WHAT’S ON 1

OCTOBER/NOVEMBER 2019

T H E I N T E G R I T Y O F J O U R N A L I S M

Saturday, October 5, 10:30 a.m.Studio Theatrewith Jeffrey Dvorkin, Naheed Mustafa, Paul Wells, Maev BeatyTickets from $25

For more details, see page 3

MEMBERS OF THE COMPANY IN THE FRONT PAGE. PHOTOGRAPHY BY EMILY COOPER.

MAEV BEATY AS PENELOPE “COOKIE” BURNS AND MICHAEL SPENCER-DAVIS AS ROY V. BENSINGER IN THE FRONT PAGE. PHOTOGRAPHY BY EMILY COOPER.

F O R U M P R O D U C I N G C O O R D I N AT O R S H I R A G I N S L E R TA L K S T O J O U R N A L I S M P R O F E S S O R J E F F R E Y D V O R K I N A B O U T T H E M E D I A’ S N E X T B I G C H A L L E N G E

I began my career in a publicity department, where my new boss, a former newspaper reporter, gave me some essential reading for anyone wishing to learn how to work with her former colleagues: a book called Hello Sweetheart, Get Me Rewrite.

Rewriting the Newsroom’s RoleI never read it. I thought the title alone had the musty odour of newsrooms where hard-drinking men sermonized about “speaking truth to power” – a phrase that, in the bright new morning of the Internet era, sounded silly to me. What did the twenty-first century need that for? Surely any intelligent person could take in all the information and make a judgement for themselves.It turns out a merely intelligent person is no match for an algorithm. This, unfortunately, is something most of us realize only now that the news industry has been eviscerated, with the small number of journalists who remain

shouting to be heard over the howling gale of Twitter.That shiny new toy, the Internet, started off by dismantling journalism’s traditional role as the gatekeeper that decided how we would find out about news events and from what angle we would view them. There is no longer a gate. Instead, a constant rush of information washes over us.

“The Internet became an agent of a kind of information populism,” says Jeffrey Dvorkin, director of the University of Toronto’s journalism program.

“Everybody has a megaphone and nobody hears one another. People are overwhelmed by the volume of information, ideas and pictures that flood through their smartphones all the time.”Computer algorithms perform a funhouse-mirror version of gatekeeping by filtering content to show us more of what we have looked at before. “The Internet had a great promise: it was supposed to connect us to ideas and people and places about which we knew very little, and this was going to expand our world,” Mr. Dvorkin says. “It has had the opposite effect: we are exposed to more and more of this computer-mediated content, and people are in retreat from it.”News organizations have tried to figure out what their vanished audiences want, so they can win them back by serving it to them – to the detriment, Mr. Dvorkin says, of “almost everything we value in a democracy.” As the media attempt to keep up with the times, they are in danger of ending up where many politicians have already gone, abandoning all their values to provide what we most seem to want: entertainment.

“This is the next big challenge for journalism: to figure out how to report on important issues in a way that is interesting but doesn’t trivialize them,” Mr. Dvorkin says.

If this challenge can be met, we could come out the other side of the crisis with more committed and more relevant news organizations once again producing coverage we seek out to help us understand the world.Mr. Dvorkin says the upside of the digital culture is that “it has forced media organizations to rethink what their role is in reporting.

“It’s easy for news organizations to do what I call the low-hanging fruit of weather, traffic and crime. There’s a flood, there’s a crash on the 401, there’s a shooting in Toronto. These stories are important at an individual level, but are they important to society? To me, the real story is environmental change, or the failure of governments to build enough roads, or the fact that there is a violent underclass that has access to firearms.

“In the digital age, it’s much harder for journalists to insist that the audience listen to us. We have to figure out ways of being interesting as well as telling important stories.”Those of us who blithely turned away from traditional news when the Internet whispered sweet nothings in our ear have found out those nothings are not even that sweet. “We are in a time of great confusion,” Mr. Dvorkin says. “The public is still really hungry, right now, for reliable information.”

