Monday, December 10, 2012

Casting for 2013

Newman & Wright at Theatre Royal in Barkerville is now casting for our 2013 season. At this point we are looking for one male performer for sure, perhaps more performers and crew. If you are interested, or know someone who is, go to our website for information and email addresses and let us know.

Saturday, October 6, 2012

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Thursday, October 4, 2012

Westering Man at UNBC

Newman & Wright at Theatre Royal travel to UNBC from Barkerville

Amy and Richard and the rest of the Newman & Wright Theatre Royal cast would like to thank UNBC for inviting us to present Westering Man at the UNBC CanFor theatre.
In particular we would like to acknowledge Dean Dr. John Young, Dr. Tracy Summerville and Ramona Rose for their interest, passion and work in making this even happen.
 It was a great end to the season for us and a welcome opportunity to present one of our favorite shows. The cast talked about it all the way home and were particularly thankful to make such a positive link between the artistic and academic community of the north.
We appreciated the work the UNBC folks did in making this a successful event and the interest they showed in our work.
We have toured shows for a total of 12 weeks in past years, but have never had the opportunity to take a "book show" or drama outside the theatre.
Finally: recently a friend said: "Do not stay were you are tolerated. Go where you are celebrated."
We felt celebrated at UNBC.

We flew Alison in from Vancouver for the event as she is currently studying Jazz at Capilano University. Alison, Amy, Brendan and Rob adapted to the new set with just a couple of quick rehearsals. Marcello Sequeira did an excellent job in adapting an old set to the new space and lit the show with just our touring lights.

It was a loooong day. We left Wells at 9:30 a.m. and returned at 2 a.m. Alison got to bed before us, but was up at 5 a.m. for flight to Vancouver. Great work everyone.

And that is it. Now we begin planning for next year, with some great opportunities on the horizon.

Tuesday, April 24, 2012

Memories of the Overlanders of 1862 during Barkerville's 150th

Overland across Canada in search of Cariboo gold

The overlanders of 1862 are captured here in a sketch by
 WW Hind as they cross the Saskatchewan River.

A recent journey through Jasper and the Rocky Mountain trench to Cranbrook reminded me of the journey of the Overlanders. Where I searched for wildlife the Overlanders were moved to awe at the sight of the Rockies. They wrote poetry, recited hymns and biblical verses in their letters and journals. Then, down in Cranbrook I relocated the grave of Timoleon Love, one of the pivotal Overlanders and a lifelong prospector.

Unfortunately they are all but forgotten in B.C.'s history.

The overlanders in Jasper by WW Hind.

The effects of the Cariboo Gold Rush

on the development of Canada

 “I am at present working at the Carpenter’s trade and I think I will be for another month. Joseph Halpenny is working with me. You will please give the other Overlanders the following information. I reported Peter McIntyre dead which is not the case, he recovered. Nearly all the Overlanders were sick in Cariboo last season. There were only 5 or 6 who escaped disease. Physicians say that the hardships they suffered on the overland journey was the cause. The man Burden [Berdan] that beat his horse to death died on Williams Creek, also William Hugill. David Byers was put in hospital by J. Halpenny the day Joe left. Byers having been sick all summer and so reduced that there is no hope of his recovery. [Byers died in early 1864.] Joseph Hough has been sick on Williams Creek for a long time, sometimes better, sometimes worse. The last I heard poor Joe’s means had run out and he was forced to go to the hospital. Ephriam Harper is the only overlander that struck anything in Cariboo. He struck it late in the Fall very rich, should it hold out he will likely do well.” 

Letter from Dobson Prest to his brother, Victoria, December 25, 1863:

The correspondence, journals, and newspapers of the late 1860s leaves little doubt that trans-Canada journeys of the 1850s and 1860s by gold seekers, in particular the Overlanders of 1858-1862, had a profound effect on the development of Canada west of the Great Lakes.
Consider that during the period from 1858 to 1863 the various Cariboo gold-seeking parties of Overlanders, which numbered 350 people, accomplished the following:

