Women are crazy! Men are idiots! Throughout the ages, the sexes have felt this way about their opposites at one time or another. For Shakespeare, this conflict inspired sheer, comic genius in The Taming of the Shrew. When fortune-hunting scoundrel Petruchio meets wealthy, shrewish Katharina, sparks fly (and furniture too!). But like any good romantic comedy – when the heated arguments and passionate disdain subside – love prevails.

Co-directors Andrew Shaver and Paul Hopkins bring to life this story of two seemingly mismatched lovers. Hopkins shares the directors’ particular take on this comedy classic, “Kate and Petruchio are two outsiders brought together by love. But can they live with each other? This production will reflect a world of lovers and misfits. We are excited, also, to draw on some of Montreal’s own diversity and talent, featuring Italian folk music throughout the performance.”

Shaver, one of Montreal’s busiest theatre directors, is best known for his tremendous success with Sidemart Theatrical Grocery. He brings a wealth of experience, having spent three seasons at the Stratford Shakespeare Festival as both an actor and assistant director, and having studied at l’École Internationale de Théâtre Jacques Lecoq and with the master clown and pedagogue, Philippe Gaulier. Shaver recently directed Haunted Hillbilly and Stones in his Pockets at Centaur Theatre and Scientific Americans at the Segal Centre for Performing Arts.

Paul Hopkins, Artistic Director of Repercussion Theatre since 2007, is a seasoned Montreal actor and director. Credits include directing Shakespeare’s The Tempest (2008) and As You Like It (2009) and performing the lead in Repercussion Theatre’s Macbeth last season. Hopkins, most recently seen on stage at both Centaur Theatre (In Absentia) and at The Segal Centre (The Plays the Thing), was also the director behind the 2011 Fringe Festival hit, Teaching Hamlet.

 The set design by Amy Keith and costumes by Susana Vera add an Italian, ‘Fellini-esque’ feel to the production, drawing inspiration from movies such as La Strada and 8 ½, as well as from Shakespeare’s Elizabethan period. To complete the atmosphere, recent John Abbott College graduate Davide Chiazzes makes use of his authentic Sicilian folk tradition experience, lending the show an Italian musical flavour that enchants and transports the audience into a world that is both fantastical and familiar.

Continuing the company’s tradition, The Taming of the Shrew’s cast is made up of many young, professionally-trained actors, including recent graduates from National Theatre School, Concordia University and John Abbott College’s Professional Theatre Program. Shakespeare-in-the-Park has proved a launching pad for some major careers over the years, including Lost’s Cas Anvar, Glee’s Jessalyn Gilsig, and The Borgias’ Francois Arnaud. We look forward to introducing you to this year’s emerging artists.

For its 24^th season, Shakespeare-in-the-Park will once again reach out to audiences by touring to various parks throughout Montreal, hoping to welcome 10,000 people. Hopkins summarizes, “To accommodate our growing audience, this year we will be presenting extra performances in Westmount Park, Beaconsfield and Mount Royal Cemetery. We are also moving up our start date to mid-July instead of the traditional late-July opening.”

In order to continue presenting productions for free (donations warmly accepted!), Repercussion Theatre is grateful to have the enthusiastic and generous support of the following organizations: Conseil des arts de Montréal, Conseil des arts et des letters du Québec, Canada Summer Jobs (Service Canada), Emploi Québec and the Zeller Family Foundation, as well as various media and in-kind sponsors.

A few statistics:

• 47 productions mounted over the past 24 years
• Over 400 local artists and stage technicians since 1988
• 55 volunteers last year
• 9674 attended Macbeth last year

The Taming of the Shrew
Thursday, July 5 to Saturday, August 11
Admission is FREE.

To see a detailed schedule for Repercussion Theatre’s 2012 production of The Taming of the Shrew, click here.

