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March 22 – April 7, 2013Performed at

La Cité Francophone Theatre

Proud Publishers ofTheatre Network Playbill

Shadow Theatre PlaybillWorkshop West Playbill

780-443-3444

38 | Double Double

Nell: Linda GrassMarlene: Liana Shannon

Kevin: Jon PattersonDirector and Dramaturge: Michael Clark

Lighting & Costume Design: Daniela Masellis Set Design: Victoria Zimzki & Guido Tondino

Sound Design: Dave ClarkChoreography: Ainsley HilliardStage Manager: Betty Hushlak

Production Manager:James Robert Boudreau & Mopboy productions

Assistant Director: Natalia Knowlton Props: Amy ?

Media Relations:Bottom Line Productions Inc.

Please note that Double Double runs without an intermission.

Workshop West Theatre is a non-profit charitable organization operating within the jurisdiction of the Canadian Theatre Agreement with Canadian Actors

Equity Association and the Associated Designers of Canada. It’s a member of the Professional

Association of Canadian Theatres, the Edmonton Arts Council and the Professional Arts Coalition of

Edmonton. Kenneth T. Williams is a member of the Playwrights Guild of Canada

Workshop West Theatre 3

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780.477.5955 11516-103 Street

Edmonton, AB. T5G 2H9www.workshopwest.org

Our Mandate:Workshop West Playwrights’ Theatre is an Edmonton-based professional theatre dedicated to the development, production, promotion, and presentation of new Canadian playwrights and their plays, and to the education of the public in playwrighting skills.

Interested helping new Canadian Theatre?We’re is recruiting new members to join our Board. The Board of Directors is responsible for overseeing the fiscal health of the company, and for its staff’s work in finance, marketing, fundraising, and special projects. We’re looking theatre lovers or philanthropically minded people willing to help strengthen and expand our relationships within our community.

If you’d like to learn more, please call our General Manager, Nathan Huisman at 780.477.5955 ext 302 or write [email protected].

StaffArtistic Director: Michael Clark

General Manager: Nathan HuismanArtistic Associate: Joel ChrchtonPatrons Relations Manager: Neon

Financial Manager: Flo Schultz

Board of DirectorsPresident: Kenneth Fitz

Vice-President: Ken BrownTreasurer: Karen Johnson

Secretary: Kyle KawanamiPast President: Jennifer Spencer

Stacey Cooper Miki Stricker-Talbot

Anne Cameron

Honourary BoardGerry Potter

Brian PercyCatherine Cole

Flo SchultzGord Nielsen

Louise CampbellSteve Struthers

Kim Iampen

Workshop West Theatre | 37

36 | Double Double

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6 | Double Double

donors&volunteers

DonorsAlberta BalletReena AmiriDenise AssalyMalkit AtwalAudrey’s BooksJames & Barbara BeckDonna BagdenStewart BakerBell CanadaSharon BellJessie BemountGwen BerdanJ. BeslerDiane BessaiJames BirbeckBistro PrahaBarbara BlackleyLaurie BlakemanFay BoerMike BoireAnnette BoormanDavid BourassaKarin BrochuKen BrownBuddy’s/Woody’sJoyce BurnettCall The Kettle BlackStanley CarrollPatricia CaseySandra CastellarinCBCCharles Williams HairCitadel TheatreCity LumberCKUA RadioConcrete TheatreMichael ClarkJonathan ChristensonPenny ChristopherBrent ChristophersonAllison ConnollyCruiselingBrian DeedrickDial PrintingDarcy DietzDown UnderAndre DubeLouise DubeLorene DunnTim EckertEdmonton OperaExecutive Express

J. Denise ExtonMrs. Grainne FineganFat FranksLois FieldKen FitzFirefly TheatreFringe Theatre

AdventuresJean-Pierre FournierLynn FriedrickFreewill Shakespeare

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AdventuresFull Finish Drywall Ltd.Robin FyithJosee GagnonMonte Gannon RealtyMaria GalpinAnna GaultSiobhan GaultMary GlenfieldMrs. Eppy GrafAlexander Graf-

