Meet the UNCOMMON WOMEN – Part 1

LEALA SELINA: Leala is simply thrilled to be in her first Fighting Chance production! Originally form West Yorkshire in England, Leala immigrated to Canada in 2002 where she discovered her love of acting! As a graduate of the ASAS program at Capilano University Leala currently auditions for film, television and Theatre while working towards completing her theatre degree. Leala recently played Constanza in Amadeus where she won best supporting female actress in the Greater Vancouver Zone Festival. She is also a member of The Shameless Plugs sketch comedy group! Some past roles include: Constanza in Amadeus, Kate in She Stoops to Conquer, Milady de Winter in The Three Musketeers, Sarah in Female Transport, Renee in the Female Version of The Odd Couple, Jane Lamb in Glamorgan, Rosamund in Fair Rosamund and her Murderer, Mary Magdalene in The Last Days of Judas Iscariot & Snowy in HONK! Leala thanks her family and Kyle for their constant support and hopes you enjoy the show!

NATALIE SCHNECK: Born and raised in Edmonton, Alberta, Natalie Schneck received her theatre training at SFU Contemporary Arts.  She has had the opportunity to perform in works created by Jerome Bel, Eliza Newman-Saul, Radix Theatre, Neworld Theatre, Theatre SKAM, Nature Theater of Oklahoma and Rainforest Theatre.  Natalie also co-produced hive: the new bees for the 2009 Vancouver Fringe Festival.  Recent projects include dramaturgy for Mariano Pensotti’s La Marea (Push 2011) and performing in Jenna Rae Jacobson’s short film, Tranquilizer that will show at Vancity Theatre in May 2011.  Natalie is currently working on Natalie in the Morning (Joanna Garfinkel, Martin Gover) and Beutfl Prblms (Radix Theatre); she is also co-creating Troika, a Ukrainian play that will run at Little Mountain Studios in August 2011.

TONI NIELSEN: Toni is thrilled to be working with Fighting Chance for the first time. Hailing from Lloydminster, SK, Toni is no stranger to the stage. She began dancing at the age of 3, performing all over Saskatchewan and Alberta. Some dance credits include The Nutcracker with the Alberta Ballet and the Grey Cup Half Time Show. Toni is a graduate of the Vancouver Academy of Dramatic Arts and just completed work on an episode of Fringe (FOX). Toni is looking forward to getting back on stage and would like to thank everyone who made this amazing opportunity possible.

APRIL CAMERON: April Cameron is a graduate from the Capilano Acting for Stage and Screen Program. Previous credits include Pridefly in The Ash Girl, Nurse in Romeo and Juliet, Cara in The Vic. Recently she had a principal role in TLC’s Untold Stories of the ER. She is thrilled to be involved in a Fighting Chance Production play and hopes everyone enjoys the show!

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Groupon FAQ’s and Redemption!

First of all, thank you so much for buying a Groupon and supporting Fighting Chance Productions. Whether you’re a first timer to Fighting Chance, or an old-pro, we welcome you to our theatrical family and look forward to sharing our company with you!

Booking your Groupon’s for our shows could not be easier! Simply e-mail us at groupon@fightingchanceproductions.ca with your Groupon #, date and time of performance and how many tickets you’re looking for. We will confirm (usually within 48 hours) and your tickets will be available for you at the door. If you need to change your dates, simply e-mail us and we will do so for you (we need a minimum of 12 hours notice for date changes.) We do have some nights with limited seating, but will do our best to accommodate your request. Below are the dates, times & locations for upcoming performances, when you’re ready to book simply e-mail us at groupon@fightingchanceproductions.ca