  • This journey had the effect of advancing the need for a railway, and therefore confederation, forward by at least a decade. 
  • Drew attention to Minnesota expansionists’ efforts and emphasized the need for an all-British route across Canada. 
  • Demonstrated the economic development that would result from any immigration route west. 
  • Drew attention to and followed a Canadian immigration route across the Canadian Shield, the longed-for all-British route west. 
  • Made the first crossing of the southern plains (ie the routes near the US-Canada border that crossed Blackfoot territory) in over three decades. 
  • They were the first western immigrants and therefore the first to use the HBC fur brigade trails for any economy other than the fur trade. 
  • Were the first immigrants to utilize the HBC posts as provisioning points, helping to drag the monopoly into the 19th century, and formalizing those posts as centers of commerce. 
  • Drew gold seekers and settlers not only from eastern Canada but from the Red River colony to the Fort Edmonton area, likely advancing this settlement by a decade or more. 
  •  Rediscovered several Rocky Mountain passes, and showed they could be used for future trails, roads and railroads, notably the Yellowhead, Sinclair and Kootenay passes. (The story of these passes is the story of trans-Canada migration and commerce.) 

  • · Opened the Yellowhead Pass to immigration and public awareness. Much of this activity was centered on the small party with Timoleon Love at its core. 
  • These were the first immigrant parties, some with women and children, to arrive via an overland route. A remarkable feat at the time. 
  • Showed that passage through the First nations of the plains was possible without the losses common in the United States, and that in fact, First Nations were helpful in migration. 
  • The newspaper accounts of their journeys, and their eastern connections, brought the news of their journey, the goldfields of B.C. and the need for an all-British route west to the front pages of newspapers and to the discussion floor of legislatures and parliaments. 
  • Their journey immensely strengthened British or Canadian sovereignty 
  • As individuals they had a significant effect on the development of the Cariboo in particular and British Columbia in general. 
  • Their journey, linked with the wealth of B.C.’s goldfields, sparked the demand for a trans-Canada route. 
The arrival of 200 overlanders in 1862 can be likened to forty thousand young, hardened craftsmen arriving in present-day British Columbia by some new means of transportation. (Based on an 1862 populations of approximately 20,000 and a present day population of 2.5 + million.)

Contrary to historians from the 1930s–50s, most of the Overlanders did go to Cariboo to search for gold. Of course, they did not go directly to Williams Creek in the fall of 1862. They were exhausted, starving, and broke and winter was sweeping in over the coastal mountains. Mining was over for the year.

Many of the pre-1862 Overlanders disappeared in terms of documentation, their small parties absorbed in the anonymity of the goldfields or the Pacific west. However, from the 250 known Overlanders of 1862 we can draw these figures:

Sixty stayed in Edmonton or went south into the plains. Five were guides. Ten died enroute, leaving 175 to reach B.C. in the fall of 1862. Ten or 20 went south to the United States or home to Canada immediately. Of those remaining close to 100 are documented through mining licenses, letters, journals and mining records, as going to Cariboo for the 1863 season. A few who had wintered in California returned to Cariboo.

The prevalent myth that they scurried home, lost interest or took up other work is clearly wrong.

Despite the effect the Overlanders specifically, and the goldrush in general, had on the development of British Columbia and Canada, little can be found in academic journals or general history books, which tend to leap precipitously from the fur trade era to Confederation. Except for grade school curriculum, the eastern lust for western wealth and the fact that Canada clearly wanted “the golden fields of British Columbia” and was willing to give a railway in return, is generally ignored. It is difficult to find more than passing reference to the Overlanders or the Cariboo goldfields in any contemporary history of the west.

Over and over again the Cariboo Sentinel, the British Colonist, the Toronto Globe and others argued for the need to connect Canada and the Colonies. For example on September 9, 1867 the Sentinel editorialized with passion on the budget approval for a road making the final link in a route from Halifax to Fort Garry. Waddington’s road through Bute Inlet was expected to reach completion soon. “It only remains to open the road from the Upper Fraser through the Yellowhead Pass, as proposed by Sir James Douglas, and over the plains…in all 230 miles, to have a communication with Fort Garry. This achieved the whole line will be open between Bute Inlet and Halifax.”

Their frontier optimism was misplaced. It was 20 years before the railway reached the west coast, in July 1886. The Trans-Canada highway was years away and the Yellowhead route even further.

Despite the efforts of Overlanders such as Thomas McMicking who wrote eloquently and frequently on the need for east-west routes, the main routes of commerce were north-south. There were passionate arguments by Overlanders and other westerners that not only did British Columbia not need links with Canada but that Cariboo did not need British Columbia. A railroad would only draw wealth out of BC it was argued. Goods, cattle, sheep and horses from Washington and Oregon, and California merchandise, came from the south. “You need us, we don’t need you,” was a common 1860s sentiment. It is an argument still echoed in the 21st century, 150 years later, an argument with its roots in Cariboo gold and Overland journeys.