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CouncilPeggy MorganTania MysakLinda NaganoShona NeilNeWest PressSandra NichollsNorthern Light TheatreNorthern Lights Bed &

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Industrial SupplyPropaganda HairPure Spring Water

Services LtdRainbow FoundationRichard Rand Joanne RausbergerNoreen RobertsonJ. RoblinBente RoedClarence RomanickRon RowswellDenise RoyLinda RubinOwen SchlosserElizabeth Salter

Don & Flo SchultzSee MagazineJan SelmanShadow TheatreShag the Hair StudioIan SheltonKen ShieldsSisbro LandscapingFrancis & Greta SitwellJennifer SpencerSpecialty Plant ServicesElaine SolezSunworksVivian StevensonKent StobartHazel M TalboysTelusSandra TevesThe Cutting RoomThe Works FestivalTheatre NetworkCaylee ThompsonTimms Centre

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VolunteersLiz AllisonKeith AndonyMary Elizabeth ArcherCarla ArmstrongDale ArthurSue BarnesNicole BourqueClinton BoniseValerie BraidenEllen ChorleyTanya CorbinPaul DettaSylvia DouglasStefan DzeparoskiAlex ForsythSari HaasAinsley HillyardJanna HoveDave GardnerShari HartAinsley HillyardHeather JonesWalter KehlMaria KotovychMichael KowalchukRon KrawetzPhil KreiselZina LeeDenise LefebreFaye L’HirondelleFran MarionLouise MaryniakAlex MawanayEllie MaySusan MayoGraeme McElheranStephen McEachernBrenda Montgomery Kathy OchoaVicky RogersCelyne RuznerAnne SadavaKim SandenRenata SantiniSavannah SchantzDor ShimonichekMark StubbingsDarcy TurlockJanine Vo Volunteers from the

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Thanks so much for joining us for the premiere of DOUBLE DOUBLE!

There’s something so exciting about seeing a play run in front of an audience for the first time. It’s my favourite thing about our work at Workshop West Theatre. It’s like the first performance of a symphony, or the unveiling of a sculpture, or the launch of a new book (by Margaret Atwood or someone) but yet, its not.

Theatre happens at that magic intersection between the artists’ work and the audience. We couldn’t do it without you. Until you arrive, we can only rehearse.

The week we began rehearsing Ken’s play, a play that we premiered in 2011 began the run of its second production in front of audiences in Lethbridge. In fact, since this time last year, four plays that Workshop West has premiered have been produced at other theatres. AN ALMOST

PERFECT THING played for audiences in Lethbridge, TUMIT in Vancouver DRY THE

RAIN in Nanaimo, and THE MIGHTY CARLINS had its third production in Saskatoon.

Workshop West’s full legal name is Workshop West Playwright’s Theatre. This summer we rebranded our logo with our full name to emphasize this fact. Premiering new plays is risky business, so when other theatres choose to produce “our” plays for their audiences, we consider it a real success. It’s been a good year.

We couldn’t do this without a brave audience that is willing take the risk on new plays with us.

I hope you enjoy Ken Brown’s new play. Thanks again for coming!

Michael

Michael Clark

artistic director,s notes


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acknowledgments

Workshop West and the Cast & Crew would like to thank:

PLAYBILL PUBLISHER: Three Little Pigs Publishing Ltd.PLAYBILL DESIGN: The Virtual GroupPOSTER & WEBSITE DESIGN: Michael Cowie

Nola Declan Madeline, Speros V for the Tats, Keltie Brown, Ken Fitz, Ken Fitz’s dad, Ron Joyce, Paul House, Tim Horton’s Inc TDL Group Corporation, Pauline Wong, Barry Stewart, Dan Duval, John Kerrin, Doug Gunn, Alia Sunderji, Jeff Parkinson,