A Funny Thing Happened on The Way to the Forum – Jericho Arts Centre

  • October 4th, 8pm (Preview)
  • October 5th, 8pm (Preview)
  • October 6th, 8pm (Opening)
  • October 7th, 8pm
  • October 8th, 2pm & 8pm
  • October 9th, 3pm
  • October 11th, 8pm
  • October 12th, 8pm
  • October 13th, 8pm
  • October 14th, 8pm
  • October 15th, 2pm & 8pm
  • October 16th, 3pm
  • October 18th, 8pm
  • October 19th, 8pm
  • October 20th, 8pm
  • October 21st, 8pm
  • October 22nd, 2pm & 8pm

The Temperamentals – PAL Theatre

  • November 23, 8pm
  • November 24, 8pm
  • November 25, 8pm
  • November 26, 2pm & 8pm
  • November 27, 2pm & 7pm
  • November 29, 8pm
  • November 30, 8pm
  • December 1, 8pm
  • December 2, 8pm
  • December 3, 2pm & 8pm

The Mystery of Edwin Drood – Metro Theatre

 

  • February 16, 8pm
  • February 17, 8pm
  • February 18, 8pm
  • February 19, 3pm
  • February 23, 8pm
  • February 24, 8pm
  • February 25, 8pm
  • February 26, 3pm
  • March 3,  8pm

Grey Gardens – Jericho Arts Centre

  • May 1, 8pm
  • May 2, 8pm
  • May 3, 8pm
  • May 4, 8pm
  • May 5, 2pm & 8pm
  • May 6, 3pm
  • May 8, 8pm
  • May 9, 8pm
  • May 10, 8pm
  • May 11, 8pm
  • May 12, 2pm & 8pm
  • May 13, 3pm
  • May 15, 8pm,
  • May 16, 8pm
  • May 17, 8pm
  • May 18, 8pm
  • May 19, 2pm & 8pm

- Rent – Waterfront Theatre

  • Dates and Times TBD

**Shows, Dates & Times are subject to change. As much notice as possible will be given to ticket holders and the general public

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The Reviews are In!

The reviews for THE WIZ are in, and it seems to have all the makings of another FCP Hit!

From Jo Ledingham, Vancouver Courier

“Undaunted by all this history, Fighting Chance Productions’ Ryan Mooney skips down his own yellow brick road and offers his fresh, pop culture take on The Wiz.”

“Jenny Moase, spookily Palinesque, brings the house down with “Don’t Nobody Bring Me No Bad News” and a death scene to die for.”

“Jenn Suratos is really in her groove when she sings, “Y’All Got It!”

“Blaney, Fontaine and Parsons all hit their marks vocally and dramatically; Parsons plays the Cowardly Lion with a gay, heavily made-up Michael Jackson or Prince with flamboyancy that makes his performance a whole lot of fun.”

“Petite Tuliao is pigtailed Dorothy in cut-offs and, instead of magical silver shoes, magical red high top runners. She may be small but she packs a powerful voice while executing choreographer Dawn Ewen’s fancy footwork.”

“The good news is that there’s no skimping on the band—Graham Clark, Daniel Fortin, Jane Milliken, Mark Richardson and Nico Rhodes—under the musical direction of Christopher King. They pump out a big sound that kept some of us hanging around after the curtain.”

“Small on slick, huge on heart—that’s Fighting Chance Productions and this show.”

From Raul Pacheco, Hummingbird604.com

“Ryan Mooney, artistic director of FCP, has built an ensemble of fantastic young actors who give their all in each and every production they perform in.”

“The Wiz is a must-see, witty, irreverent and funky production.”

“Sean Parsons is as always, incredibly funny in his incarnation of The Lion, although for God… that hair, that hair!”

“Nick Fontaine, who owns my heart with every performance I see him at, showcases his voice for the first time since I last saw him in Rent.”

“Lucas Blaney melted my heart with his portrayal of a brain-less scarecrow, and his vocal abilities are notable.”

“The one who steals the night and who is absolutely brilliant (without any detriment to the rest of her cast) is Arielle Tuliao in the role of Dorothy. Man, does that girl know how to sing, and HOW! Arielle is going places, trust me on that one.”

“I was absolutely in love with each and every number.”

“Jennifer Suratos as Aunt Em, and Glinda (Emily Canavan) have some powerful pipes, and they aren’t shy about showcasing them.”

From Kathleen Oliver, Georgia Straight

“Though the multicultural cast of this Fighting Chance production is largely white, the show retains a strong sense of the street. And its playful references to contemporary events make it a delightful ride.”

“Director Ryan Mooney makes countless witty updates”

Mooney also makes clever nods to today’s world in the form of characterizations. “Sean Parsons’s cowardly Lion is an adorably soft-spoken, androgynous man-child in drag, whose every utterance elicits sympathetic “aawww”s.”

“Jennifer Suratos neatly captures the imperiousness beneath the charm.”

“The evening’s high point comes courtesy of Evilline, the red-power-suited, dainty-rifle-toting Wicked Witch of the West, governor of “Ozlaska”. Jenny Moase’s apoplectic delivery of Evilline’s “Don’t Nobody Bring Me No Bad News”, and her subsequent death scene, are deliriously over the top.”

“Emily Canavan has a star turn late in the show as Glinda, singing “Believe in Yourself” with the power and glamour of a pro.”

“Arielle Tuliao is a terrific singer who beautifully captures Dorothy’s sweet innocence.”

“The ensemble tackles Charlie Smalls’s soulful songs with aplomb, and Dawn Ewen’s choreography fills the stage to bursting with youthful energy and athleticism.”

“Karen Van Es’s colourful costumes help make the jubilation palpable—and infectious.”

“Christopher King ably directs a five-piece band whose cool precision eases us on down this thoroughly delightful road. It’s a trip well worth taking.”

From Mark Robins, GayVancouver.Net

“Clever, funny and with a few outstanding performances, this production should be enough to make you want to ease on down to Performance Works.”

“Lucas Blaney captures the loose-limbed Scarecrow with ease and it was fun to watch as his innocent vacant look remained until he actually receives his brain.”

“Nick Fontaine as the Tin Man pulls out a beautiful rendition of “What Would I Do If I Could Feel”.”

“Sean Parson’s portrayal of the Lion as some sort of Tim Curry sweet transvestite outcast from Rocky Horror brought another fresh spin.”

“Arielle Tuliao does a nice job as Dorothy and as she sings of “Home” in the show’s finale I saw not a few in the audience wiping away tears.”

“It was Jenn Suratos in the dual role as Aunt Em and the great and powerful Wiz who nails both her songs and characters.  From her opening number “The Feeling We Once Had” as Aunt Em, to the inspirational “Believe in Yourself” towards the end as The Wiz, Suratos proves her versatility and talent.  Her impersonation of a certain famous talk show diva had me laughing at loud.”

“Making me really sit-up and take notice though was Emily Canavan who makes her appearance late in the show as Glinda the Good Witch.  Her show-stopping “If You Believe” nearly had me on my feet.”

“Choreographer Dawn Ewen once again gives her cast a work out and I continue to admire that she is not willing to dumb-down her choreography to the lowest common denominator.  This cast works hard under Ewen’s direction and it translates well.”

From Ed Farolan, ReviewVancouver.org

“Give Ryan Mooney any musical and he converts it to magic.”

“Jenny Moase, in my opinion, was the show stealer.”

“I enjoyed the energy, the gusto, the love of theatre that these young thespians displayed: the acrobatics of Lucas Blaney, the transvestite transformation of Sean Parsons, the soulful singing of Nick Fontaine and the childlike innocence of Arielle Tuliao.”

“Choreographer Dawn Ewen did a fantastic job with the dance numbers, and Musical Director Christopher King did a superb job with the songs and music.”

“So be sure you don’t miss your chance to catch this show.”

 

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A New Sound: Chris King

by Danielle Lemon

Chris King wears many hats, as a talented singer, actor, and music director.  Chris is switching hats on a daily basis at the moment, starring in Metro Theatre’s 42nd Street and music directing The Wiz, where he’s forming a fresh take on some classic songs.

FCP:  This production of The Wiz is being called “a modern spin” on The Wizard of Oz. How are you putting a modern spin on the music?

CK:  The original score was written in the 1970s, for a full orchestra.  It’s full of funk and gospel numbers that are great for Broadway, but don’t match what we’re trying to do with this show.  We don’t need flute solos!  So what we’re really doing is “urbanizing” the music, adding dance and club elements.

FCP:  That sounds like a lot of work.

CK:  It is!  I had to strip everything down to a 5 piece orchestration, and add arpeggiation, bass lines, guitar lines – what it really involved was sitting down, once I understood the pop cultural influences we wanted to add to the show, and playing around with things on the piano.  I worked with musicians very early in the process to collaborate on those new orchestrations – it was very collaborative, but I think we reached a “healthy consensus” in the end.

FCP:  Is that kind of collaboration unusual when you’re music directing a musical?

CK:  Absolutely it is.  Most musicians who play in musical theatre are not comfortable riffing and want to play exactly what’s put in front of them.  I needed people who were willing to play, in all senses of the word.

FCP:  You’re an accomplished performer yourself.  Does that influence how you music direct?

CK:  Definitely.  It’s particularly an influence when I’m working with performers on solo material.  My primary concern is not with their technical performance – I cast them, and I know they can get the notes.  I’m interested in the acting element, how it should be performed, bring emotional nuances to the song.

FCP:  What’s a Music Director’s role in relation to a Director?

CK:  Well, there is a bit of a hierarchy  – and I will always defer to a director’s wishes at the end of the day.  However, particularly with The Wiz, this has been a partnership – Ryan (Mooney, Director), Dawn (Ewen, Choreographer) and I all had to be on the same page creatively, from the very beginning.

FCP:  What do you prefer – music directing or performing?

CK:  Performing will always be my first love – I think I have that actor’s need for gratification!  And really, I don’t know that many audiences know what a Music Director does – they think I’m just “the piano player” (laughs) – so there’s not a lot of respect.

FCP:  Artistically though, you must find some gratification as a music director watching everything come together.

CK:  Absolutely I do – and I get a lot of satisfaction from working with performers.  Especially at Fighting Chance, there’s definitely a lot of creative fulfillment in working as a music director.

FCP:  So what’s next, Mr. King?

CK:  Well, I’m music directing Dirty Rotten Scoundrels at McGee High School in early May, and I’ll be music directing Anything Goes for Theatre Under the Stars this summer.

FCP:  Any dream roles?

CK:  George in Sunday in the Park with George, which I got to perform with APPLAUSE! Musicals in Concert a few years ago, and I’d love to play Chris in Miss Saigon.

FCP: Dream shows to music direct?

CK:  Chicago – Kander and Ebbs’ music is so showy and there are some great piano moments.  I’d also love to do a huge show with lots of musicians, like Kiss Me Kate.

Chris King music directs Fighting Chance Productions’ The Wiz,  April 20 – 30 at Performance Works on Granville Island.

 

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Art in Motion: Choreographer Dawn Ewen

by Danielle Lemon

Her face may not be familiar to you, but chances are you’ve seen one of her shows – Dawn Ewen is one of Vancouver’s most prolific choreographers.  In the past year alone, Dawn’s choreography has been seen in APPLAUSE! Musical Society’s Good News and Mame, Metro Theatre’s Christmas pantomime, Cinderella, and a variety of children’s productions including Suessical, Honk! and The Jungle Book.  This summer she’ll be returning to Gateway’s Academy of the Performing Arts as both director and choreographer, and will be choreographing Fighting Chance’s upcoming productions of A Funny Thing Happened on the Way to the Forum, The Mystery of Edwin Drood, and Sweet Charity.  We managed to get Dawn to sit down for five minutes in between rehearsals for The Wiz to talk all things dance.

FCP:  How do you even begin to choreograph a piece?

DE:  I listen to the music, over and over again.  And I do research, into the era of the show, and the style of dances that were popular – and I go from there.

FCP:  How much input does a director have on the choreography?

DE:  It depends on the company!  Of course, director input is important, as you want there to be a seamless transition between the scenes and the dance numbers, and so I like to know who’s in the number, where they’re coming from in the previous scene, and where they’re going.  I always try with my choreography to advance the story, so that dance numbers aren’t just a “stop and sing.”

FCP:  You mentioned that research is a big part of the process – how do you research dance?

DE:  For me, it mean watching a lot of old movies and YouTube videos, and understanding different historical types of dancing.  The dance needs to fit the show -  I hate going to see shows set in the 1930’s where they’re doing 1980’s jazz, for example.

FCP:  So what kind of dance will we see in “The Wiz”?

DE:  All kinds of styles!  I sat down very early with Ryan (Mooney, Director) and Chris (King, Music Director) to discuss where we were going to go with the direction of the show, and from that I had some starting points.  There are a number of styles of dance reflecting each character and the direction Ryan and Chris wanted to take them musically – some were obvious and instinctual, some needed research.

FCP:  I understand that “The Wiz” is in some way an homage to cultural icons.  Was it easier to emulate famous characters’ dance styles?

DE:  In some ways, it was the hardest part of choreographing the show!  It’s hard to take a celebrity’s most iconic moves, and package them together in a way that works with the song and flows properly – it’s really fun but challenging!  But I think we made it work.

FCP:  How much does your choreography evolve from the first rehearsal to Opening Night?

DE:  I’m generally pretty good at sticking with my first instincts.  I don’t change too much, but of course I have to go with the flow, and adapt to meet dancers’ abilities and the director’s needs.

FCP:  You have a reputation for being able to make even “non-dancers” look good onstage.  How do you achieve that?

DE:  It starts off with having confidence in people, and instilling that confidence in them.  They need to know that if they work hard and step up to the challenge, they’ll get there.  Of course, there are certain tricks I can use – things that I know look impressive to an audience, but are simple to execute – those kinds of things help – although the choreography in “The Wiz” is pretty challenging for our cast overall.

FCP:  You’re a talented dancer yourself.  Do you ever feel like you would rather be up onstage?

DE:  There’s always a tension there, between choreographing and performing.  Choreography fell into my lap, and my career really exploded, and I love it.  I’m sure that  eventually I’ll be onstage again…I love performing and choreographing equally.

FCP:  What would be your dream show to choreograph?

DE:  I’m so excited to do Sweet Charity next season – it’s definitely a dream show for me, as the Fosse style of that show is something I’m really known for as a performer – although that means the pressure will be high, as audiences will have certain expectations of me.

Check out Dawn’s inspiring choreography in Fighting Chance Productions’ The Wiz, playing April 20 – 30 at Performance Works on Granville Island.

 

 

 

 

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The W Word: Meet the (Good) Witches of Oz

Brittany Scott plays Addaperle, Good Witch of the North

by Danielle Lemon

Brittany Scott and Emily Canavan are two of the loveliest, warmest ladies you’d hope to meet.  So how did these two fabulous women end up playing witches?  And what does the “w” word mean to them?  We sat down with Brittany, who plays Addaperle, Good Witch of the North, and Emily, who plays Glinda, Good Witch of the South, to find out.

FCP: Brittany, you’re playing Addaperle.  She’s not a character who will be familiar to people who’ve only seen the Judy Garland movie.  Tell us about Addaperle.

BS:  Addaperle is the first witch we meet in The Wiz.  She’s a super-positive, nice person, if a little bit full of herself!  She’s got a huge ego and really enjoys her moment in the spotlight.  She’s goofy, bubbly, silly and fun.

FCP:  Emily, you’re playing Glinda, who is of course more well-known than Addaperle.  How will your Glinda be different?

EC (laughing):  Well, she’s certainly less of a passive fairy princess!  She’s all woman, sexy, powerful and collected – there’s nothing fluffy about her.  Glinda is all about empowering Dorothy, and encouraging her to take control of her own destiny – sparking that inner magic, as cheesy as that sounds!

FCP:  So I guess you won’t be onstage wearing fairy wings and tiaras?!

BS:  My Addaperle will be a bit of an homage to another well-known artist.  So my costume will be one of the tools to portray that artist, along with some of the vocal stylings Chris (King, Music Director) and I have been working on.  There will be big platforms.  I’m definitely going to have to adapt the choreography as well to fit the costume I’ll be wearing!

EC:  My costume is fabulous and sexy, but so tight!  I’m not going to be able to breathe before shows!

Emily Canavan plays Glinda, Good Witch of the South.

FCP:  Emily, will Glinda also be an “homage” to a popular figure?

EC:  Not so much of a type, no.  She’s womanly and powerful, and that might evoke some associations to other icons.  Glinda is not motherly, but she is nurturing, and a teacher to Dorothy.  I hope people will connect with Glinda’s message, not necessarily Glinda’s image.

FCP:  Addaperle and Glinda sound really different from each other.  Are they friends?

BS:  Definitely good friends!  Emily and I have been talking about the relationship between these two for awhile.

EC:  Yes, they’re close like sisters, but really different, too, and that will come out in our performances.  While Brittany is a really powerful belter, my voice is more soulful and jazzy, and I’ll be playing with that in my song – Glinda will be a lot “softer” than Addaperle.

BS: Really, Addaperle is self-centered in a cute way – she just wants to be the headliner!

See Brittany Scott (Addaperle) and Emily Canavan (Glinda) onstage in Fighting Chance Productions’ The Wiz at Performance Works on Granville Island, April 20 – 30, 2011.

 

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Lion: on Courage

by Danielle Lemon

Sean Parsons is one of Vancouver’s most fearless performers, having played gender-bending Boy George in The Wedding Singer, naked hippie Berger in Hair, and now as a very different Lion in The Wiz.  So what’s it like to play such a cowardly character?  Leave it to Sean to give his Lion a courageous twist…


FCP:  I just watched you rehearse in incredibly high stilettos!  Tell us about Lion.

SP:  He’s a drag performer.  He’s all false courage and fierceness onstage, but it’s a persona.  He puts on a brave face, but it’s all an act.  The audience meets him at his boldest and most courageous, but he needs to be in hair, heels and makeup to portray that courage.  Dorothy teaches him that it’s bravest to be comfortable in himself, not just as the Lion onstage.  I think that’s something a lot of actors will relate to, it’s more comfortable being someone else than yourself.

FCP:  DId you always know that Lion was going to be a drag queen?

SP:  I had a good sense of that being the direction I wanted to go, right from the audition.  I had an idea that “fierce” meant in a drag sense.  I’ve performed in drag before, and in The Wedding Singer I played Boy George – I’m somewhat comfortable in overtly feminine roles – there’s a lot of me in this character.

FCP:  So why does Lion need courage?

SP:  He needs the courage to let his guard down and be himself.  Dorothy teaches him to have a sense of pride in who he is, not to rely on makeup, hair and heels.  That Lion is himself, not the character he plays on stage.  That’s part of the journey any gay male – any person, really – goes through in life – deciding who you are and being happy with what you have.  It’s part of growing up, really, and I think most people will relate to that.

FCP:  Where do you find your courage to perform these wild characters?

SP:  Well, that’s the fun of performing – taking things to the extreme.  It allows you to grow as a person and an artist.  During Hair, for example, I learned so much about myself by learning about the real-life philosophies and the historical movement behind the show.  Being naked onstage with 20 other people – the freedom to be able to do that  – it helps you grow.  The courage -  it makes you fearless.

Sean Parsons stars as Lion in Fighting Chance Productions’ The Wiz, April 20 – 30, at Performance Works on Granville Island.

 

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The Men of The Wiz

STEVEN KRAJNYAK (ENSEMBLE): Steven is super excited to be singing and dancing and getting into all sorts of tomfoolery in The Wiz.  Steven is a graduate from the University of the Fraser Valley’s Theatre program where he received his Bachelor of Art’s Degree.  He most recently appeared as the Monsignor in The Unsinkable Molly Brown with Applause! Musicals in Concert.  Steven performs improv with various groups around the lower mainland and across Canada.  He also has a reccurring gig, appearing almost daily at a local coffeeshop making lattes and trying to teach his staff how to sing Act 2 of A Chorus Line by the end of his shift.

JEREMY FORNIER-HANLON (ENSEMBLE): Once believed a relic of the Old World, the mysteries of Jeremy Fornier-Hanlon’s past are only recently coming to light. Secrets not excluding his excavation in Panama, journey into the depths of a hidden volcano in Antarctica, and hijinks with a poltergeist named Steve. You may think he looks like the dashing young fellow who portrayed Tobias Ragg in Sweeney Todd, but you would be mistaken. That kid was clearly twelve.

SYD SENGOTTA (ENSEMBLE): Syd has been in the arts from an early age. He graduated the third year program from the Canadian College of Performing Arts where his year performed and handled all the backstage and behind the scenes for Rumors, A Class Act and Seven Stories. Recently Syd has been performing in Kamloops with Train Track Productions. Syd has also toured around BC with Theatre Royals Motherload, as well as being the MC for the BC 150 celebrations Spirit Train. Syd is thrilled to be working with Fighting Chance Productions and is looking forward to their upcoming season.

HAL ROGERS (ENSEMBLE): This is Hal’s third show with FCP and it won’t be the last!  Previous credits include Rent (2009) and Hair (2010).   Hailing from Edmonton, Hal moved  here last summer for Hair and decided to stay to avoid the frigid Alberta winter.  He just finished his first year in the BFA Acting program at SFU’s School for Contemporary Arts.  In August he’ll be doing some summer school at St. Cecilia’s boarding school, in Fighting Chance Productions’ Bare: A Pop Opera.

MICHAEL BROCK (ENSEMBLE): Michael Brock has been acting on stage and screen since he was 5 years old.  After a dream role as Claude in FCP’s HAir last summer, he’s so happy to be back onstage in the Wiz.  When not on stage, Michael is actively auditioning and working as an actor in the city, singing songs, teaching a film/TV program at the Vancouver Acting School, and dreaming big.  He sends huge love and thanks to family and friends, you have all the brains, heart and courage a guy could ask for.

STU WILSON (ENSEMBLE): Stu is thrilled to be making his debut with Fighting Chance Productions and to be sharing the stage with new and old friends.

 

 

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The Scarecrow: Thinking It Through

by Danielle Lemon

Lucas Blaney is fast becoming an integral part of the Fighting Chance family.  Not only is he taking on the role of Dorothy’s best friend, the Scarecrow, in The Wiz, he’s also tackling the lead role of Jason in Bare: A Pop Opera.  We caught up with Lucas to talk about the thought process that goes into preparing for such diverse roles.

FCP:  Tell us about your Scarecrow.

LB:  He’s a street performer, a living statue.  Physically, he’s the most slapstick of Dorothy’s friends – there’s a lot of rolling around, a lot of pratfalls.  I’m trying to keep him very exaggerated, physically.

FCP:  So the Scarecrow is looking for a brain…

LB:  Right, and I’m really playing up the “dumb blonde” moments. In terms of the Scarecrow’s thought process, I’m keeping it as minimal as possible (laughs). A lot of significant moments in the show go right over his head.  He’s really the comedic relief in some of the more serious moments in the show.

FCP:  The Scarecrow is Dorothy’s first friend in Oz, and she says she’ll “miss him most.”  What do you think makes the Scarecrow so special to Dorothy?

LB:  He’s very protective of Dorothy, even though he’s probably the least capable of protecting her.  I think that is endearing in some ways – he puts life and limb at risk for her.  He’s loyal to a fault.

FCP:  Do you have a thought process that you go through when preparing a character?

LB:  The process really depends on the character and the show – for instance, I’ll go through a much different process with Jason in Bare than I would for this show.  That character has to be a lot more three dimensional – I’ll want to know what his birthday is, whether he has brothers and sisters, what his Catholic upbringing was like.  My process for a character like the Scarecrow is more about the physical choices I’ll be making.  No matter the character, my process always starts with a read-through of the script, and building the character from what I’m given and what parts of myself I think I can add to it.  I’ll build their backstory.  In all shows, I also get a lot out of the rehearsal process and bouncing things off other cast members.  For me, it’s really a collaborative process.

Lucas Blaney stars as The Scarecrow in Fighting Chance Productions’ The Wiz, April 20-30 at Performance Works, Granville Island.

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Announcing our 2011/12 Season

We are thrilled to announce our REAL 2011/12 Season.

Subscriptions available by e-mailing subscribers@fightingchanceproductions.ca or download page one here: FCP_Season_pg1and page two here: FCP_Season_pg2.

From Ryan: Picking a season is like mixing the perfect cocktail. It’s a delicate balance, all the right parts have to be there, in the right order. Slip up and the whole thing could fall. After five years, I think I’ve got it right. This truly is a season of strengths. We’ve mixed together a season cocktail that is powerfully touching, mysteriously sexy and hysterically perfect. Season subscription is the only way to guarantee your seating to a season that is our most exciting in five years. Don’t miss out, order today, and drink up. So without further ado…

A Funny Thing Happened on the Way to the Forum: October 4 – 23, 2011

Vaudeville Meets Rome

Jericho Arts Centre

Book by Burt Shevelove and Larry Gelbart, Music & Lyrics by Stephen Sondheim

With permission by Musical Theatre International

“A good, clean, dirty show! Brings back belly laughs!”Time Magazine

Directed by Cathy Wilmot. Music Direction by Sarah Jaysmith. Choreography by Dawn Ewen.

Starring Steve Dotto, Cameron Dunster, Mike Wild, Elyse Maloway, Matt Ramer and Ryan Mooney as Pseudolus

 

The Temperamentals: November 23 – December 3, 2011

Mad Men Meets Milk

PAL Theatre

by Jon Marans

With permission by Dramatists Play Service Inc.

“Intellectual, emotional and sexual”New York Times

Directed by Ryan Mooney

 

The Mystery of Edwin Drood: February 15 – March 3, 2012

Charles Dickens meets Choose Your Own Adventure

Metro Theatre

by Rupert Holmes

With permission by Tams-Witmark

Rupert Holmes’ achievement is little short of astonishing …Variety

Directed by Ryan Mooney. Music Direction by Vashti Fairbairn. Choreography by Dawn Ewen

Starring Alex McMorran

 

Grey Gardens: May 1 – 19, 2012

Hilarious meets Heartbreaking

Jericho Arts Centre

book by Doug Wright, music by Scott Frankel, lyrics by Michael Korie

With permission by Dramatists Play Service Inc.

The best musical of the year…GREY GARDENS blooms with creativity… Some of the most tuneful and moving songs to grace an original musical in years!”USA Today

Directed & Staged by Ryan Mooney. Music Direction by Caitlin Hayes.

Starring Cathy Wilmot, featuring Celia Reid & Lucas Blaney

Sweet Charity: August 8 – 25, 2012

Bob Fosse Meets Neil Simon

Waterfront Theatre

book by Neil Simon, music by Cy Coleman, lyrics by Dorothy Fields

With permission by Tams-Witmark

“The show itself is a joy. From the moments you hear the bleary, brassy opening notes of the show’s most famous number, Hey Big Spender, one knows — as the song promises — that one is in for a good time.” The Telegraph

Directed by Ryan Mooney. Choreographed by Dawn Ewen

 

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