For any questions please contact: 514 931-2644 or 411 [at] repercussiontheatre [dot] com

MEDIA CONTACT:
Karine Kerr-Gillespie
marketing [at] repercussiontheatre [dot] com
Phone: 514-931-2644
Fax: 514-939-9763

Position: Shakespeare-In-The-Park, Head of Sound
Salary: approx $3000
Employment Period: Beginning of mid-June to mid-August TBA

POSITION SUMMARY
 
Under the supervision of the Technical Director and Production Manager:

• During rehearsals: assist in the inventory maintenance and technical tour planning. Research suitable sound equipment required for the production including: speakers, sound board, microphones cables, etc.
• During the performance run: unload equipment from the trucks, install and maintain the sound equipment for each show according to the requirements of each park venue.
• Act as Sound Board Operator, executing cues and monitoring microphones and levels during rehearsal and performances.
• Assist in the strike of the technical equipment into the trucks and vehicles after each performance.
• Assist in returns at the end of the run (cleaning and dismantling of equipment to storage).

Qualifications:
• Canadian Citizen or permanent resident, and must be currently a full-time student returning to school full-time in 2012-2013. This position is offered through the Canada Summer Jobs grant.
• Experience working in sound and knowledge of the latest technology.
• A positive attitude and ability to multitask, take initiative, and work independently.
• Ability to work long hours in the outdoors (sun, rain, heat etc).
• Capacity to adapt easily to an ever-changing environment.
• Valid driver’s license and experience driving a 16’+ Truck would be an asset.

Please e-mail, fax or mail your cover letter and resume to Production Manager at Repercussion Theatre by April 23 by 5:00pm.
Email: production@repercussiontheatre.com

Position: Shakespeare-In-The-Parks, Site Technician
Salary: approx $3000
Employment Period: Beginning of mid-June to mid-August TBA

POSITION SUMMARY

Under the supervision of the Technical Director and Production Manager:

• During rehearsals: assist in the construction of the set, technical set-up, inventory maintenance and technical tour planning.
• During the performance run: install and maintain the stage and technical equipment for the shows according to the requirements of each park venue.
• Participate as running crew during the show if required.
• Assist in the strike of the technical equipment into the trucks and vehicles after each performance.
• Assist in returns at the end of the run (cleaning and dismantling of equipment to storage).

Qualifications:
• Canadian Citizen or permanent resident, and must be currently a full-time student returning to school full-time in 2012-2013. This position is offered through the Canada Summer Jobs grant.
• Experience working in technical theatre.
• A positive attitude and ability to multitask, take initiative, and work independently.
• Ability to work long hours in the outdoors (sun, rain, heat etc).
• Capacity to adapt easily to an ever-changing environment.
• Valid driver’s license and experience driving a 16’+ Truck would be an asset.

Please e-mail, fax or mail your cover letter and resume to Production Manager at Repercussion Theatre by April 23 by 5:00pm.
Email: production@repercussiontheatre.com

Position: Shakespeare-In-The-Park, Head of Lighting
Salary: approx $3000
Employment Period: Beginning of mid-June to mid-August TBA

POSITION SUMMARY

Under the supervision of the Technical Director and Production Manager:

• During rehearsals: assist in the inventory maintenance and technical tour planning. Research suitable LX equipment required for the production including: lighting board and instruments, stands, cables and generator (if necessary).
• During the performance run: unload equipment from the trucks, consult with city electricians to ensure proper electrical hook-ups, install and maintain the lighting equipment for each show according to the requirements of each park venue.
• Act as Lighting Board Operator and run maintenance on the generators.
• Assist in the strike of the technical equipment into the trucks and vehicles after each performance.
• Assist in returns at the end of the run (cleaning and dismantling of equipment to storage).

Qualifications:
• Canadian Citizen or permanent resident, and must be currently a full-time student returning to school full-time in 2012-2013. This position is offered through the Canada Summer Jobs grant.
• Experience working in lighting and knowledge of the latest technology.
• A positive attitude and ability to multitask, take initiative, and work independently.
• Ability to work long hours in the outdoors (sun, rain, heat etc).
• Capacity to adapt easily to an ever-changing environment.
• Valid driver’s license and experience driving a 16’+ Truck would be an asset.

Please e-mail, fax or mail your cover letter and resume to Production Manager at Repercussion Theatre by April 23 by 5:00pm.
Email: production@repercussiontheatre.com

6 months, starting ASAP, 35 hrs/week

Must be eligible for Emploi Quebec’s Subvention salariale

Repercussion Theatre is seeking applicants for the position of Marketing Assistant for its summer tour of Shakespeare-in-the-Park. Applicants should have a background in marketing or administration, as well as strong computer and interpersonal skills. He/she should be able to work independently and have an interest in theatre.  Fluency in both French and English, and experience working with volunteers is recommended.