2 WHAT’S ON

OCTOBER 2019

NOVEMBER 2019

SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY1 2 3 4 5

2:00 Billy Elliot ( 3 ) S2:00 Private Lives ( 3 ) S2:00 Henry VIII ( 3 )2-FOR-18:00 Merry Wives ( 3 )8:00 Little Shop ( 3 )

9:30 Meet the Festival with Tim Campbell & Katelyn McCulloch (Free)10:45 Private Letters, Public Lives1:15 Member Insights2:00 Front Page ( 3 ) S2:00 Neverending 2:00 Mother’s ( 3 ) 8:00 Billy Elliot ( 3 )8:00 Crucible ( 3 )8:00 Birds of a Kind ( 3 )

NEW: 12:30 Othello ( 3 ) S2:00 Little Shop ( 3 ) S2:00 Mother’s ( 3 )2-FOR-18:00 Billy Elliot ( 3 )8:00 Neverending ( 3 )8:00 Nathan ( 3 )

11:00 Lobby Talk: Othello (Free) 2:00 Othello ( 3 ) S2:00 Crucible ( 3 ) S2:00 Birds of a Kind ( 3 )8:00 Front Page ( 3 )8:00 Little Shop ( 3 )10:15 Botany Bar

10:30 Integrity of Journalism2:00 Billy Elliot ( 3 )2:00 Private Lives ( 3 )2:00 Henry VIII ( 3 )8:00 Othello ( 3 )8:00 Little Shop ( 3 )8:00 Mother’s ( 3 )10:15 Botany Bar

6 7 8 9 10 11 12

10:30 David Goldbloom & Friends: Harold Hongju Koh2:00 Merry Wives ( 3 )2:00 Neverending ( 3 )2:00 Birds of a Kind ( 3 )2-FOR-18:00 Nathan ( 3 )

2:00 Merry Wives ( 3 ) S2:00 Little Shop ( 3 ) S2:00 Henry VIII ( 3 )2-FOR-18:00 Neverending ( 3 )8:00 Birds of a Kind ( 3 )

9:30 Meet the Festival with David Campion & Janice Owens (Free)2:00 Billy Elliot ( 3 ) S2:00 Crucible ( 3 ) S2:00 Nathan ( 3 ) 8:00 Front Page ( 3 )8:00 Little Shop ( 3 )8:00 Mother’s ( 3 )

NEW: 12:30 Neverending ( 3 ) S2:00 Billy Elliot ( 3 ) S2:00 Birds of a Kind ( 3 ) 5:00 Lobby Talk: Othello (Free)2-FOR-18:00 Othello ( 3 )8:00 Private Lives ( 3 )

2:00 Othello ( 3 ) S2:00 Little Shop ( 3 ) S2:00 Henry VIII ( 3 )8:00 Billy Elliot ( 3 )8:00 Crucible ( 3 )8:00 Nathan ( 3 )

2:00 Merry Wives ( 3 )2:00 Neverending ( 3 )2:00 Mother’s ( 3 )8:00 Front Page ( 3 )8:00 Little Shop ( 3 )8:00 Henry VIII ( 3 )10:15 Botany Bar

13 14 Thanksgiving 15 16 17 18 19

2:00 Billy Elliot ( 3 )2:00 Private Lives ( 3 )2:00 Birds of a Kind ( 3 )7:30 Portrait of a Collaboration: Alan Menken & Marion Adler2-FOR-18:00 Mother’s ( 3 )

2:00 Billy Elliot ( 3 ) S2:00 Crucible ( 3 ) S2-FOR-18:00 Front Page ( 3 )8:00 Little Shop ( 3 )

2:00 Othello ( 3 ) S OC2:00 Little Shop ( 3 ) S8:00 Neverending ( 3 )

11:00 Lobby Talk: The Merry Wives of Windsor (Free)

NEW: 12:30 Neverending ( 3 ) S2:00 Merry Wives ( 3 ) S2:00 Nathan the Wise ( 3 ) 2-FOR-18:00 Billy Elliot ( 3 )8:00 Private Lives ( 3 )8:00 WordPlay : Red Velvet

2:00 Billy Elliot ( 3 ) S2:00 Private Lives ( 3 ) S 2:00 Henry VIII ( 3 ) 8:00 Front Page ( 3 )8:00 Little Shop ( 3 )10:15 Botany Bar

2:00 Billy Elliot ( 3 )2:00 Neverending ( 3 )2:00 If Love Were All: A Coward Cabaret 8:00 Merry Wives ( 3 )8:00 Crucible ( 3 )8:00 Nathan the Wise ( 3 )

20 21 22 23 24 25 26

2:00 Othello ( 3 )2:00 Little Shop ( 3 )2:00 HVIII ( 3 )

2:00 Othello ( 3 ) S2:00 Little Shop ( 3 ) S2-FOR-18:00 Private Lives ( 3 )8:00 Brotherhood: The Hip Hopera

11:00 Brotherhood: The Hip Hopera 2:00 Billy Elliot ( 3 ) S2:00 Crucible ( 3 ) S8:00 Front Page ( 3 )8:00 Little Shop ( 3 )10:00 Brotherhood: The Hip Hopera

NEW: 12:30 Neverending ( 3 ) S2:00 Billy Elliot ( 3 ) S5:00 Lobby Talk: The Merry Wives of Windsor (Free) 2-FOR-18:00 Merry Wives ( 3 )8:00 Little Shop ( 3 )8:00 HVIII ( 3 )

2:00 Billy Elliot ( 3 ) S2:00 Neverending ( 3 ) S8:00 Front Page ( 3 )8:00 Crucible ( 3 )

2:00 Merry Wives ( 3 )2:00 Neverending ( 3 )8:00 Billy Elliot ( 3 )8:00 Private Lives ( 3 )8:00 HVIII ( 3 )

27 28 29 30 31 Halloween 1 NOVEMBER 2

2:00 Othello ( 3 )2:00 Little Shop ( 3 )2:00 HVIII ( 3 )

2:00 Billy Elliot ( 3 ) S2:00 Neverending ( 3 ) S2-FOR-18:00 Little Shop ( 3 ) 2:00 Billy Elliot ( 3 ) S

2-FOR-18:00 Little Shop ( 3 )

2:00 Billy Elliot ( 3 ) 2:00 Neverending ( 3 )

2:00 Billy Elliot ( 3 ) 2:00 Neverending ( 3 )8:00 Little Shop ( 3 )

3 4 5 6 7 8 9

2:00 Billy Elliot ( 3 ) 2:00 Neverending ( 3 )

8:00 The House of Martin Guerre in Concert 2:00 Billy Elliot ( 3 )

2:00 Billy Elliot ( 3 ) 8:00 Little Shop ( 3 ) 2:00 Billy Elliot ( 3 )

2:00 Billy Elliot ( 3 ) 8:00 Little Shop ( 3 ) 10:15 Botany Bar

10 11 12 13 14 15 16

2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 )

17 18 19 20 21 22 23

2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 ) 2:00 Billy Elliot ( 3 )

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2:00 Billy Elliot ( 3 )

Legend1 2 3 Price Types S Seniors & Students Midweek Matinée Special Audio Described Performance

American Sign Language Performance Relaxed Performance TT Touch Tour Open Captioned Performance Extended Performance

For more information visit stratfordfestival.ca/accessibility.

Be a part of movie magic. Join us as we film these shows for cinematic release:The Merry Wives of Windsor – October 8, 2 p.m. | Othello – October 22, 2 p.m.

BOOK NOW!

FREE FORUM EVENTSM E E T T H E F E S T I V A LWednesdays at 9:30 a.m., to October 9 Chalmers Lounge, Avon TheatreFun and informal Q&A sessions with Festival artists and staff. Free

October 2 – Tim Campbell and Katelyn McCullochOctober 9 – David Campion and Janice OwensSponsored by OLG

LO B BY TA L K SInsights into our Shakespeare titles from Literary and Editorial Director David Prosser or special guests. Free

Othello | Festival Theatre LobbyFriday, October 4 | 11 a.m.Thursday, October 10 | 5 p.m.The Merry Wives of WindsorFestival Theatre LobbyThursday, October 17 | 11 a.m.Thursday, October 24 | 5 p.m.

WHAT’S ON 3

Special Performances | Speakers & Panels | Meal Events | Interactive Workshops

Forum MealsUnique dining experiences that illuminate the playbill.

Forum Speakers & PanelsArtists and expert guests explore the playbill and season theme.

FUNDED IN PART BY THE GOVERNMENT OF ONTARIO

L I T T L E S H O P O F H O R R O R S B O TA N Y B A RFridays, October 4 and 18, and Saturdays, October 5, October 12 and November 9 Post-performance | Chalmers Lounge, Avon TheatreWhat’s your rush? Stay planted and enjoy the post-show vibe after Friday and Saturday evening performances. Summon your inner Seymour, and toast Audrey with themed cocktails and late-night bites. You never know who may happen by! Free admission, cash bar.

W O R D P L AY8–11 p.m. | Studio TheatreDramatic readings complementing the season’s playbill, performed by members of the Festival company. From $25

Red Velvet by Lolita ChakrabartiThursday, October 17When the great actor Edmund Kean collapses during his performance in 1833 of the title role in Othello, an African-American actor, Ira Aldridge, is asked to take over. Based on a true story.Support for WordPlay is generously provided by The Dorothy Strelsin Foundation.

C O N T E M P O R A R Y W O R K SShowcasing contemporary work by Canadian playwrights. From $25

Brotherhood: The Hip HoperaTuesday, October 22 | 8 p.m. | Studio TheatreWednesday, October 23 | 11 a.m. and 10 p.m. Studio Theatre

Former company member Sébastien Heins brings his one-man sensation, Brotherhood: The Hip Hopera, to Stratford. In sixty-five minutes of physical theatre mixed with R&B music, funk, soul, gospel and, of course, hip hop, he spins the story of two brothers living the “hip hop life,” taking the audience on a ride that careens from the 1970s into the future.

Contains mature language and subject matter.

S P E C I A L C O N C E R T S

Forum PerformancesExceptional showcases featuring Festival artists and musicians, as well as special guests.

P E E R I N T O T H E P L AY B I L LWednesdays | 10:45 a.m.–noon | Chalmers Lounge, Avon Theatre | From $20Private Letters, Public LivesWednesday, October 2Noël Coward wrote Private Lives as a vehicle for himself and Gertrude Lawrence, and they triumphed in it. As well as being lifelong friends, they were prolific and entertaining correspondents. Company members Sean Arbuckle and Sarah Orenstein read a selection of letters between the two as writer and journalist Robert Cushman leads us through an examination of their professional and personal relationship and its impact on Coward’s work.

C E L E B R AT E D S P E A K E R S10:30 a.m.–noon | Studio Theatre unless otherwise noted | From $25The Integrity of JournalismSaturday, October 5In this ever-changing world, the integrity of journalists is constantly tested by government, the public and colleagues. When did reporting the news turn into a 24-hour commentary and opinion piece? Jeffrey Dvorkin, director of the University of Toronto journalism program; producer and broadcaster Naheed Mustafa; and Paul Wells, senior editor, Maclean’s magazine, discuss their impression of the future of news reporting. Moderated by company member Maev Beaty.

D A V I D G O L D B LO O M & F R I E N D S : I N C O N V E R S AT I O NFormer Chair of the Stratford Festival Board of Governors and Senior Medical Advisor of the Centre for Addiction and Mental Health David Goldbloom sits down with leading advocates of our time to discuss their work and lives, and maybe to reminisce a little about their university years. From $25

In Conversation with Harold Hongju KohSunday, October 6 | 10:30 a.m.–noon | Studio TheatreHarold Hongju Koh is a former Legal Adviser of the U.S. State Department, nominated to the position by President Obama, and was also Assistant Secretary of State for Human Rights under President Clinton; he is the Sterling Professor and former Dean of Yale Law School. David and Harold sit down to discuss global politics, the White House and their shared love of musicals. The talk will be followed by a signing of Mr. Koh’s latest book, The Trump Administration and International Law.

Photo of Alan Menken

Portrait of a Collaboration: Alan Menken & Marion AdlerSunday, October 13 | 7:30–9:30 p.m. Festival Theatre LobbyAlan Menken, celebrated composer of Little Shop of Horrors and such Disney classics as The Little Mermaid, Beauty and the Beast and Aladdin, and company member Marion Adler talk about their long-time partnership and their musical collaboration Little Pinks, based on the Damon Runyon short story of the same name. This intimate concert features songs from Little Pinks performed by members of the company, and a discussion with the creators on the joys and challenges of writing new musicals. From $29

If Love Were All: A Coward CabaretSaturday, October 19 | 2–5 p.m. | Studio Theatre

“I am no good at love,” Noël Coward once wrote, but that didn’t stop him from spending his life writing songs, poems, plays and stories on that elusive topic. Virtuoso performers Cynthia Dale, Sayer Roberts and Geraint Wyn Davies offer an afternoon of charm, wit and bittersweet regret assembled by Richard Ouzounian from Coward’s works. While during his life he wrote jaunty ditties about many a “Poor Little Rich Girl” who was “Mad About the Boy,” after his death, the diaries and letters “The Master” had kept secret during his lifetime revealed the fact that the great romances of his existence were all with other men, and songs like “I’ll Follow My Secret Heart” concealed a world of double meanings. From $35

ALAN MENKEN

SÉBASTIEN HEINS

ADAM BRAZIER

CHILINA KENNEDY

T H E H O U S E O F M A R T I N G U E R R E I N C O N C E R T

Monday, November 4, 8 – 11 p.m. Avon Theatre | From $35

Chilina Kennedy, who played Maria in West Side Story, Evita in Evita and Mary Magdalene in Jesus Christ Superstar at the Stratford Festival before moving to Broadway to star as Carole King in Beautiful, returns to Stratford for one night only for this concert version of Leslie Arden’s award-winning musical. Bertrande, a peasant woman in 16th-century France, suffers eight years of abusive marriage to Martin Guerre, only to be abandoned with their infant son. Years later, a stranger arrives, claiming to be Martin – completely transformed. Though Bertrande accepts her new loving husband, their happiness is threatened by the jealousy and greed of others. Set in the tumultuous times when the strict doctrines of the Middle Ages were finally giving way to the freer thought of the early modern period, this story, based on true events, epitomizes the personal and social costs of breaking boundaries. Chilina Kennedy is joined on stage by Charlottetown Festival Artistic Director and former Stratford company member Adam Brazier, and other past and present members of the Festival company.

CHILINA KENNEDY AS MARY MAGDALENE IN JESUS CHRIST SUPERSTAR, 2011. PHOTOGRAPHY BY DAVID HOU.

4 WHAT’S ON

The Buried Treasure of Martin Guerre

I T ’ S T H E C A N A D I A N S H O W T H AT S H O U L D H A V E B E E N A B R O A D W AY H I T, S AY S F O R U M P R O D U C I N G C O O R D I N AT O R S H I R A G I N S L E R

As the Canadarm is to outer space and Trivial Pursuit is to family get-togethers, so are Canadian musicals to the great oeuvre of musical theatre: an unlooked-for gift from an unassuming source, enthusiastically embraced and instantly indispensable.The winner of this year’s Drama Desk Award for outstanding musical was The Prom, which also earned Drama Desk and Tony nominations for its Canadian book writer, Bob Martin. The smash hit Come From Away, which was first developed by Sheridan College’s Canadian Music Theatre Project, is currently playing in London and Toronto and on Broadway, where it became the longest-running Canadian musical in Broadway history in 2018. The previous holder of that record was The Drowsy Chaperone, which started life in 1997 as a stag-party gift for Bob Martin, moved on to the Toronto Fringe Festival, was picked up by Mirvish Productions and debuted on Broadway in 2006, winning