Those Overlanders who stayed in BC became a part of the literature, the myth, the folklore of pioneer British Columbia. Their journey marked them. Their obituaries recorded that this man, this woman, was “an Overlander.”
They began businesses on the coast, such as the Morrow’s Overlander restaurant in Victoria and Heron’s saddlery.
Men like John Bowron and George Tunstall became Gold Commissioner and Government Agent.

Robert McMicking was a pioneer of the BC Telephone Company. His brother Thomas was a town clerk and deputy sheriff.

John Jessop founded the New Westminster Times and Victoria Press. He helped frame the BC Education Act and was the first superintendent of Education

George Wallace founded the Cariboo Sentinel newspaper in Barkerville and was followed by editor/publisher Robert Holloway.

John Mara was elected to the B.C. Legislature and Speaker of the House.

The Mickles, McQueen, Cooney and the Moores became leading interior stockmen, and the Schuberts were prominent settlers in the Okanagan.

John Fannin the shoemaker wrote music and used his love of natural history to found the B.C. Provincial Museum, now the Royal B.C. Museum.

William Fortune began the first flourmill in the interior of B.C., near Kamloops.

Thomas Graham was a prominent mill owner and architect in New Westminster where he built the attorney general’s house, the original Royal Columbian Hospital and Capt. Irving’s house, now a museum

Dan Williams explored the Peace Country and became a legend in his own right. Alfred Perry kept exploring and led Walter Moberly to Roger’s Pass as the CPR route. Moberly is remembered, Perry forgotten.

In Cariboo, Overlanders began the newspaper, William Rennie was a shoemaker, Colin McCollum had a tailor’s shop, Archibald McNaughton and Andrew Fletcher were merchants. The Wattie brothers were successful miners and donated significantly to the cultural life of the creek. Dr. Edward Stevenson practiced in Barkerville.

Many others stayed in Cariboo as miners. They included: John Pinkerton, Samuel Rogers, John Malcolm, Sam Kyse, Archibald McNaughton, Andrew Fletcher, W. H. G. Thompson, Andrew Weldon and many more.

Some died within a year or two, such as D.F. McLaurin, John Jones, William Hugill, David Byers, E.W.W. Linton, Thomas McMicking

Pivoital miner and guide Timoleon Love lies in an unmarked grave in Cranbrook, B.C.

Timoleon Love lies in an unmarked grave in the Old Catholic section of the Cranbrook, B.C.
cemetery in the  shadow of the Rockies.  His grave lies where the shadow of the cross
 marks the ground in the top photo. Richard Wright photos.

They were farmers, merchants, musicians, husbands, artisans, teamsters, artists, tailors and labourers who built the province.

Recognizing the effect these 150 people had on the development of British Columbia, one might be excused comparing their recognition to the similar, though significantly larger, immigrations to Oregon and California. There every camp and death and event is marked and recorded. We might wonder where are the monuments to these Canadians and Americans who opened the Canadian route, the markers to their trek, their contributions.

There is a stone cairn in Jasper National Park, one Stop of Interest on the Thompson River, the Overlander’s bridge in Kamloops and a scattering of businesses incorporating the word Overlanders. Barkerville recognizes the Overlanders and the city of Quesnel has a sign on their Riverside Walk. O’Keefe Historic Ranch in Vernon has preserved the Schubert’s house and history. Timoleon Love's grave in Cranbrook is unmarked.

Generally the Overlanders are remarkable in our lack of recognition, our lack of memorials. Where are the monuments, the markers for the ten dead Overlanders? Where the marker for Slaughter camp, or the Tete Jaune Camp or the numerous prairie camps? Where is the broad recognition of these pioneers?

How Canadian, eh?

“It seems there are quite a number of raw Canadians newly come out this year which proves that the newspapers have not quit lying, nor are the fools all dead yet.”

Robert Harkness, Barkerville, to his wife Sabrina, May 31, 1864.

Adapted from “The Overlanders in Historical Perspective: An epiloque; Overlanders, Richard Thomas Wright, Winter Quarters Press, 2000.

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Sunday, January 29, 2012

Newman and Wright Theatre Company
Theatre Royal, Barkerville
2 Job Postings for 2012 - FOH and SM

Most of the cast of Theatre Royal in period attitude. Richard Wright photo.

