Romeo and Juliet – The Rehearsal Blogs Pt. II

Live theatre is never static. From its early rehearsal days to its grand opening and subsequent run of performances, the life of a show evolves. How do the actors keep each performance fresh, while honouring the director’s vision? The Education Department has asked some actors from this season’s production of Romeo and Juliet, directed by Tim Carroll, to share with us their experiences and discoveries while rehearsing and performing the play.

Skye Brandon plays Benvolio in this season’s production. He shares with us some of his behind-the-scenes experiences during the run of Romeo and Juliet.
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by Skye Brandon

We are now nearing the end of the 2013 season and I’m finding it hard to believe how far our Romeo and Juliet has come since we started rehearsals back in late February. I don’t know that I’ve ever been part of a show that has remained as faithful to the director’s vision, while at the same time grown in leaps and bounds.

From Left: Daniel Briere as Romeo, Skye Brandon as Benvolio, and Tyrone Savage as Tybalt in Romeo and Juliet. Photo by David Hou.

From Left: Daniel Briere as Romeo, Skye Brandon as Benvolio, and Tyrone Savage as Tybalt in Romeo and Juliet. Photo by David Hou.

One of the biggest changes we had to deal with was the loss of our Lord Capulet. The very talented Scott Wentworth ended up taking on the role of Shylock in The Merchant of Venice when Brian Bedford had to step out for health reasons. For a number of weeks Scott was getting his Shylock ready while still playing Capulet as well as Tevye in Fiddler on the Roof. You could see the fatigue wearing him down. So eventually the decision was made to release Scott from Romeo and Juliet, which meant Wayne Best took over as Capulet, Robert King became Montague and André Morin became Abraham. There is no doubt in my mind that we were able to make that transition so easily because of the rehearsal process we had with our director, Tim Carroll. He told us, and reminded us throughout the season, that although he gave us specific guidelines in how to approach the text, he still wants us to keep exploring and ultimately have fun while we do it. That approach has prepared the ensemble for anything.

And we have been having fun performing this show, despite the fact that it is a tragedy. No two shows are exactly the same. For me personally, I’ve had a couple of performances where I changed my entrance (when I knew it wouldn’t affect the previous scene); and I had the realization just over halfway through our run that during Capulet’s feast we could ask any lady to dance. We all learned the same choreography, so what was to stop us from asking someone different to dance each show? Something as simple as changing dance partners has prevented that large group scene from becoming automatic. We honestly don’t know how the dance is going to end up.

And there has been nothing automatic about the scenes either. It may not seem different to audience members who have seen the show more than once, but actors are continually exploring the text and trying slightly different approaches to the delivery. All while honouring Tim’s direction.

This production has been an absolute pleasure to be in. It could be a very long time until I get another chance to be a part of a true ensemble.

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Want to read more?

Daniel Briere plays Romeo in this season’s production of Romeo and Juliet. He shares with us his first-day experience of being on the “Tanya Stage,” and the various exercises involved in understanding the power of the narrative and the importance of connecting with the audience and his fellow actors. Click here to read his full blog.

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Boxing Day in July sale | 25 performances for just $25 each – available only on July 25 and 26!

We’re celebrating Christmas AND Boxing Day in July this year as we mark the midway point in our season! On July 25 and 26, enjoy $25 tickets to a selection of 25 performances throughout July and August. Come celebrate all of the wonderful productions we have for you on our stages this season!

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Enjoy $25 tickets to the following 25 performances this summer:

Romeo and Juliet
July 28, 2013, at 2:00 p.m.
July 31, 2013, at 8:00 p.m.
August 3, 2013, at 8:00 p.m.
August 8, 2013, at 8:00 p.m.
August 14, 2013, at 8:00 p.m.
August 16, 2013, at 8:00 p.m.
August 21, 2013, at 8:00 p.m.
August 24, 2013, at 8:00 p.m.

The Three Musketeers
July 31, 2013, at 2:00 p.m.
August 2, 2013, at 8:00 p.m.
August 7, 2013, at 8:00 p.m.
August 10, 2013, at 8:00 p.m.
August 22, 2013, at 2:00 p.m.

