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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.

Scroll down and enter your email address in the bottom right corner of this page to subscribe to our email list and win two VIA Rail tickets and two tickets to see a show of your choice at the Stratford Shakespeare Festival. Winner will be announced on August 28 on our website and our facebook page.

Nestled in the crook of manicured Westmount Park hedges stood a black and chrome two-tiered stage. A cool breeze greeted people of all ages as they lounged on blankets and camping chairs. From children to seniors, the atmosphere was festive and relaxed. This was the setting for Repercussion Theatre’s production of Macbeth on Tuesday night.

Suddenly the sound of thunder and lightning filled the air and three male witches dressed in colourful lingerie declared Macbeth’s fate. This was our introduction to what would be a modern take on a classic tale of ambition, greed, guilt and revenge. Director Arianna Bardesono approached this story in a way that would emphasize the challenges in today’s societies: recessions, wars, environmental disasters… The ability to fuse an old tale with modern elements demonstrated how relevant and timeless these issues are.

“I like the idea that they’re trying to do something modern and that they’re bringing in the ideas of the stock market and the environment,” said Robert Newton, an avid Shakespeare in the Park fan who has been attending Repercussion Theatre productions for nearly 20 years. “They’re kind of mixing those ideas of what goes wrong in the kingdom, goes wrong if the king is not governing properly. I thought that was an interesting take on things.”

Repercussion Theatre has been bringing classical theatre to Montreal audiences for 23 years. The cast and crew took on their roles with the professionalism and passion the theatre has built its reputation on. Notable mentions go out to the stunning performances by Anana Rydvald (Lady Macbeth), Karl Graboshas (Banquo), Tim Hine (Duncan) and Paul Hopkins (Macbeth).

In addition to playing the lead role, Hopkins is also the theatre’s artistic director. The choice to present a tragedy to the Montreal public was a good decision, he thought. “We haven’t done a serious tragedy like this since 1998,” Hopkins said.  “It’s a little bit risky. But I think the audience seems rapt. They seem to be hanging on to each word and I think they really appreciate the different tone.”

With television, stock market and cell phone sound bites, this interpretation of Shakespeare’s classic tale has taken on a corporate feel that many audience members appreciated.

Jean Cadrin is a first-time Shakespeare-in-the-Park goer. He enjoyed the modern twist. “The choice was interesting, with regards to present-day society,” he said.   “We can interpret it in the way we want and I think that’s a good thing.”

He highly recommends the play. “It’s a great night, a great initiative to have Shakespeare-in-the-Park in Montreal parks,” he said.

Repercussion Theatre’s production of Macbeth will be on tour throughout the greater Montreal area until Aug. 21, when the tour ends here in Westmount Park with back-to-back shows on Aug. 20 and 21. For more information visit www.repercussiontheatre.com.

http://www.westmountexaminer.com/Arts/2011-08-03/article-2689493/Repercussions-Macbeth-is-a-play-on-modernity/1

Repercussion Theatre get their act together as Macbeth prepares to tour the island

I’ve found out, speaking over the years with people in all the jobs that make up a theatre company, that putting a professional show together can be a big, daunting deal. Add to that a tour­ing, outdoor production and you’ve got some work on your hands. The lawn chair and blanket shows that Repercussion Theatre create in Montreal parks every year—by this point, a must-see event in the summer calendar—have such a breezy feel, it does-n’t seem like a full year of planning has gone before. Director Arianna Bardesono takes on Shakespeare’s Macbeth for their current tour, resetting the drama in present-day North America. Instead of kilts and claymores, this cast wields suits and cell phones. The trio of witches who mess with Macbeth are still there, too—only now, they’re six-foot-plus transvestites wearing wigs that would fit seamlessly into any mid-70s Funkadelic show. Whichev­er era the play resides in, the ambition, blood and thirst for power is unchanged.

I’m walking around a park in Côte-St-Luc on the hottest, most humid day of summer so far, watching the action and talking here and there with cast and crew. Rehearsals and set-ups are happening all at once in small groups scattered around the half-constructed stage. Bits from Macbeth loop out of sequence as the team works out the myriad little problems and details—all the while trying to keep momentum going in the stifling heat: witches adjust their platform heels and shimmy into miniskirts in the shade; Macduff’s son practices getting killed as he’s throttled by an assassin and thrown to the floor; and Macbeth, spit flying, shouts lines in another character’s face as they stand in a grassy field apart from the others.

Dustin Kagan-Fleming, who plays Macduff’s son, says, “It’s like a dream come true for me. I’m always watching the other actors and seeing things I can pick up on.”

Artistic director Paul Hopkins, a veteran of Shakespeare since his days at Stratford, takes on the title role for the first time. “It’s been 12 or 13 years since we’ve done one of these big, epic tragedies and I thought…it’s time,” he says. “It’s the story of a man who’s sold his soul to the devil, but almost from the beginning of the play he’s trying to stop it.”

“I decided to break the stage into several parts,” says set designer Cassandre Chatonnier. “I have a diploma in architecture, and I’m interested in how constrained space can influence actors— something you can feel first, before it reaches your brain.”

NTS grad Chala Hunter, who plays the Scottish Thane, Lennox, is most excited about the touring aspect. “I’m excited to go to all the different parks. I’ve seen their work and love how Reper­cussion shows change with each new venue. They’re an inventive company who make risky and volatile theatre.”

Choice venues on the tour for downtowners include tomorrow, night, Friday, July 29 at Mount Royal Cemetery (1297 Chemin de la Forêt). Two sets of shows at Westmount Park (August 2–3 and August 20–21, at de Maisonneuve W. and Lansdowne), and dates at Parc Lafontaine and NDG Park.

Admission as always is free—but do give money when they pass the hat at intermission. Funding and sponsor cuts have hit this resilient company hard, and it would be nice if they stuck around.

MACBETH RUNS FROM JULY 28–AUG. 21 AT PARKS IN AND AROUND MONTREAL. INFO AND SCHEDULE: REPERCUSSIONTHEATRE.COM, 514-916-PARK

http://www.montrealmirror.com/wp/2011/07/28/modern-day-tragedy/

Should you be able to attend any of these shows, kindly RSVP at 514.931.2644 or by email at marketing2011@repercussiontheatre.com. Please use the same contact to organize interviews, request photos, demand more information, etc.

Greg Stone
Marketing Assistant
Repercussion Theatre
Phone: 514 931-2644
Cell: 514 799-0910

Shakespeare-in-the-Park Dress Rehearsal

Wednesday, July 27th – 12pm
Parc Pierre Elliott Trudeau
Cote-St-Luc
6985 Mackle Road
H4W 1A5
(map)

Montreal, July 11th, 2011 – Repercussion Theatre would like to invite media to attend a dress rehearsal of our upcoming production of Macbeth, which will tour parks around Montreal from July 28th to August 21st. This will be an excellent opportunity for still and video cameras to capture scenes from the play. Our director, Arianna Bardesono, our actors and our designers will also be available for interviews. Our version of the play is set in modern times and it’s going to be a radically different Macbeth than we’re all used to!

Should you be able to attend, kindly RSVP at 514.931.2644 or by email at marketing2011@repercussiontheatre.com.  We appreciate your continued support of Repercussion Theatre and look forward to seeing you soon.

Greg Stone
Marketing Assistant
Théâtre Répercussion Theatre
1006 de la montagne, suite 111
Montréal (Québec) H3G 1Y7
T 514.931.2644   F 514.931.4426
marketing2011@repercussiontheatre.com
www.repercussiontheatre.com

Arianna Bardesono will be directing this year’s performance.  This up-and-coming international director is also the founder of the Montreal-based theatre company Odelah Creations.

Paul Hopkins, Repercussion’s Artistic Director, will confront his inner demons in the lead role of Macbeth. Hopkins has acted for 20 years in theatre, television and film, including roles in theatres across Canada.

Anana Rydvald began her acting career in Scandinavia, and since coming to Montreal, co-founded the company Mask On! Productions, and created the Level 4 Theatre. This award-winning actress will have blood on her hands as Lady Macbeth.

Karl Graboshas, graduate of the National Theatre School of Canada, will haunt the stage as Banquo. A well-versed stage and film actor, Graboshas will be in the upcoming film Goon this fall.

Nathan Barrett returns to the Repercussion stage this year as Malcolm. Despite graduating from the National Theatre School of Canada just last year, Barrett’s list of credits is quickly growing.

Attila Clemann returns to the stage as Macduff. Clemann is a multi-disciplinary theatre artist who, on top of acting, is a playwright, set designer, cabinetmaker, sound designer and puppeteer.

Tim Hine will take up the Repercussion stage as Duncan. A seasoned stage actor, he has appeared in Fallen Angels at the Segal Theatre and The Assumption of Empire at Mainline.

Chala Hunter, another emerging talent and graduate of the National Theatre School, will play Lennox in this year’s production.

Dustin Kagan-Fleming, a member of the Royal West Academy Bardolators and Repercussion’s youngest actor at 14 years old, will be playing Macduff’s Son.

Samantha Mcgarry, a third-year Concordia Theatre student, will join our line-up as Lady Macduff. This will be Mcgarry’s first classical piece.

Adrian Shepherd-Gawinski is a student at the National Theatre School and will play the role of Ross in this year’s production.

In Other News… The Golden Ticket

If you donate $100 or more to Repercussion Theatre, you and a guest will receive a Golden Ticket, which means prime viewing seats at the park of your choice, comfortable Repercussion chairs to view the show from, and a light picnic to enjoy during the show. Families of four can get a Golden Ticket for $150.

For more information on Repercussion Theatre, a calendar of performances, and more information on donations,  please visit www.repercussiontheatre.com

To set up interviews with the cast, please contact:

Greg Stone
Marketing Assistant
Repercussion Theatre
Phone: 514 931-2466
Fax: 514 931-6624
Email: marketing2011@repercussiontheatre.com