Job title: Front of House/Box Office Manager
Job location: Theatre Royal, Barkerville Historic Town (near Quesnel, BC).
Name of organization: Newman and Wright Theatre Company
Length of job: seasonal full time position: May 15-30th, 2012 – September 3rd, 2012 (14-16 weeks).
Job requirements: Newman and Wright Theatre Company is looking for someone with a working knowledge of computers, cash registers, book-keeping and who has excellent skills in dealing with the general public. The ideal candidate will be energetic and highly motivated, outgoing, well mannered and excited about the prospect of working at an historic site (Barkerville). The successful candidate will be required to wear a 19th century costume (provided).
Job description: includes (but is not limited to) the following duties: audience services; daily till reconciliations; simple bookkeeping (basic knowledge of Excel an asset).
Note: This position may be required to make front of house announcements and give short interpretive talks throughout the season, so abilities as a public speaker or actor are also an asset.
Accommodation: provided in the town of Wells (near Barkerville); monthly fee for utilities.
Rate of pay: to be negotiated based on skills and experience.
Note: This is an employment position, as directed by Revenue Canada. Deductions will be taken for EI, Canada Pension, etc.
Submission deadline: February 10, 2012.
Please submit cover letter and resume to the following:
Richard Wright, producer
Tel: 250-994-3340

Amy Newman, co-producer
Tel: 604-255-3465

Maya Meron, 2011 Box Office Manager. Richard Wright photo

Job title: Stage Manager/Technical Director
Job location: Theatre Royal, Barkerville Historic Town (near Quesnel, BC).
Name of organization: Newman and Wright Theatre Company
Length of job: seasonal full time position: May 8, 2012 – September 3, 2012 (17 weeks).
Job requirements: Newman and Wright Theatre Company is looking for a qualified Stage Manager (non-Equity). The position will require someone with excellent communication and organizational skills. In addition, a cool head and upbeat attitude are excellent qualities for this position. The ideal candidate will be energetic and highly motivated, outgoing and excited about the prospect of working at an historic site (Barkerville). Lighting knowledge is a definite asset.
Job description: includes (but is not limited to) the following duties: lighting design, organizing rehearsal schedules; recording blocking information; assisting with set construction; maintaining a prompt book; running lighting and/or sound cues; setting-up/breaking-down of sets; giving actors call times/notes; maintaining daily show reports, etc. Additional experience with musical productions is an asset. The ability to work quickly and with flexibility under pressure is required.
Accommodation: provided in the town of Wells (near Barkerville); monthly fee for utilities.
Rate of pay: to be negotiated based on skills and experience.
Note: This is an employment position, as directed by Revenue Canada. Deductions will be taken for EI, Canada Pension, etc.
Submission deadline: February 10, 2012.
Please submit cover letter and resume to the following:
Richard Wright, producer
Tel: 250-994-3340

Amy Newman, co-producer
Tel: 604-255-3465

Board-walk pre-show at Theatre Royal, Barkerville, 2011.
Amy Newman, Brendan Bailey, Alison Jenkins, Danette Boucher. Richard Wright photo.

Saturday, January 28, 2012

The 2012 Costume season for Theatre Royal, Barkerville begins

Costuming is always an issue for Theatre Royal
Floor level - A dancer's view of looking for shoes - Amy Newman

So here I am looking for a new pair of tap shoes for our Theatre Royal, Barkerville shows.
It makes for a good example of why Canada still trails in the laws of supply and demand. I have spent hours online and out and about, trying to find a new pair of dance/tap shoes. 
Eventually, I came to the decision to just go ahead and order a new pair of Capezios, as they are tried and true. I know the fit, the sizing, etc. as I have been wearing Capezios all my life for performing in shows. I looked into getting regular street shoes made into tap shoes because I found a pair of lovely, sturdy, not too high, dress shoes that would be beautiful. But after discussion with a shoe repair guy yesterday, I found that it would cost an additional $100 or so to convert. That on top of $100 for the shoes and I was looking at $200 plus. No dice. Too much money. 
I have also been haunting the thrift stores for the past few months. Sometimes you can get lucky and find something suitable. Mind you, it's such a specific type of shoe that I was looking for.... Last night (after many hours out on this errand and online) I went ahead and ordered these beauties.