Tommy
July 31, 2013, at 8:00 p.m.
August 1, 2013, at 8:00 p.m.
August 8, 2013, at 8:00 p.m.
August 15, 2013, at 8:00 p.m.

Blithe Spirit
August 2, 2013, at 8:00 p.m.
August 17, 2013, at 8:00 p.m.

Fiddler on the Roof
August 15, 2013, at 2:00 p.m.
August 16, 2013, at 2:00 p.m.
August 20, 2013, at 2:00 p.m.

Waiting for Godot
August 20, 2013, at 2:00 p.m.

Othello
August 22, 2013, at 8:00 p.m.

The Merchant of Venice
August 27, 2013, at 2:00 p.m.

This two-day sale is only available online through our website and Stratford Social Ticketing on the Festival’s Facebook page – so don’t delay. Grab a friend or family member and unwrap a theatre experience you’ll treasure!

Here’s what you need to order your tickets:

1) Log into our website with promotion code 50308
2) Select any of the performances listed above
3) Select your seats and check out!

OR

1) Visit our Facebook page and click on the Stratford Social Ticket tab
2) Select any of the performances listed above
3) You’ll be directed to the “Select Your Own Seat” page. To take advantage of our $25 ticket price, enter promotion code 50308 in the “Have a Promo Code” box and click “Apply”
4) Select your A, B or C seats and check out!

We’ll see you at the theatre!

* Offer may expire without notice. Not valid in conjunction with any other promotion or on previously purchased tickets (new orders only) and is not transferable. Excludes group orders (15 tickets or more to one performance date).  Price does not include taxes.  Tickets available in A, B and C seating zones. Performances, casting, dates and pricing subject to change without notice. All prices exclude applicable taxes and handling fees.

Photo credit: Members of the company in Tommy. Photo by David Hou.

Two Kinds of Tradition | Jr. Guest Blogger Adam Leung

by Adam Leung

On May 11, I spent the day at the Stratford Festival and I saw the plays Fiddler on the Roof and Romeo and Juliet. The day was quite a long one and I was extremely tired at the end of it, but it was definitely worth it since the plays were great!

Adam Leung (right) with his brother, Josh, and dad outside the Festival Theatre

Adam Leung (right) with his brother, Josh, and dad outside the Festival Theatre

Music has many uses in a play. In Fiddler on the Roof it is used to explain the plot and the characters’ feelings and opinions. For example, Tevye explains in the opening scene with song “Tradition” why he believes tradition to be so important in their lives. He then sings part of this song in the second act to explain why his daughters should not marry men of their own free will but instead should consult the town’s matchmaker.

The song “If I Were a Rich Man” is about what Tevye would do if he owned a fortune. According to Tevye, he would build a big tall house in the middle of the town with plenty of rooms. There would be three staircases in his house, each one more impressive than the last. He also wants to keep several fowl in his yard, to prove that he is extremely rich. While I was listening to “If I Were a Rich Man,” I realized that it is very much like the song “If I Had a Million Dollars” by Barenaked Ladies – right down to the title. Both songs mention what sort of house they would have, what sort of pets they would own, what they would get for their wives and what they would do instead of working all day. So maybe, just maybe, Barenaked Ladies just might owe some credit to Fiddler on the Roof!

Watch Scott Wentworth – Tevye – perform “If I Were a Rich Man”!

The production of Romeo and Juliet at Stratford this year is presented in a style that is similar to how it would have been presented at the Globe Theatre in London, in the 1590s, in mid-afternoon in winter. The lights are left on and ever so slightly dimmed, no spotlights are used to follow the actors and no sound system is used to amplify the actors’ voices. Music is used only as background music or as part of a scene since the Globe Theatre did not have an orchestra pit, and the musicians play old-fashioned instruments from Shakespeare’s time.