Robert Crowe, Jeff Goldstein, Paul Dabbs Jacy, Ben, Kevin Jim Bob and Amy

Workshop West Theatre | 33

32 | Double Double

(1 page) with a photo of ken on a sail boat

There’s something deeply Canadian about grabbing a coffee at Tim’s. It’s kind of modestly commercial. And so much important emotional stuff seems to happen there. It’s where we go before weddings and after funerals. It came from Canada, and it’s named after a hockey player, even if the corporation is now international. We seem to prefer its homey message to the more upscale corporate exterior of the two competing coffee franchises. It’s ubiquitous and has consistent standards. Having spent large parts of my professional career on the road, I can vouch for my own gratitude at pulling up at all hours of the day and night at the familiar yellow sign.

I’m not shilling for Timmy’s; I’m saying in a society as mobile as ours, and in a world where fewer and fewer people eat home cooking, it’s a fact of our lives. What is more important for me as the writer of this play is that we’ve embraced what the franchise sells: consistency of product and the monochromism of the environment. We lament for mom and pop eateries even as we pull up to the drive-through window and roll up the rim because it’s cheap and available, and chances are, our lives are taking us somewhere early in the morning or late at night, and we need the drug they’re selling.

The other important thing I want to address in this play is that we’re NOT at home eating that home cooking. We are increasingly a society of single people sitting in our cars, going to workout class, attending theatre, or just staying at home, aging and alone. If you’ve lost your mate to one thing or another, you don’t go to the church or temple, or the political club, or the community league, to connect with another. You go to Tim’s and do the crossword. There’s nothing wrong with going to Tim’s and doing the crossword. I do so myself (and I face the Sunday NY Times version with a shudder). Like Marlene, I like the coffee.

This play expresses the hope that we still need to connect with real human beings, wherever we do it, because doing the crossword together gives us more comfort than doing it alone. If Nell and Kevin are quirky and a bit neurotic, if they have their conflicts, I’m pulling for them because it’s an old-fashioned good thing for people to have that need. I hope you find yourself pulling for them too.

-Kenneth Brown, March 2013

Playwright's notes

Kenneth Brown


10 | Double Double

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Kenneth Brown is one of Canada’s best playwrights and I’m thrilled to get to premiere one of his plays.

Ken’s association with Workshop West dates back to its early days. He acted in Gerry Potter’s production of BALCONVILLE in WWT’s Season 3. His daughter, born a few years later, was in two of our shows as a child actor. She was our General Manager from 2008-2012. I know of four of Ken’s plays that have plays on our stage. Many more have been worked in in Springboards, our new play reading festival.

DOUBLE DOUBLE is part of our initiative to invest more resources and more time into our productions of new plays. We’ve been working on it for nearly 3 years. Ken first told me he was working on a romantic comedy set in a Tim Hortons in 2010. In 2011, when we read it in Springboards for the first time. Liana Shannon has been closely involved with the play’s development since that first reading. I believe this was also when our production’s set designers first encountered it. 5 other very fine actors also contributed immeasurably to its development.

DOUBLE DOUBLE is deceptively simple. At first glance it appears to just be two people talking. As we’ve worked deeper and deeper through the layers of Ken’s carefully constructed world we’ve had a lot of fun uncovering a thoughtful, soulful, cheeky, puckish, ultimately hopeful critique of the complicated world we inhabit. About half way through the play one characters says “ like a lot of jokes, it’s also true. This is what we found about DOUBLE DOUBLE.

It’s been a pleasure to learn from all the artist who’ve helped put this show together. Its been a delight to work with a master playwright.

I hope you enjoy Ken Brown’s wry DOUBLE DOUBLE world as much as we have.

Director's notes


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and a theatre for comic judgement and readjustment (especially given George Meredith’s observation in his “Essay on Comedy” that we find people and their actions laughable when we judge them lacking in or failing to demonstrate common sense).

In dramatic terms, Marlene is a classic choral character, a “[p]erson within the play itself who stands apart from the action and by his or her comments provides the audience with a special perspective (often an ironic perspective ) through which to view the other characters and events” (M.H. Abrams, A Glossary of Literary Terms 37). She is a large part of the answer to Kevin’s rather insulting question in scene 9, about coffee shops: we go to them, at least in these situations, for the very predictability he gets so irate about. We go because they are constants and, in the right hands and under the right management, effectively relationship neutral.

Marlene is a maintainer of that relative constancy--the go-between who translates company policy into action, sometimes for her own amusement, sometimes for the education of her customers, and sometimes for both. She sets the “norms” or the common sense, the boundaries to what Kevin and Nell can and cannot do at Tim’s and in their coffee shop negotiations. This is where they come to reflect on and rebalance from the offstage goings on we don’t see, but hear about.

How Aristotelian: some things you just do not show onstage, but properly mediated talk serves to subject them to the purging judgement of pitying laughter.

Cream and sugar with your catharsis, anyone?

(Spoonfulls?)

Don Perkins, Ph.D. Don is a Faculty Lecturer in the

department of English and Film Studies at the University of Alberta


The hapless pair in Tom Wayman’s comic poem “Wayman in Love” brings so much baggage to bed with them, they are joined by Marx, who calculates the economic consequences of their tryst, and by Freud, who observes that

they “have problems.” They should just do what

Kevin and Nell do: get up and go the nearest Tim Hortons, and work it out over coffee.

Romantic relationships are, after all, unpredictable harlequinades, patched together from past failures; fleeting successes; lonely vulnerabilities; current opportunities; half-remembered nursery stories and fairy tales; hegemonic expectations imposed or shattered; lies undetected, lies detected, lies forgiven; sins committed, sins omitted, sins relished in--repeatedly; cups of coffee ordered, consumed, spilled, thrown, abandoned for more horizontal pleasures….

Coffee shops have not always been such places of romantic resort and negotiation. In 15th-century Turkey, for example, the coffee shop was the local divorce court, where a woman went to leave “a husband who did not provide enough coffee.” So says “Penny Universities: The History of the Coffee House.” I don’t think that “coffee” was necessarily a euphemism for something else not provided, but it might have been.

Coffee shops have also long been institutions of public education, or schools of social learning, as one history has it. As the “penny universities” of 17th and 18th-century London, they were places where men got away from the company of women (except, of course, for the servers) to discourse on the issues of the day. Charles II even tried to shut them down as dens of sedition, but popular opinion stopped that initiative rather suddenly.

As wifi-equipped public spaces, they are maybe again regaining that educative identity--especially if Massive Online Open Courses (MOOCs) become the mode of the future, as a generation of supernerds is promoting.

But Kevin and Nell’s Tim’s has Marlene, who turns her Tim’s not into a divorce court or a finishing school, but into a kind of relationship clinic

Lovin' Spoonsfull

28 | Double Double

company bios

Kenneth Brown – PlaywrightKenneth Brown is an actor, director, musician, producer, teacher and playwright. He is the author or co-author of over thirty produced plays; his writing has been produced in five countries in three languages. Over the past five years, his SPIRAL DIVE trilogy has garnered rave press and standing ovations across Canada. He has been honoured with several Sterling Awards, several AMPIA awards, and an Edmonton Arts Excellence Award. He has acted in dozens of cities and towns across Canada and abroad, and has directed such hit shows as BOY GROOVE, BE A MAN, SEXE-TETE, JOSEPH ANDREWS, THE OLD CURIOSITY SHOP, DIAMOND DOG, COWBOY GOTHIC, LETTERS IN WARTIME, and SPIRAL DIVE. In addition to DOUBLE-DOUBLE, his two new monologue plays hit the boards this spring. GRUMPUS GETS REVENGE (with Ken in the title role) tells a tale of geriatric terrorism and alien abduction. ANATOLIA SPEAKS, performed by the amazingly talented Candice Fiorentino, has as its background the Bosnian war. He is deeply grateful to have such excellent colleagues for this premiere production of DOUBLE DOUBLE.

Linda Grass – Nell MWF. Educated at University of Regina. In an on-again-off-again relationship with Workshop West Theatre (SPRINGBOARDS, LOUD N’ QUEER). Previously in relationships with Northern Light Theatre (SPEECH AND DEBATE; SOME GIRL(S); MISS MARGARIDA’S WAY; THE BEARD; URBAN TALES), The Maggie Tree (SHATTERED), Panties Productions (DIAMOND DOG), Acme Theatre (THE HEADSHOT OF DORIAN GREY; AFTER), Theatre Network (GIRL IN THE GOLDFISH BOWL), Guys in Disguise (THE NEO-NANCIES), The Citadel Theatre (NEW CANADIAN KID) to name a few. She is not seeking any long-term commitments; only short-term engagements. She has received nominations for outstanding performances from both The Elizabeth Sterling Haynes Awards and AMPIA. If you like pina coladas . . . oh, never mind.


14 | Double Double

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company bios

Jon Paterson – KevinJon Paterson is a single white male playing the role of Kevin. Jon has been on the dating scene for the past 20 years and is a founding member and co-artistic producer of the hit dating site RibbitRePublic Theatre. Jon has enjoyed many successful relationships, including BOYGROOVE, GRIMMER THAN GRIMM, HOUSE, WATER, DIAMOND DOG and LETTERS IN WARTIME. In 2010 Jon started dating the National Stiltwalkers of Canada and has recently studied clown with Michael Kennard of MUMP AND SMOOT. Jon has stilt-walked for NSC as well as Firefly Theatre and Zero Gravity Circus. Jon is also a stage manager, poster designer, and Winnipeg Jets fan.

Liana Shannon – MarleneLiana Shannon is currently in a fabulously happy relationship with Workshop West playing single Maritime female Marlene in DOUBLE DOUBLE. Liana was educated at the Etobicoke School of the Arts, the Academy of Theatre Arts (Toronto), the University of Guelph, (undergrad and MA in Drama), and various acting workshops across Canada. Favorite past local relationships include AFTERPLAY and ASHES TO ASHES (both garnering her Sterling nominations), “A KIND OF ALASKA”, METAMORPHOSES, HAMLET, OTHELLO and FEAR ITSELF on NBC. These and many other past relationships have brought her much more joy than baggage. So if you like long walks and late night talks about DOUBLE DOUBLE over a cool pinot grigio, this is the lady for you.

Michael Clark – Director & DramaturgeMWM Educated: University of Alberta, MFA (Directing) BA (English), Master Classes (La Mama Spoletto, World Stage, Tapestry New Opera Works, RSC @ BAM, Lincoln Centre Theatre). Serial Monogamist. Currently in an obsessive long-term relationship with Workshop West, having jumped out a similar relationship with Nakai Theatre in Whitehorse. Has had brief, torrid affairs with Persephone Theatre (THE MIGHTY CARLINS), Onion Theatre (FAITH HEALER), Tapestry New Opera Works (LIBRETTO LAB), Station Arts Centre (THE SEED SAVERS) and a rebound fling with Nakai (THE MIGHTY CARLINS).


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company bios

Dave Clarke – Composer/Sound DesignerBalding, flatulent, middle-aged man seeks theatre audience to entertain. Recent theatre relationships include IN ON IT and WHERE THE BLOOD MIXES (Theatre Network), 6.0 HEAP & PEBBLE (Northern Light Theatre), EVIE’S WALTZ (Shadow Theatre), JULIUS CAESAR (Free WIll) and THE MISSIONARY POSITION (University of Alberta). Dave has also dallied with movies (THE PHARMACIST), cartoons (RANTDOG) and radio (THE IRRELEVANT SHOW). Dave has won several awards for his fancy moves, including Sterling Awards for Outstanding Score (DOG, Surreal SoReal Theatre), Musical Direction (ILSA, QUEEN OF THE NAZI LOVE CAMP) and Sound (SHAKESPEARE’S WILL, VIMY, THE ECSTATICS).

Ainsley Hillyard – ChoreographerSWF looking for adventurous theatre types that will appreciate her creativity. Currently in an unhealthily obsessive relationship with the Good Women Dance Collective. Recent booty calls include Cowardly Kiss Theatre (NIGHT TIME), The Serca Festival (TRISTAN AND ISOLDE) and has an ongoing adulterous relationship with Surreal SoReal Theatre (BECKETT’S SHORTS, THE SARTRE PROJECT and GENIUS CODE). She is on her very first date with Workshop West Theatre, and apart from being slightly awkward, thinks it is going quite well.

Betty Hushlak – Stage ManagerAsk around.


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18 | Double Double

company bios

Victoria Zimski – Set Designer

James Robert Boudreau – Production Manager & Chief Enabler

Nathan Huisman – General Manager: Nathan Huisman is currently in an “It’s Complicated” relationship with Workshop West Theatre. They’ve been seeing each other for about nine-months, and they’ve had their share of ups and downs, but something keeps them coming back to each other. Jealous exes include The Bailey Theatre, Cowgirl Opera, and a year-long stint with Nausicaa of London, in the UK. Nathan learned all of his best pickup lines from The University of Alberta: Augustana Faculty and Royal Holloway, University of London. There may be rumours about Nathan’s passionate and lustful nights with One Yellow Rabbit and Swallow-A-Bicycle Theatre. They are all true.


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22 | Double Double

company bios

Natalia Knowlton – Assistant DirectorNatalia Knowlton is a SMF. Struggling with monogamy, Natalia has explored kinky relationships with playwriting, directing, acting, and dramaturgy. Recent flings include: assistant director for MAD FOREST (Abbedam 2012), director/dramaturge/designer for CARRION (Edmonton Fringe 2012), playwright for MANHATTAN MEMORIES (Nextfest 2012), performer/dramaturge for ARABIAN NIGHTS (University of Alberta 2012), dramaturge for SITTER (New Works Festival 2012). Natalia recently ended a serious and soul sucking four year relationship with the University of Alberta, where she received a BA (Honors) in Drama. Due to this toxic relationship, she lacked a lot of romance, something that could have been avoided if there was a Tim Hortons at HUB Mall.

Daniela Masellis – Light and Costume DesignerDaniela is an Edmonton based artist and theatre designer. Her training includes a ’07 B.F.A. in Theatre Design from the University of Alberta and a design apprenticeship abroad at the ‘Teatro alla Scala’ in Milan, Italy. She has designed sets, lights and costumes for such companies as Alberta Opera, Workshop West, The Green Fools, Shadow Theatre, RibittRepublic, Teatro LaQuindicina, Mile Zero Dance, Red Deer College, and The Maggie Tree.

Guido Tondino – Set Designer


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©2012 Mercedes-Benz Canada Inc. *National MSRP $58,300, all-in pricing up to $60,940 dependent on region. National MSRP pricing is shown and is intended for information purposes only. Prices do not include licence, insurance or registration fees, as well as any other products or services not listed that may be available to you through your selected Mercedes-Benz dealership. Vehicle prices subject to change. Dealer may sell for less. Please contact your dealership directly for prices applicable in your province.

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The perfect ‘E’.For all you A-types.The 2013 E 300 4MATIC™ Sedan.

Starting from $58,300.*

Open the door and take a seat. Look around the meticulously crafted cabin;

you’re about to embark on a new adventure. Engineering marvels like

Active Blind Spot Assist assure you a safe journey. Available award-winning

4MATICTM permanent all-wheel drive encourages you to take the road less

travelled. This is a different class of automobile. This is the 2013 E-Class.

Visit your Mercedes-Benz dealer or mercedes-benz.ca to schedule a

test drive.

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