Online photos of the Capezio shoe.
Because they are not the standard Capezio character shoe, they are virtually unavailable in Canada. Even dance shops in Toronto don't stock them. OK, so I hunt online for them. 
After price-shopping different dancewear sites in the U.S., I accidentally hit upon the best price available from – wait for it – Just makes me shake my head. They are common enough in the US that you can buy them from Amazon? And yet they are virtually unavailable across this massive country of ours. Go figure. 
This style of character shoe (called "Manhattan") should come in at about $80 CA (with taps included, already "installed"; also including duty/taxes, etc) 
a great price, compared to the $110–$125 it would cost to have them ordered through The Dance Shop or even from other boutique dancewear sites in the US.

It gets me out of the extremely used pair of tap shoes which I have been using off and on for the past 10 years. Those shoes were old when I got them from my sister Sue ages ago (someone had given them to her and she passed them on to me). The new tap shoes should be here in about 2/3 weeks. I can't wait!

Now, on to looking for costumes for our new WCFB Radio Show.

Thursday, January 19, 2012

Voice Use and Costumes at Theatre Royal, Barkerville

On Voice Use, Workshops and Costuming
Amy Newman in Barkerville in another of her costumes. Richard Wright photo.

For actors, singers, musicians and dancers at Theatre Royal, in Barkerville, B.C. it is safe to say that our work is extremely demanding (both physically and vocally) and one must have a well-tuned and well-trained voice (instrument) to withstand our rigorous show schedule, which runs from early May until the end of September. Whenever I have particular questions and concerns regarding my voice, I go to Shelagh Davies, a registered speech and language pathologist who specializes in vocal issues for performers.

The Theatre Royal cast 2011. Richard Wright photo.

For over 20 years in her practice in Vancouver, Shelagh Davies has helped people overcome vocal injury and reach their full potential as professional voice users. She is internationally recognized for her work with the voice and its disorders. In 2008, she was awarded a grant by the Canadian Association of Speech-Language Pathologists to undertake a clinical research project. Shelagh is a Clinical Associate Professor in the School of Audiology and Speech Sciences at the University of British Columbia.

I have known Shelagh for many years and consider her a mentor to me in my work at Theatre Royal in Barkerville, whether it be for a back-to-basics vocal “tune-up” or to work on specific repertoire for our shows. The expertise Shelagh offers is highly valuable and it is not an overstatement to say that she has saved my bacon on numerous occasions with her techniques, encouragement and advice. (Of course, half of the year I am not in town to seek her help in person, so many a time we have discussed issues over the phone, me in Barkerville, Shelagh in Vancouver.)

Last Saturday I had the opportunity to assist at a workshop for graduate students in The School of Audiology and Speech Sciences at the University of British Columbia with Shelagh Davies. It was a natural step for me to offer Shelagh my services as an actor at her workshop. My appearance allowed Shelagh to show the students someone working as a “professional voice user” in show business. I was also on hand to answer questions regarding voice and performance and how the demands of the work play out in the real world.

I prepared a few short monologues and songs to illustrate my work as a performer. I took speeches (which I had written) from a few of our past productions at Theatre Royal for this purpose. In choosing material, I looked for the most challenging and contrasting moments vocally to display to the class. I also did my best to choose moments that would stand on their own, for people who have no idea about Barkerville or the Cariboo Gold Rush, so that it would be entertaining as well as educational.

Right away I began to think about what I should wear. If I was going to present myself in the context of the 1860s Gold Rush period, then I must appear in appropriate attire, I thought. Hmmm. All of my 19th costumes are in storage at the theatre for the winter, so it would have been a little tricky getting one sent down in order for me to wear it. Richard is back home in Wells now; however, I knew it could prove difficult for me to give him directions about which dress to pick up from Barkerville – and to ship it down here in time for the event – that all seemed so silly to me, next to the idea of creating a brand new dress!

With just six days to go before the workshop, I set to work thinking: what would I make? What pattern should I use? And what can I put together quickly? 19th century women’s clothing is not the first thing that comes to mind when you are trying to construct a complete outfit in under a week.

The creative juices were flowing as I opened up one of my old storage trunks of fabric. As I looked through the pile, I found a partially cutout bodice from last year. The fabric itself had been purchased some years before and last spring I tried to get it made at last, but no dice. This looked promising. Then I continued through the pile and found more fabric, which would match up beautifully with the bodice fabric. Great. It was actually an old bed sheet and bed skirt, which had been sitting in that trunk for about five years. 