Duties:

• Manage PR, sponsorship, and media. Write press releases, assist in fundraising activities
• Develop a borough-by-borough approach to distribution of flyers and posters.
• Advertising sales for summer tour program.
• Develop marketing strategies to promote the shows in the different parks.
• Determine concessions menu / merchandise products to be sold & then place orders for supplies / products.
• Develop and coordinate projects that require volunteers and prepare volunteer schedules including transportation.
• Coordinating printing of on-site promo materials (posters, flyers, sandwich boards, banners).
• Coordination of print ads with Newspaper reps (ad schedule, content, proof reading).
• Updating website and social media.

Please email your resume to 411@repercussiontheatre.com.

Please note that the successful candidate should be eligible for the Emploi Quebec Wage Subsidy Program Subvention Salariale. To check if you are eligible, call the CLE (Centre local d’emploi) closest to where you live and get an appointment.

Salary: approx $3000
Employment Period: Beginning / mid-June to mid-August TBA

POSITION SUMMARY

Under the supervision of the Stage Manager, some duties would include:

• During rehearsals: assist the Stage Manager in the facilitation of the rehearsal environment, script prompting, tracking props and costumes, organizing transportation.
• During the performance run: assist in unloading equipment from the trucks, setting up dressing room tents and backstage areas, maintaining costumes and props.

Qualifications:
• Canadian Citizen or permanent resident, and must be currently a full-time student returning to school full-time in 2012-2013. This position is offered through the Canada Summer Jobs grant.
• Experience working backstage in theatre.
• A positive attitude and ability to multitask, take initiative, and work independently.
• Ability to work long hours in the outdoors (sun, rain, heat etc).
• Capacity to adapt easily to an ever-changing environment.                                      
• Valid driver’s license would be an asset.

Please e-mail, fax or mail your cover letter and resume to Production Manager at Repercussion Theatre by April 23 by 5:00pm.
Email: production@repercussiontheatre.com

Publish at Calaméo or browse others.

Repercussion is moving and we are selling 12 years of props and award-winning costumes as well as office equipment, furniture, house goods and decorations, and even appraised limited edition art.

Sunday October 23 » 1-5pm
Monday-Friday October 24-28 » 3-6:30pm

1006 de la Montagne (corner de la Gauchetière, across from the Bell Centre, metro Peel/Lucien L’Allier)

Everything must go!

Items from $1+, many “best offer” deals available.

You’ll find your best-ever Halloween costume, guaranteed!

From suits to swords, jackets and coats, dresses and messes, costumes and thrones, ruffles and feathers, armor and tethers for witches and wardens.

This is also great opportunity for theatre troupes, school drama programs or for your own personal collection to find that one-of-a-kind look to inspire your performances.

Bring your family and friends and support Montreal theatre!

Répercussion déménage et vend 12 ans d’accessoires et de costumes primés, de même que des équipements de bureau, des meubles, du matériel et de la décoration pour la maison, en plus d’œuvres d’art en édition limitée.

Dimanche, 23 octobre » 13 h à 17 h
Lundi 24 au vendredi 28 octobre » 15 h à 18 h 30

1006, de la Montagne (au coin de la Gauchetière près du Centre Bell, stations Peel ou Lucien L’Allier)

Tout doit être vendu !

Articles à partir de 1 $, possibilité de marchander pour la « meilleure offre »

Vous trouverez le meilleur costume d’Halloween qui soit, c’est garanti !

Complets ou épées, vestons ou manteaux, costumes ou trônes, volants ou plumes, robes de tous genres, et armures ou accessoires de sorcières ou de gardes.

Voilà une occasion en or pour les troupes de théâtre, les programmes scolaires d’art dramatique ou même pour votre collection personnelle; créez un style unique en son genre qui vous inspirera pour vos prochaines performances.

Amenez votre famille et vos amis pour offrir votre soutien au théâtre montréalais !

Paul Hopkins, Repercussion Theatre’s Artistic Director, will be playing the lead role of Macbeth for this summer’s Shakespeare-in-the-Park tour.

This collection of notes I’ve written is a musing on my experiences building Macbeth’s character over the past how-many-ever months. Everything I write may not be true. Everything I write may not even make sense. This is just intended to be a collage of consideration.

