at God and at the church that he uses God’s name in vain. Why? Because he is deeply angry and held captive by wounds of betrayal. If we dare to express the miraculous love of God, we must also dare to honestly illustrate the darkness of people who are embittered towards Him. In the crucifixion, Jesus was senselessly beaten, stripped naked, and executed. Modern depictions insist on covering Jesus with a loin cloth. But God wasn’t concerned with modesty in that moment. Nor are our quaint depictions of Mary holding baby Jesus a true representation of that bloody exhausting exuberant birth. Could it be that the profane is the human part of the stories we know to be sacred? Are the depths of grace illuminated by the horrifying nature of humanity?


When we smell something wretched, we instinctively turn our face away. It’s our instinctive defense to distance ourselves from that which offends. When faced with people and actions we find distasteful, isn’t it easier to turn away than ask ourselves if we are culpable and capable of the same crimes?

The mandate that governs our choice of plays is as follows: "to produce professional live theatre that illustrates the beauty and complexity of life through an inclusive and grace-filled perspective...” Every show we do is accompanied by both accolades and criticisms depending on the perspective of a given patron. But who draws the lines? When it comes to content and convictions, how do we know what will provoke, what will inspire, or push someone away? When we stick to pleasant stories easily categorized we wander away from the example Scripture itself provides. As Artistic Director of this company, I promise you we enter into all our presentations with prayer, extensive discussion, and the hope that God multiplies our offerings in works of His grace.

I’d love the chance to dialogue further about this, if anyone so desires. There’s a place below to leave comments and continue the discussion. As long as there’s respect and care for each other, there’s room at the table for all perspectives. 

And Blessings and gratitude for all the audiences engaged ... let’s keep telling all our stories.

Morris Ertman
Artistic Director

Wednesday, 17 August 2016

Guest Artist "Snapshot" - Blair Young

‘Tent Meeting’ is Blair Young's first show in Rosebud, and he “couldn’t be happier!” Recent theatre credits include: ‘The Selkie Wife’ (Wayward Artists), ‘Of Mice and Men’ (Spirit Fire Theatre) and ‘War of the Worlds’ (Workshop Theatre). Television credits include ‘Fargo’, ‘Bluff!’, and the wonderfully named Otis Spong in ‘Hell on Wheels’. You can also hear Blair in the occasional radio commercial or see him acting sick for U of C Medical students as a standardized patient. He’s also president of ACTRA Alberta (the Alliance of Canadian Cinema, Television, and Radio Artists) representing 22,000 professional performers across Canada, with over 740 of them living right here in Alberta.

Rosebud Theatre. Photo by Morris Ertman
Blair Young, Declan O'Reilly, & Jonathan Bruce in Tent Meeting. Photo by Morris Ertman.


Where do you call home?
I was born in Montreal, moved to Toronto while still in diapers, and then my wife’s job brought us to Calgary 11 years ago, so I’m definitely a big city boy! This summer I’ve been living in Rosebud from Wednesday through Sunday, then back home to my girls for the early part of the week. Loving the peaceful, scenic surroundings of Rosebud!

What’s your must-have morning ritual?
I have been resistant to coffee drinking for years. But then I was working on the TV show, Fargo, in the coldest Calgary winter in decades and had brews of a tiny amount of coffee, then the rest of the cup was hot chocolate. But I don’t really like hot drinks. So now every morning starts with a travel mug consisting of a third of cold coffee mixed with chocolate milk. My wife likes it because coffee is never wasted in our house. Any extras go in the fridge for me!

Done any good summer reading? Netflix series?
I have discovered a fantastic American writer named Jonathan Evison. Check out The Revised Fundamentals of Caregiving (it has become a great little film with Paul Rudd) and This is Your Life Harriet Chance. A sobering novel about aging and what’s really important in life. As for Netflix… Stranger Things. That’s all need be said.

What do you listen to driving from Calgary to Rosebud?
I have been taking out CD’s from the library to check out either music I missed, or other albums from bands I already know. Rediscovering Alan Parsons Project (honestly, every album by them is fantastic) and unearthing the immensely talent classical music boy band 2Cellos. They do rock hits on electric cello, as well as several amazing feats of dexterity of their own creation. In2ition is a great album. Really cool!

In ‘Tent Meeting’, you play Pastor Ernest Douglas, a man with an earnest heart who’s also the focus of some good-natured teasing. Does he feel a bit like the youngest brother? What’s his secret to being so good-natured?
I wouldn’t say little brother, but he’s definitely the outsider. He’s trying so hard to be the ecumenical go-to guy for everyone, and his experience is, the more flowery the language, the better. I’m not sure he’s so good-natured either! He’s just trying to be accepted and liked, so he’s hesitant to make any waves and goes along with whatever the boys say. When he finally does something right... the worm starts to turn, and then he finally accepts that speaking from the heart and not the head is the right way to go.

Are there any roles (for TV or the stage) you’d love to take a crack at?
I would love to do a musical called City of Angels, and pretty much anything with a Sondheim score! [For television] along the West Wing/Scrubs/How I Met Your Mother vein. Fast paced, highly sarcastic, and hopefully intelligent scripts. (I’m a sucker for a fast-paced dramedy.) Any writers reading this?

What’s the difference between the television and theatre audition room?
Theatre auditions are more grueling, but more friendly and forgiving. In the television audition, it often feels as though your appearance is the most important factor. You get used to that, and just wait for the role they can’t imagine anyone else doing.

Any pre-show / post-show rituals?
The only pre-show ritual (which I brought to Tent Meeting where it was very enthusiastically received and is now done before every performance) is a pinkie-swear kind of thing, accompanied by “Good show.” I know. We actors are wacky.

What’s the best advice you’ve been given?
It’s one I try to think of every time I’m about to go on stage. "Have fun!"

Lastly, you’ve spent the summer harmonizing with a crew of talented musicians and singers. What’s been the best part?
Singing great songs to an incredibly receptive audience that has given us a standing-O almost every show. Exhilarating!


You’ve got two more weeks to catch the delightful Blair Young as Pastor Ernest Douglas in the soul satisfying ‘Tent Meeting’, playing at Rosebud Theatre until Sunday, August 28th. For tickets and more information, visit rosebudtheatre.com