The bed skirt was a maroon velveteen with pleats. Perfect for the bottom of the skirt. The ivory-background-with- red-and-green-leaves patterned cotton (the old bed sheet) would do well for the body of the skirt and for pieces of the bodice. The final fabric I added to the project was a gorgeous piece of russet-coloured raw silk I had bought for another costume project that I never ended up doing; it had also been sitting in the trunk for a while. That would work for contrast sections of the bodice.

After cutting, measuring and sewing like a mad fiend for the rest of the week (and staying up until 3:00 and 4:00 in the morning), I had the outfit ready to wear for Saturday’s event – except for one important point: I had had no time to put in the buttonholes and hand-sew the buttons. So, I decided to pin myself into the bodice and hope for the best! Here are the results below:

Amy's new costume, after the buttons were sewn on. Photos by Amy Newman.

 As for the workshop, it was a wonderful learning event for the students and a pleasure to be part of. In addition to my involvement, Shelagh had a wonderful singer/songwriter named Melisa Devost on hand to talk to the students about her experiences of being a touring musician and music teacher. The demands on the voice when one wears different hats can be as challenging as being strictly a performer. Her insights were of great value for the students to hear and her lifestyle as an artist is different enough from mine to create a full picture of the pressures we all encounter as professional voice users.

Shelagh gave the students lots of hard science surrounding voice use for performers and then interspersed that with up close and personal demonstrations using me as the guinea pig, which I was most happy to do.

A highlight for me came after I had done my performance bits and was fielding questions regarding the work and its load on the voice. One of the students asked me about one of the characters I had portrayed (a man) called James Kelso, a miner from the 1860s.

Prelude to her question: the voice I use for this character is actually based on a real person, a wonderful Barkerville interpreter named Dave Brown. Dave runs the interpretation programming at the Cornish Waterwheel and has a particularly memorable vocal quality that I try to mimic every time I pull out the character of James Kelso (or really any male miner for that matter!).

The voice when I produce it for Kelso, is gravelly, gritty – and while quite humorous to listen to, is tremendously taxing vocally; it would be impossible for me to produce this particular vocal quality in a “healthy” manner. The only way I can do it is for a very short time. If I were to try and perform as this character with this voice for an extended period, I would do harm to my voice most certainly. And this is precisely why I wanted to demonstrate his voice: to show the students what it is like to be a professional voice user in the real world.

The student’s question was: “How hard is it on you to produce this voice? Would you recommend using your voice in this way to other actors?”

I answered with a decisive: “No. Not at all!” I looked at Shelagh as I qualified my response. “I remember when you and I talked about this character when I first created it some years ago.” (Shelagh nodded as I turned back to the class.) “Shelagh’s advice to me then – and it would be the same now – was that since Kelso only appeared for about 3 minutes in the show, it would probably be just fine to use my voice in this way. I decided to keep Kelso as a “bit player” only.

“It is certainly not the kind of voice use I would ever recommend to anyone, especially someone with little training or experience who doesn’t know his/her own limits vocally. You need to be an experienced performer in order to take on risky vocal techniques – and even then, they are just that: risky.”

With our schedule at the theatre, we cannot afford to take too many risks with our voices, so there is continuing dialogue with regard to show material choices vs. healthy voice use. It is a tightrope walk at the best of times. I never forget Shelagh’s words to me on this subject: “Amy, you and your troupe at Theatre Royal are vocal athletes. Your performance schedule is one of the most vocally demanding I know!”

Once the workshop had concluded, Shelagh and I discussed how it had gone. She was delighted with the event, saying, “With a few words you created a total character and place and mood and I know the students enjoyed it. You showed them the magic of an actor, and what’s possible with just the body and the voice. It made a huge difference having you there; it brought to life all that dry technical stuff. Now if they ever work with an actor or singer they will have a totally different baseline than what they had before coming to this workshop.”

Melisa Devost, Amy Newman and Shelagh Davies.
All of us at Theatre Royal look forward to working with Shelagh in the future as we struggle to bring the best of Gold Rush theatre to our audiences.

Shelagh Davies can be found at:
Melisa Devost can be heard, seen and contacted at:

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Monday, January 2, 2012

Happy New Year from Barkerville

Have a Happy New Year
From the cast and crew of Theatre Royal, Barkerville

For Richard's new blog on Van Dusen gardens in Vancouver go to: