Shakespeare on the Saskatchewan released its Annual Financial Statements at its AGM Tuesday November 27. The Board and Staff are pleased to announce that the 2007 Season of Tyrants and Lovers featuring Julius Caesar and Twelfth Night was a huge success. The company is posting a surplus of $29,009 making this its third consecutive year of surplus. In the ten years from 1995 to 2004 we recorded deficits in seven out of ten years said Artistic and Executive Director Mark von Eschen so that makes three good years in a row taste even sweeter. We have had excellent support from funders, sponsors and suppliers to donors, volunteers and patrons - excellent support from our entire community - they must all take part of the credit for our success.

By the end of the 2004 season, the company’s deficit was at a record high of $136,417. The company was restructured then, and the Board with a reduced staff set to work to keep the company afloat. In 2006, the deficit was retired a year earlier than anticipated. The company will use this years surplus to add back necessary staff positions that were eliminated in 2005. Everyone has been working hard, some at more than two or three positions. It is good to finally turn the corner and find some room to breathe, says von Eschen.

For the first time in many years we are out of crisis management mode and have opportunity to plan more than a year in advance. We are working hard to raise the $425,000 needed for next summers productions of The Tempest and Henry IV, but we can also start planning for a spectacular 25th anniversary the following summer. In the annual report von Eschen outlines the companys next major challenge is to rebuild its Board of Directors, as now several are moving on to other interests, with people who envision success for Shakespeare on the Saskatchewan and will help realize its dreams for the future.

Last night, at the regularly scheduled City Council meeting, Artistic Director Mark von Eschen revealed plans for the 2008 Shakespeare on the Saskatchewan season running July 2 to August 10, 2008.

The Tempest - treachery, magic, romance, and comedy

The Tempest is one of Shakespeare’s most famous plays from late in his career. Prospero, the rightful Duke of Milan, is usurped and banished to an enchanted island by his ambitious brother Antonio and Alonso, King of Naples. To get revenge, Prospero, uses his magic to create an incredible storm that brings Antonio and his co-conspirator to the island after their ship breaks apart. However, Trinculo (a jester) and Stephano, Alonso’s drunken butler also land on the island and team up with Caliban, an unusual man-beast slave of Prospero’s. The three of them, in an inebriated state, decide that they should rule the island; their attempt creates merry mayhem. Shakespeare also adds Miranda (Prospero’s daughter) falling in love with Ferdinand (King Alonso’s son) to create a wonderful tale of treachery, magic, romance, and comedy. The Tempest is certain to delight audiences of all ages at Shakespeare on the Saskatchewan in 2008.

The First Part of Henry IV – With the Humorous Conceits of Sir John Falstaff (Henry IV) - rebellion, justice, heroism (and humorous conceits)

Rebellion, raising her ugly head, prevents King Henry IV from traveling to the Holy Land for the Crusades. He laments that he cannot have peace in his country, or a crown prince that has the same drive and determination as his enemy’s son, Henry Hotspur. Young Prince Hal has fallen in with Sir John Falstaff and his cronies and does not behave as the Prince of Wales should. However, when civil war rages, the Prince shows his true mettle, saving his fathers life in battle, then defeating the rebel Hotspur in a final duel to save the crown of England. This is the first time the Henry IV will appear on the main stage at Shakespeare on the Saskatchewan and is certain to be an exhilarating production with fabulous broadsword battles and terrific acting.

Shakespeare on the Saskatchewan’s Artistic and Executive Director, Mark von Eschen, was at City Council to report on the successful 2007 season, talk briefly about the company’s improving financial health, and make a $12,000 payment on a loan secured in 2001 to present the Festival. "Shakespeare on the Saskatchewan is doing better" states von Eschen "but there is still much work to do building our Board and attracting new sponsors."

It's a wrap for Shakespeare on the Saskatchewan - a very warm wrap. The 23^rd annual festival finished the season with higher attendance than last year. But a few clouds would have provided a silver lining.

It's hard to compete for weekend patrons when Wednesday's five-day forecast is 32 and sunny, Mark von Eschen, artistic and executive director, said Monday.

"If the weather had been cooler in July, we would have had more bums in seats." About 10,000 fans - real ones, not electric - attended the festival, up by 500 from last year. Twelfth Night was the better attended of the two, as is usually the case with a comedy. It sold to 85 per cent of capacity. The tragedy of Julius Caesar drew 70 per cent, but it would have seen 74 if the sparsely attended school matinees weren't counted.

The cast took the July heat wave in stride. Unlike the audience, the actors can go and splash water on their faces between scenes, von Eschen noted. Actor's Equity stipulates the show has to be cancelled if the temperature in the yard hits 33 before showtime. One Sunday forecast was for 37, but it got only to 32, so the show went on. A cool breeze off the river helped that day. A recent switch to an all-white tent means it's cooler inside by a couple of degrees. "It is a palpable difference," said von Eschen.

Other events around the mainstage attracted an additional 2000 people. The addition of a second medieval feast was a hit - both feasts sold out beforehand, and people had to be turned away. It's tempting to think about adding yet another, but the event relies on the goodwill of volunteers and sponsors, so you can't push it too far, von Eschen said.

As usual, a lot of people waited for the end to snap up tickets. Every one of the 282 seats was sold for every show in the last week.

"We have to figure out something to attract the procrastinators."

Since it's held in a tent, weather and noise are two of the biggest concerns. Motorcycles and muffler-less cars continue to provide sound and fury, especially when they're high-revving up the University Bridge.

The festival has a long-term goal to move the tent to the north and of the site, which would put it much farther from Spadina Crescent. But because the event continues to focus on financial stability, that plan is still at least five years away.

Von Eschen and the board will meet within a few weeks to plan next season. Tentatively, there will be a comedy and a tragedy, one done before and one new to the festival.

© The StarPhoenix (Saskatoon) 2007

Sunday marked the end of another spectacular season at the Shakespeare on the Saskatchewan, and we are happy to say it was a great success. Despite extremely hot July weather that lured people to the lakes, over 10000 tickets to main stage performances were sold - Attendance was up by 500 over last season. Second stage events and Shakespeare's youth programs attracted another 2000 patrons. Survey feedback has been incredibly positive, and satisfaction from patrons is high:

"One of the Highlights of my summer. I go to both shows each year. I loved Julius Caesar "

"These Shakespeare Productions are the most enjoyable plays of the Bard that I've seen anywhere. Very professional and creative."

"An Excellent performance - much better than the "Measure for Measure" we saw at the Stratford Theatre in England."

"Shakespeare on the Saskatchewan is a great experience and fantastic acting. We have a lot of talent here in our city & province."

"Awesome! Brilliant, enthusiastic Actors - I will be back!"

Financially the Festival is doing much better than recent years. Revenues have met projections, and expenses have been kept strictly in line. We are cautiously optimistic that we will post a small surplus. Stay tuned for details on next years Festival in the coming weeks!

The Shakespeare on the Saskatchewan Festival would like to remind everyone that summer is winding down and our season is quickly coming to a close. With only five more days to catch Julius Caesar or Twelfth Night, time is running out!

If you haven't yet seen the shows and wish to do so, please call the box office at 652-9100. Seats are filling fast so call early! Don't miss the last opportunity to catch the Bard before the tents come down for 2007!

Every night will be different of course, but nature contributed some wonderful elements to the preview of Julius Caesar at Shakespeare on the Saskatchewan on Thursday evening.

A breeze that blew through the huge white tent wasn't just refreshing. It made the set's banners sway and flap -- a wonderful hint of storms to come in a play full of portents. The heat contributed as well. Overthrowing a potential tyrant is pressure-packed work, and the strain showed, thanks to the sweat on the faces of the actors. (It's a pity that mosquitoes don't have a similarly symbolic purpose).

Director Mark von Eschen let nature take its course with a traditional interpretation of the play. Although he takes liberties to heighten the drama, bringing Calpurnia (Clare Middleton) in to wail over her dead husband's body, this is a togas-and-breast plate event of the type Elizabethan audiences would have seen.

The red and black set, by Carla Orosz, is dominated by three impressive banners which look forward to the imagery that would be adopted centuries later by Nazis and fascists. The play itself has several key elements that prevent it from feeling dated. The motivations of the characters are complex -- will Caesar really become a tyrant? Does Brutus truly act in the interest of Rome? There's something modern in the play's women as well, the urgings of Portia (Kari Wells elicits great empathy in the part) and Calpurnia.

Of course, this is about as macho as a play can get. The women's sage advice is ignored and the men go off to hack and slash their way into the history books. Tom O'Hara as Antony and Matt Burgess as Brutus make for a formidable pair of foes. The key funeral speech scene is a winner, with Brutus swaying the crowd one way and Antony winning them back with a brilliant counter-oration. Every time he declares how honourable Brutus is, it means less until the man and his cause are dismantled.

This is a play of great imagery and iconic moments. The stunner, set to a martial drum beat by von Eschen, is Caesar's body being carried out, essentially through the audience. The tent, the voluminous Harley noise on the streets outside, all melt away in this solemn, unsettling moment.

With its battles and string of honour-suicides, the second half of the play should also be heart-stopping. Instead, the cloudy intentions that make it seem modern come back to haunt. Things come screeching to a halt and you don't know what Cassius (Ralph Blankenagel) and Brutus are arguing about in their key scene. Later, you're not quite sure why Cassius finds the need to kill himself and you don't feel terribly bad that he does, though you know you're supposed to. This segment is the equivalent of the explosions-and-car-chase third act of a Hollywood blockbuster but, with the exception of an honestly dangerous sword fight between Casca (Paul Schulz) and Antony, fails to thrill. Like Caesar's career, perhaps, this is a play that peaks too soon.

Julius Caesar opens tonight runs in repertory with Twelfth Night until Aug. 11.

© The StarPhoenix (Saskatoon) 2007

Its surname "What You Will" gives licence to make what you want of it, so no further cue is needed for Shakespeare on the Saskatchewan to have some fun with Twelfth Night.

Set in an undefined time where rock music is the backbeat of life, this is a comedy of striking style. Costume designer Beverley Kobelsky didn't direct the play but she certainly directs its attitude.

The tone is set by Feste (Tom O'Hara). Since he's a clown, it's perfect that he wears KISS-like makeup. It hardly ends there, what with his Slash-like top hat and sleeveless leather coat screaming rock 'n' roll excess. The spectacular look of Sir Andrew Aguecheek (Paul Schulz) is from the glam school of rock: Feather boa, wonderful winged sunglasses a la Elton John, yellow satin coat, silver bellbottoms and platform boots. The moody Olivia (Anita Smith) sports a goth look, with more eye makeup than a certain Ms. Lavigne. And why should Antonio (Matt Burgess) be a mere sea captain as Shakespeare imagined when he could be a pirate and look like Johnny Depp looking like Keith Richards?

Out of this glorious rag bag comes a beloved Shakespearean sit-com. Everything hinges on mistaken identity, so it helps that Ilyria is the country of impaired hearing and eyesight. Olivia doesn't notice that the disguised Viola (Clare Middleton), the object of her affections, is a girl, and no one can tell the twins Viola and Sebastian (Will Brooks) apart. (Though, once his ardour for Olivia wears off, Brad Loucks' Duke Orsino doesn't seem to care what gender Viola is).

Reliable regulars and exciting newcomers make this play worth seeing. Schulz quickly becomes a crowd favourite with his bird-like and bird-brained rendition of Aguecheek, which was wonderfully funny at Wednesday's preview. It's not easy living up to high expectations, but that's what Brad Grass did as Malvolio. He starts out in a grey business suit, as snooty as can be. Drawing the ire of Sir Toby Belch (Alphonse Gaudet) and his entourage, Malvolio is targeted in a mean, but deliciously wicked, practical joke. Grass turns Malvolio into a giggling ninny when he's tricked into thinking that Olivia loves him. And when he finally sports the yellow spandex leggings and start preening, he positively rocked the tent.

These are the moments you hope for in this play. But perhaps even more exciting is finding new things in unexpected places. Smith's outstanding work as Olivia, for example, sheds new light on the character. Her lines are crystal clear and she makes Olivia come alive both as a bored, spoiled rich girl and a real person.

Director Mark von Eschen does much to further the laughs with well-placed but not overly used slapstick. He does much as well with telling glances, which fill in the blanks between the lines. Overall, his production has the strut and confidence of a frontman, and bears the markings of a can't-miss summer comedy.

Even so, the use of music in the play could have had a far bigger impact. O'Hara's Feste carries and strums a gorgeous black Epiphone, starting with part of the intro to Dream On by Aerosmith (though not Dude Looks Like a Lady). But rather than continuing with iconic rock chords (All Night Long might have suited Twelfth Night, or You Can't Always Get What You Want) he goes with dark and boring dirges by Three Days Grace and Green Day. If music be the food of love, rock on.

© The StarPhoenix (Saskatoon) 2007

Shakespeare on the Saskatchewan is pleased to announce the brilliant cast of this years plays, Julius Caesar and Twelfth Night. With many returning faces and some fresh new ones, this season is gearing up to be an enormous success!

Twelfth Night
Comedy fans can expect hilarious performances by the stellar cast of Twelfth Night. Talented and beautiful Clare Middleton returns for her third season with the festival to tackle the lead role of Viola with handsome Will Brooks returning as her twin Sebastian. Brad Loucks (last season's hilarious Gremio in Taming of the Shrew) is back to play The Count Orsino; and performing for the first time with the Festival, Anita Smith - a graduate of the University of Regina Department of Drama, will play the lovely Countess Olivia. Audience favourite Alphonse Gaudet plays the hilarious Sir Toby Belch, with his sidekick Sir Andrew Aguecheek, played by Paul Schulz who has returned to Saskatoon for the summer from Vancouver where he has been busy with film and television work. Saskatoon's own Brad Grass plays the coveted role of Malvolio, Olivia's puritanical and controlling servant.

Julius Caesar
The Powerful cast of Julius Caesar is sure to make this season a memorable one. Matt Burgess comes home to us from Vancouver to play the tragic hero Marcus Brutus with Festival veteran Ralph Blankenagel taking the role of his co-conspirator Caius Cassius; Tom O'Hara will take charge as the influential Marc Antony who honors Caesar (Alphonse Gaudet) and seeks revenge for his death. Alden Adair (last season's Proteus in Two Gentlemen of Verona) plays Octavius Caesar, and Kari Wells has her Festival Debut playing Brutus' beautiful wife Portia.

With Production Stage Management by Laura Kennedy, assisted by Denise Hansen, and an amazing design team, this season of "Tyrants and Lovers" will entertain and amaze. Artistic Director Mark von Eschen directs; sets for both plays are designed by the talented Carla Orosz, with lighting by Stephen Wade, and remarkable costumes by Beverly Kobelsky.

Shakespeare on the Saskatchewan released its annual Audited Financial Report at its AGM on Tuesday November 28. The Board was pleased to announce that the success of The Taming of the Shrew and The Two Gentlemen of Verona in the summer of 2006 has reduced and retired the deficit that nearly crumbled the company two years ago. The company has been carrying a deficit since 1995 that inflated to a record high of $136,417 in 2004. At that time, the company was overdrawn on its line of credit, grants for 2005 had been spend on 2004, and the Board met to decide if it was time to dissolve the company at what has become known as the "To be, or not to be" meeting.

The 2005 season of Comedy of Errors & Romeo and Juliet was accomplished with restructured management, extreme cuts to all departments, reduced salaries, much volunteer work from Board and Staff, incredible support from The City of Saskatoon, The Saskatchewan Arts Board, The Saskatchewan Cultural Exchange Society, and Canadian Actors Equity Association; timely and important cash sponsorships arrived from SaskTel, Hot 93, Magic 98.3 and CJWW 600, the Partnership, The Saskatoon Community Foundation and the Kinsmen Club of Saskatoon; as well as important and ongoing support from many other longtime sponsors and citizens of Saskatoon. The 2005 season reduced the deficit to $37,536.

Revitalized governance at the Board level and important strategic planning coupled with diligence in fundraising and prudence in spending were the hallmarks of company operations in 2006. In the spring, cuts were made in Festival plans when corporate sponsorship goals were not being met and the production team pulled together for another frugal season. It looked like a modest surplus for the year would reduce the deficit, but not eliminate it; right before year-end, a very generous individual donation arrived and pushed the company's bottom line into the black for the first time in over ten years.

"We must continue to work hard on fundraising and attracting new corporate sponsors while being prudent with spending," said Artistic and Executive Director Mark von Eschen, "it is expensive to field twelve actors and rebuild the festival site every year; while it is great that we have reached this incredible goal, we cannot go on a spending spree. It will take several more years of hard work before we can consider a play like Anthony and Cleopatra which will require at least a cast of sixteen actors."

Watch the play, not your seat

Did you know that Shakespeare on the Saskatchewan Festival, has reserved seating! Buy your tickets now for the best seats in the house!