‘Horrid Image’ vs. ‘Nature’  – that’s fucked! How is anyone in the audience supposed to get that the Horrid image is the murder of Duncan. What’s the horrid image to me? I think ‘nature’ is the thought of actually the murdering someone is repellent, against nature – if you really think about it, the actual act of it.

…he wants to kill – or thinks he has to kill.

Corruption: Is that what’s behind our garbage at RT not being picked up and us getting tickets for it?

So Macbeth is infected as soon as the possibility of becoming king is presented to him – he wants to kill – or thinks he has to kill. Why does he leap immediately to that conclusion?

If Macbeth’s a human (like I am), wouldn’t it be awful to kill someone who’s done nothing to deserve it. I believe that is in my nature and killing someone would be against my nature. Sometimes I spontaneously feel extraordinarily violent towards bike thieves or taggers (They tagged Repercussion Theatre’s 20ft truck! – and I said out loud ‘if I had a gun’) of course I wouldn’t kill someone for spray painting – but maybe if I was under a lot of stress or followed that impulse in a moment, maybe, maybe, maybe I would. Macbeth has a lot of time to think about this. Hey Shakespeare gives him a lot of time to try to convince himself not to do it.

I know so much about Macbeth and yet I know nothing.

From almost the first moment in the play Macbeth fights against what he senses is almost inevitable. He’s afraid of the feeling it stirs up in him: ‘Shakes so my single state of man’.

Imagination. Macbeth has an awesome imagination. I get that: wouldn’t it be great to be the Artistic Director of Repercussion Theatre, then I could do this and this and this. I get the job and now I’m doing that that that. No regrets but it not what I expected and I’m nowhere near as excitable as I was when I started.

I know so much about Macbeth and yet I know nothing. Everything I’ve ever heard has to be treated as an assumption, a red flag. It needs to be realized and I have to get underneath it to understand. Example… if we choose to make Macbeth and Lady Macbeth a highly charged sexual relationship, what does that mean? That we want to have sex all the time. Okay. I tried that and that doesn’t work for me. Why does Macbeth need Lady Macbeth? What kind of sex do they have that propels them to kill the king. I think the root is in Macbeth’s desperate need to be comforted by Lady Macbeth. She’s able to comfort him, console him into killing Duncan. She’s the capable one, he needs her help.

Little things that become big things.

Manliness. People talk about it being a play about manly ambition. What does that mean? If this play is set in a modern context, what is manly in a modern context? How does it relate to this play? I guess, if set in the period and including swords and warriors, I could just don the character but not in this production.

How does a story about kings and witches relate to today’s world? We don’t live a world rooted in the belief of God so there’s no hierarchy like what existed in Shakespeare’s time. There is no mysterious and all powerful God, or heaven and hell, to hold people accountable.

10 days from performances and we’ve decided to change to thrust blocking.

There is no God. I don’t actually believe that, but I can’t expect our audience to collectively gasp at Macbeth’s actions because he’s risking eternal damnation. They are not going to watch this play and think, ‘Don’t listen to the witches. They are the devil’s messengers.’ That’s presumably what Shakespeare’s audience would’ve done. The consequences of Macbeth’s actions, to them, would be ultimately accountable to God, or more specifically, eternal damnation.

Why did Arianna cry when Macbeth died? Why did it make me cry?

Lady Macbeth goes crazy. She doesn’t pay attention or isn’t affected by things like murder, blood, horror. Everything that we ‘deem’ not good but could easily look at and say it means nothing, if we chose to be callous. Macbeth doesn’t do that. He feels it and then aspires to be as cold and strong as someone who doesn’t. Is that why Lady Macbeth looses her mind? How does Macbeth loose his mind?

I actually believe that modern witches are television commercials. They point out to us what we don’t have and spark a desire for those things. That’s, quite simply, what the witches do to Macbeth.  If I get this one thing more then I will be happy. The witches promise Macbeth happiness.

Montreal heat wave during outdoor rehearsals. 42 hours in the hottest sunniest weather Montreal’s had since I joined Repercussion Theatre. Hope it lasts through the rest of the summer and then we can enjoy gorgeous summer nights in the park.

Why did Arianna cry when Macbeth died? Why did it make me cry?

Uuuhm… now that I think of it, I have no ambition to play Macbeth. Where did I get that crazy idea.

Verse and iambic pentameter are usually so helpful, but in this play in particular it’s very inconsistent. I’ve decided that it’s not accidental and that every broken verse line or seeming incorrect stress needs to be acknowledged and played very specifically if I want to understand Macbeth’s journey. (i.e. – by THE worst MEANS the WORST, for MINE own GOOD – So… I’m supposed to stress the word the? Okay I’ll try it…

Arianna Bardesono, our director, compared Macbeth becoming king to the modern sensibility that everyone can be anything in an instant, without the time and extraordinary dedication and hard work that the world used to insist on.

Macbeth doesn’t want to be king for any reason other than to be king. That’s tough to play.

http://charpo.blogspot.com/2011/07/sunday-feature-paul-hopkins-on-creating.html

Repercussion Theatre’s Shakespeare-in-the-Park is theatre with the best intentions: bringing professional quality productions to various communities on sticky summer evenings so that people may enjoy classical theatre and support their local food banks…oh, and it’s free. So I would really have to be quite the jerk to nit-pick and criticize their rendition of Macbeth. Although I may be such a person at times (including here), there isn’t much need to be here because the show was fun. Sadly it was the only time it will be presented in the gorgeous space provided at the Mont-Royal cemetery, but the other featured venues (e.g. Westmount Park, Theatre de la Verdure and Cabot Square) will undoubtedly provide equally charming environments in which to enjoy a bloody tale of murderous aspirations and tyranny!

…casting the weird sisters as transvestite prostitutes whose cauldron burns with gin and cocaine was awesome!

Although I do not possess any profound knowledge of Shakespeare’s plays, Macbeth happens to be one that I have had a certain fondness for. In the 5th grade we had to watch a cartoon version of the tragedy for English class and although I am sure the poor quality and awkward animation would have me giggling today, I was mesmerized. It was all so wicked and gruesome and the animated version conveyed this so clearly. In a sea of grayness, the brightest color in the entire thing was red and it was either for blood (obviously) or crazy demonic cartoon eyes (Lady Macbeth’s were particularly fiery). As for Repercussion Theatre’s adaptation, I do feel that it lost some of the severity and heaviness of the material at times. There was blood and it was still gruesome, but we could always see the actors pouring it on themselves, which highlighted its presence as a prop rather than enabling us to keep believing in the fantasy. I also feel that some of the severity was lost in the uneven attempt to clean up the medieval gloominess of the tragedy and set it within modern times. All the characters were dressed in tailored suits, a new tie was bestowed in recognition of success, and cocktail parties took place instead of banquet hall feasts. Yet crowns and sleeveless fur vests were worn over bare chests and the play still ends with a battle. The modern corporate feel didn’t seem to extend much past the costume design. However, casting the weird sisters as transvestite prostitutes whose cauldron burns with gin and cocaine was awesome!

Some of the younger actors did lack some nuance in their emotions (it was often hard to detect whether the various characters played by Chala Hunter were ecstatic after a victory or absolutely hysterical out of fear of what was to come), and because many of them were used for all the minor roles, I’ll admit I sometimes lost track of who was who and what their purpose was. But Anana Rydvald’s Lady Macbeth was superbly conniving in the first half and absolutely insane in the second. Paul Hopkins’ Macbeth could have been slightly more of a warrior, but he was nonetheless convincingly tormented. Actually, all of the male characters could have been a bit heavier in tone, rougher and vengeful. They were by no means inadequate, they simply did a better job conveying urgency, despair and sadness.

Shakespeare-in-the-Park and especially Macbeth, is a great way to spend a summer evening with friends…

But in all honesty, this is just me being picky, because the play was really enjoyable. The sound design was excellent and truly added to the intensity of the most gruesome scenes and the set designed by Cassandre Chantonnier was minimal yet it allowed for some truly creative scenes and movement. Shakespeare-in-the-Park and especially Macbeth, is a great way to spend a summer evening with friends (I wouldn’t say families, because most kids I saw there looked bored and restless). Several presentations throughout the city and nearby (e.g. Kirkland, Beaconsfield, Hudson, etc.) are scheduled until August 21st and are not to be missed!

*Remember to bring a chair, blankets (it got surprisingly chilly) and non-perishable items for the food bank. And most importantly, please bring enough change (or more!) for donations to help support future Repercussion Theatre productions.

Please click here to read the review.