In Fiddler on the Roof, Tevye is torn between following the standard marriage tradition and letting his daughters marry men they choose and love. Personally, I believe that the daughters are right in the sense that if they let their parents and the matchmaker choose, then the community is almost a dictatorship since no one has a free choice in marriage. I think the best way would be for Tevye to recommend his daughters to avoid certain husbands instead of making the marriage mandatory.

In Romeo and Juliet, there is a very obvious tradition that both the Montague and the Capulet families follow: you MUST hate the other family. If you don’t follow this tradition, you are shunned by your family for the rest of your life. In Fiddler on the Roof, tradition is changed because the outside world is moving on with time. However, in Romeo and Juliet, tradition is changed because of tradition itself. Romeo and Juliet are fed up with tradition (think Motel and Tzeitel from Fiddler on the Roof) but this tradition results in their deaths. It is not until after their deaths that the two families end the mini-war that they have been waging and call a truce.

In most plays, the props and sets are a vital part of the story, since they help tell where the scene takes place and what the characters are doing. Fiddler on the Roof uses lots of props like the milk cart, suitcases, dishes, cleaning supplies, to show what the characters are doing and where they are. Fiddler on the Roof also uses sets that are made up of objects that are only found in certain obvious places, like a bed in the bedroom or a stove and table in the kitchen.

Romeo and Juliet uses lots of props but is very different to Fiddler on the Roof since the play doesn’t use any major set changes (which is the way plays in the Elizabethan time were presented). Instead, the audience has to watch attentively so that they can see the subtle changes in props and character movement, such as when Paris is searching with the lantern or when Juliet is on the balcony and Romeo is right under her nose.

In Romeo and Juliet, one of the most confusing characters is Friar Laurence, since you don’t learn much about him except that he is a monk who knows everything there is to know about plants and their properties, both poisonous and helpful. I believe that Friar Laurence is a “good guy” since he helps Romeo and Juliet by marrying them in hopes of ceasing the quarrel that has been going on between their families. Plus, he never tells anybody about their marriage since if he was to mention it, it would cause disaster and make the fight between the Capulet and the Montague families even worse.

Fiddler on the Roof and Romeo and Juliet are about two completely different stories which take place in very different times, but they both have similar themes: love, change, tradition and tragedy. If I had to choose a favourite play, I would say neither, since they’re both amazing plays. I hope you get to see them as well!

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Like what you read? 12-year-old guest blogger and theatre enthusiast, Adam Leung, is a regular contributor to the Stratford Festival’s blog. Read his other entries here and here!

Shakespeare as Shakespeare would have done it | Romeo and Juliet starts previews

May 1, 2013… One of Britain’s leading directors, Tim Carroll, returns to the Stratford Festival to present the most famous love story ever told. Romeo and Juliet, Shakespeare’s timeless tragedy of star-crossed lovers who risk everything to be together, begins previews on Wednesday, May 1, at the Festival Theatre.

A founding member of The Factory and Associate Director at Shakespeare’s Globe in London from 1999 to 2005, Mr. Carroll has had a prolific career in theatre. He recently directed Mark Rylance – the Globe’s first Artistic Director – in Globe productions of Richard III and Twelfth Night, and in 2010, he made his Stratford debut as director of the wildly popular Peter Pan.

“It is an incredible honour to be asked to do Shakespeare on the amazingly beautiful stage of the Festival Theatre,” Mr. Carroll says. “I think of the truly great theatre artists who designed and built this theatre, and who have worked on it over the last 60 years, and now here I am doing one of the big ones on that stage. If that doesn’t excite you, it’s time to check you still have a pulse.”

In its tenth Stratford production, the classic story will be performed in Original Practices, a style of performance that evokes the manner in which Shakespeare’s plays were originally staged in the Elizabethan era.

“I have staged Romeo and Juliet as though it were indeed an afternoon performance in an Elizabethan playhouse,” says Mr. Carroll. “The light will not change to suit the scenes, any more than the scenery will move to reflect new settings. We will know where we are, what time of day it is, and everything else from the starting point of Shakespeare’s theatre: the actors and the words they speak.”

The title roles will be played by Stratford newcomer Daniel Briere and Festival favourite Sara Topham. The cast also features Nehassaiu deGannes as Lady Capulet, Jonathan Goad as Mercutio, Kate Hennig as the Nurse, Tom McCamus as Friar Laurence and Scott Wentworth as Capulet.

The production’s artistic team includes Set Designer Douglas Paraschuk, Costume Designer Carolyn M. Smith, Lighting Designer Kevin Fraser, Composer Claudio Vena, Sound Designer Jim Neil, Movement Coach Shona Morris and Fight Director John Stead.

In a playbill that explores communities in conflict, Romeo and Juliet is a particularly apt choice.

“I have assembled a season with a particular focus on examining how we reach across our differences to find our common humanity, and few plays do this better than Romeo and Juliet,” says Artistic Director Antoni Cimolino. “Although written over 400 years ago, it’s a story that remains incredibly pertinent today and one that, I think, matters so much to young people. It speaks to them; it speaks to their experience of the world. I’m thrilled to have Tim back to open our 2013 season with this beautifully imagined interpretation of Shakespeare’s classic play.”

Romeo and Juliet Forum Highlights 

The Forum, the new festival within the Festival, is a series of activities and events designed to make a visit to Stratford an immersive, all-encompassing cultural experience. Through debates, talks, concerts, comedy nights, hands-on workshops and more, The Forum will offer theatregoers more ways to discover and examine the themes running through this season’s productions.

Themes related to Romeo and Juliet will be explored through several Forum events, including: Ancient Grudges and New Mutinies, in which John de Chastelain, the former Chief of the Defence Staff and former ambassador to the U.S, reflects on the Prince of Verona’s role as peacekeeper in Romeo and Juliet and relates it to his own experiences; Original Pronunciation, with Tim Carroll, in which the director explores the implications of how Shakespeare’s text was originally pronounced; and Sex and Love in Verona, Venice and Vienna, a talk by Stanley Wells, Honorary President, Life Trustee and former Chairman of the Shakespeare Birthplace Trust and general editor of the Oxford and Penguin Shakespeares.

Support for the inaugural season of The Forum is generously provided by Kelly and Michael Meighen and the Province of Ontario, in partnership with the University of Waterloo, with media sponsorship provided by The Walrus. Support for the Speakers Series, including the appearance of John de Chastelain, is generously provided in memory of Dr. W. Philip Hayman.

Romeo and Juliet is sponsored by Sun Life Financial. Production support is generously provided by Claire & Daniel Bernstein and M. Vaile Fainer.

Stratford Direct, the new daily return private bus service between Toronto and Stratford, begins May 1. Departing once daily from May 1 to 25 and October 1 to 20 and twice daily from May 27 to September 29 (on performance days only), the round trip costs only $20.

Support for Stratford Direct is generously provided by The Peter Cundill Foundation.

The Stratford Festival’s 2013 season runs until October 20, featuring Romeo and Juliet, Fiddler on the Roof; The Three Musketeers, The Merchant of Venice, Tommy, Blithe Spirit, Othello, Measure for Measure, Mary Stuart, Waiting for Godot, Taking Shakespeare, and The Thrill, along with more than 150 events at The Forum.

Cast (in alphabetical order)

Montague…………………………………….           Wayne Best

Escalus……………………………………….           Michael Blake

Benvolio……………………………………..            Skye Brandon

Romeo……………………………………….            Daniel Briere

Musician – Percussion…………………….…            David Campion

Lady Capulet…………………………………           Nehassaiu deGannes

Gregory………………………………………            Victor Ertmanis

Citizen of Verona……………………………           Sara Farb

Citizen of Verona……………………………           Jacquelyn French

Citizen of Verona……………………………           Barbara Fulton

Mercutio……………………………………..            Jonathan Goad

Musician – Recorder/Flute…………….….…            Ian Harper

Citizen of Verona……………………………           Valerie Hawkins

Nurse…………………………………………            Kate Hennig

Lady Montague………………………………           Gabrielle Jones

Abraham/Apothecary………………………..            Robert King

Balthasar………………………………….….           Andrew Lawrie

Friar John……………………………………            Roy Lewis

Musician – Violin…………………………….            Mel Martin

Friar Laurence………………………….……            Tom McCamus

Musician – Lute……………………………….            Terry McKenna

Petruchio…………………………………….            André Morin

Old Capulet………………………………….           Sam Moses

Peter…………………………………………            Mike Nadajewski

Citizen of Verona……………………………           Andrew Robinson

Citizen of Verona……………………………           Sabryn Rock

Sampson……………………………………..            Brad Rudy

Tybalt………………………………………..            Tyrone Savage

Juliet………………………………………….            Sara Topham

Capulet………………………………………            Scott Wentworth

Paris……………………………………….…           Antoine Yared

 

Artistic Credits

Director……………………………….…..…            Tim Carroll

Set Designer………………………………….            Douglas Paraschuk

Costume Designer…………………….……..            Carolyn M. Smith

Lighting Designer……………………….…..            Kevin Fraser

Composer……………………………………            Claudio Vena

Sound Designer………………………………           Jim Neil

Movement……………………………………            Shona Morris

Fight Director……………………………….            John Stead

Producer………………………………….…             David Auster

Casting Director…………………………….             Beth Russell

Creative Planning Director……………….…            Jason Miller

Associate Fight Director…………………….            Geoff Scovell

Assistant Director……………………………            Ken Schwartz

Second Assistant Director…………………..            Graham Abbey

Assistant Set Designer………………………            Brandon Kleiman

Assistant Costume Designer…………………            Alyssa Prigioniero

Assistant Lighting Designer…………………           Tristan Tidswell

Assistant Fight Directors…………………….           Anita Nittoly, Kostas Tourlentes

Fight Captain…………………………………           Wayne Best

Movement/Vocal Captain……………………            Barbara Fulton

Stage Manager……………………………….           Bona Duncan

Assistant Stage Managers……………………           Bruno Gonsalves, Margaret Palmer,

Crystal Skinner

Production Assistant…………………………           Linsey Callaghan

Production Stage Manager…………………..           Margaret Palmer

Technical Director…………………………..             Jeff Scollon

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PHOTOGRAPHY:

Promotional photos for Romeo and Juliet:

http://www.stratfordfestival.ca/imagegallery/imagegallery.aspx?id=20294

Headshots:

http://www.stratfordfestival.ca/imagegallery/imagegallery.aspx?id=14315

For more information, please contact:

Ann Swerdfager
Publicity Director
Stratford Festival
519.271.0055 x2297
aswerdfager@stratfordfestival.ca

Celebrate the birthday Bard with an amazing deal!

Shakespeare’s 449th birthday is nearly upon us! On April 23 we’re celebrating the Bard of Stratford-upon-Avon with the launch of The Forum – a.k.a. the Shakespeare Slam – at Toronto’s Koerner Hall. Join us for an evening of irreverent and provocative entertainment featuring the outstanding talents of Adam Gopnik, Torquil Campbell and Rufus Wainwright. Ticket information and other details are available here.

As part of our birthday celebration, we’ll also have an amazing ticket offer for some of the Festival’s 2013 Shakespeare plays!

2013-FB-BdayBard Get A or B seats for any May or June performance of Romeo and Juliet or Measure for Measure for the cost of a C seat – that’s just $49! But you’ll have to hurry – this great offer is only available from April 23 at 12:01 a.m. until April 24 at midnight, and only using Stratford Social Ticketing on the Festival’s Facebook page.

What can you expect from Romeo and Juliet and Measure for Measure?

Director and Shakespeare aficionado Tim Carroll joins us this season to direct the most powerful love story ever told, Romeo and Juliet.  Mr. Carroll’s extensive work on original practice at the Globe theatre in London has been widely praised by critics and fans alike, and we’re thrilled to have him back at the Festival this season directing a period production of Romeo and Juliet (he also directed Peter Pan in 2010). Festival favourite Sara Topham will play Juliet alongside a new face this season, Daniel Briere as Romeo.

Learn more about Daniel in this exclusive interview!

Martha Henry makes her directorial return this season with Measure for Measure. Ms Henry’s film noir-inspired version of Measure will explore Shakespeare’s “problem” play in the world of 1940s Vienna. Measure’s star-studded cast includes Tom Rooney as Angelo, Stephen Ouimette as Lucio, Geraint Wyn Davies as Duke Vincentio and Carmen Grant in her break-out role as Isabella.

Read more about this year’s production of Measure for Measure.

To celebrate the birthday Bard with $49 tickets…

*Promotion not available on previously purchased tickets or in conjunction with any other offer. Offer is only redeemable through Stratford Social Ticketing on the Festival’s Facebook page and cannot be used to purchase A+ tickets. May expire without notice. Some conditions apply.

Meet Romeo – Interview with Daniel Briere


We were able to chat with Festival newcomer Daniel Briere about his upcoming debut as Romeo in Romeo and Juliet this season!  In addition to playing Romeo, you’ll also see Daniel in both The Three Musketeers and The Merchant of Venice. Find out a bit more about him in this exclusive actor interview!

Briere_Daniel_large

Stratford Festival (SF): This will be your first season at the Festival, but you’ve been quite active across the Canadian theatre scene. Can you tell us how you got your start as an actor?

Daniel Briere (DB): I suppose I started back in Calgary, where I grew up.  I learned at an early age that I loved telling stories and wanted to become an artist, and I was lucky to be introduced to some fantastic theatre happening in Calgary.  After high school I studied acting at Mount Royal College, and then felt I needed more training so I headed to Montreal to study at the National Theatre School of Canada.  Montreal was really great for my development, because I met so many like-minded artists from all over the country, and I had all kinds of doors and opportunities opened to me.  Since then I’ve been based in Toronto, but have worked all over Canada. I’m still young and it’s easy for me to pick up and head somewhere new every eight weeks or so, and I love discovering new parts and people in this great big country.

SF: You’ve played Paris in a different production of Romeo and Juliet – how does it feel to now be playing Romeo?

DB: Actually, in that particular production I was also understudying Romeo, and had an opportunity to go on once, but it was kind of a hip hop adaptation, and I’m not much of a dancer, so I can understand why they had cast me as a more straight laced Paris.  Having played on the other side of the love triangle though, I understand how tragic Paris’ story is, that he really is a man worthy of Juliet’s love, and his presence makes the love between Romeo and Juliet more dangerous and maybe even more thrilling.  It will also be interesting for me to win a swordfight or two this time around, playing Romeo.

Romeo and Juliet, 2013

SF: What excites you about this production of Romeo and Juliet?

DB: I’m thrilled to have an opportunity to work with Tim Carroll.  He’s obviously an incredible source of knowledge when it comes to Shakespeare’s work, and I love his idea of theatre as a game. I’ve been reading about the experimental productions he’s been doing with The Factory Theatre in London, where they’ll do things like switch which roles each actor plays on a nightly basis, or ask audience members to bring random objects that will become the set and props of the show. I’m really interested in the idea that you can prepare so much – like learn every line for every character in the play —and then toss all your acting tools up in the air while you fence with tennis rackets or figure out how to incorporate a fishing pole.  I don’t imagine we’ll be improvising in this way at the Stratford Festival, but I know that Tim will bring that same sense of play and investigation into the rehearsal hall, and we’ll have a much stronger and well-grounded show because of it.

SF: What is your favourite line from Romeo and Juliet?

DB: It changes regularly, because this play is full of so much beautiful poetry, but I think my favorite line currently is one of Juliet’s, from the balcony scene.

My bounty is as boundless as the sea,

My love as deep:  the more I give to thee

The more I have, for both are infinite. 

SF: You’re going to be busy this season – in addition to playing Romeo, you’ll also be appearing in The Three Musketeers and The Merchant of Venice. Will this be your first time working in a repertory theatre company?

DB: I have worked in repertory before in Calgary, with Shakespeare in the Park.  They typically do two Shakespeare shows, the first of which opens for a two-week run, then they’ll perform in rep for the rest of the summer.  So for a while they rehearse the second show in the day and perform the first show in the evening, making for some long days. Having worked with that company I think will prove a great exercise in preparation for the Stratford company, though I can certainly understand I will be very busy this season. I’ve heard of many other actors at the festival having to juggle two or three leads in different shows, which I imagine can become very taxing. My life is always busy, though, juggling between different projects, and I’m sure this year will only help me continue to build stamina.

SF: We’re lucky to have a lot of amazing talent appearing on stage this season – is there anyone in the company that you’re particularly excited to meet or work with? 

DB: I’m very excited to start work with Sara Topham, who has done fantastic work at the Festival and abroad.  And I’m also extremely lucky to be currently working with Tom McCamus in Gone With the Wind in Winnipeg, so I’m very much looking forward to continuing to work with and learn from him in Stratford. As you mentioned, this is my first season with the Festival, and I am honored to be part of such a talented company and what will surely be a thrilling season!

Just for fun…

SF: If you were stranded on a desert island, and could only bring one book with you, what would it be?

DB: I suppose I’d have to bring Stephenie Meyer’s Twilight. I haven’t read it yet, but after all the hype I think it would be a shame to be stranded on an island not having read it. Other possible options might include Chuck Palahniuk’s Survivor, David McIntosh’s How to Build a Wooden Boat, or Oliver Jeffers’ children’s classic The Way Back Home.

SF: The most-played song on your iPod is…

DB: All Night Long by Lionel Ritchie. ‘Nuff said.

SF: Salty or sweet?

DB: Definitely Salty.  Unless it’s a swimming pool.

EXCLUSIVE FACEBOOK EXTRA: Join us on our Facebook page on February 13, 2013, from 2 p.m.-4 p.m. for a Facebook Q&A with Daniel Briere to find out more about the man behind our 2013 Romeo!

Read Daniel’s full stage biography here.

To buy tickets to Romeo and Juliet, visit our website at www.stratfordfestival.ca.

Photo credits: Daniel Briere and Sara Topham. Photo by Don Dixon.

 

Sweet savings for you and your Valentine – BOGO!

Sweet SavingsForget about chocolate and teddy bears and surprise your Valentine with an unforgettable experience – a trip to the theatre! We’ve got a sweet deal for you and your beloved this Valentine’s Day: when you buy one regular-priced ticket to any performance of Romeo and Juliet or Tommy during May or June (excluding openings), we’ll give you the second one free!*

All of you true romantics will want to indulge in the greatest
love story ever told – Romeo and Juliet. Helmed by critically acclaimed director Tim Carroll, this production promises to be one show that will be a must-see! The role of Juliet will be played by Festival favourite Sara Topham, who’ll appear alongside tall, dark and handsome Festival newcomer Daniel Briere as Romeo.

If a classic rock musical is more your style, join us for Tommy – a rock opera based on the The Who’s album by the same name.  Former Artistic Director Des McAnuff – who co-wrote the book for Tommy with Pete Townshend and directed the Tony-Award winning Broadway production in 1993 – will be back to direct this amazing show. Tickets won’t last long!

If you’re a romantic rocker, don’t feel forced to choose – join us for both Tommy and Romeo and Juliet! Variety is the spice of life!

Here’s all the information you need to know to take advantage of this limited-time promotion!

1) Using Stratford Social Ticketing on our Facebook page, select any performance of Romeo and Juliet and/or Tommy during May or June (excluding opening performances)

2) In the “Have a Promo” box, enter promotion code 47364 and click “Apply”

3) Select your seats and check out!

This sweet deal is only available until February 14, so don’t delay! Your valentine will thank you!

* Offer may expire without notice. Not valid on MMP performances.  Offer not available in A+ seating category and is only available until February 14, 2013. Promotion only applies to adult pricing. May not be combined with any other offers.  Only available through Stratford Social Ticketing on our Facebook page only. Promotion excludes opening night performances of Romeo and Juliet and Tommy.