STRATFORDFESTIVAL.CA | 1.800.567.1600 | 519.273.1600

Tony and Drama Desk awards for book and score for its Canadian creators and a nod from New York Magazine as “the perfect Broadway musical.”Before those, there was The House of Martin Guerre. Composer Leslie Arden was commissioned by Toronto’s Theatre Plus to create the musical, based on historical events that have fascinated and inspired artists since the nineteenth century. The piece won the 1994 Dora Award for best new musical, and a production at the Goodman Theatre in Chicago won the same honour at the 1996 Jefferson Awards. The House of Martin Guerre returned to Toronto for a larger production at Canadian Stage in 1997, prompting theatre critic Mira Friedlander to write in the industry bible Variety, “Composer-lyricist Leslie Arden has not only done her mentors Cameron Mackintosh and Stephen Sondheim proud, she has, in writing Martin Guerre, also created something so fresh, so resoundingly complete and rewarding, that there is talk her first major show may yet land on Broadway.”The reason it didn’t was an accident of timing. As Ms Arden’s work gathered steam, she discovered that the juggernaut team of Claude-Michel Schönberg and Alain Boublil, the creators of Les Misérables and Miss Saigon, were writing a musical about Martin Guerre, backed by super-producer Cameron Mackintosh. In the end, that version didn’t meet with the

T H E H O U S E O F M A R T I N G U E R R E I N C O N C E R T

Monday, November 4, 8 p.m.Avon Theatrewith Chilina Kennedy, Adam Brazier, Monique Lund and members of the Stratford Festival companyTickets from $35

For more details, see page 3

When Wit and Glamour Correspond

R O B E R T C U S H M A N LO O K S F O R W A R D T O D E LV I N G I N T O T H E I N T I M AT E E X C H A N G E S O F N O Ë L A N D G E R T I E

Noël Coward. Gertrude Lawrence. Noël and Gertie. They appeared together in only two shows, Private Lives and Tonight at 8.30, both of them of course written by Coward. Tonight at 8.30 was

P R I V AT E L E T T E R S , P U B L I C L I V E S

Wednesday, October 2, 10:45 a.m.Chalmers Lounge, Avon Theatrewith Sean Arbuckle, Sarah Orenstein, Robert Cushman Tickets from $20

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an anthology of nine one-act pieces, spread over three evenings, so it might be claimed that they co-starred in ten plays, but even that figure seems small in the light of their joint legend. They were among the shining lights of the entertainment world from the 1920s to the 1950s. In their native Britain and in America, they were synonymous with wit and glamour. And though they were never linked romantically (except perhaps in some of their fans’ imaginations) or maritally (except in the roles they played on stage), they were thought of as a couple.

It helped that these two incorrigibly theatrical people had known one

another since they were both child actors. And when they weren’t working or talking together, they wrote to one another. They were both prolific correspondents, commenting and advising on their respective lives and careers, whether they were working together or apart – or preparing to

– as when Coward was trying to get Lawrence to commit to Private Lives while she was relaxing on the French Riviera:GL to NC: Darling!Am I wrong or did I hear you mention something about a play we were going to do in London first then in America after?Please let me know, because at present me ’ouse is full as a pig – and I would like to do something about putting up with you – sorry – I mean – well, you know – should you wish to visit me here to discuss ways and means.NC to GL: Dear Miss Lawrence,With regard to your illiterate scrawl of 14th inst., Mr. Coward asks me to say that there was talk of you playing a small part in a play of his on condition that you tour and find your own clothes (same to be of reasonable quality) and understudy Jessie Matthews whom you have always imitated. Mr. Coward will be visiting some rather important people in the South of France in mid-July and he will appear at Cap d’Ail, whether you like it or not, on the 20th. If by chance there is no room in the rather squalid lodgings

you have taken, would you be so kind as to engage several suites for Mr. C. at the Hotel Mont Fleury, which will enable same Mr. C. to have every conceivable meal with you….

And there were telegrams: Coward to Lawrence on her first appearance in a non-musical play: LEGITIMATE AT LAST WON’T MOTHER BE PLEASED? And on her marriage to the American Richard Stoddard Aldrich: DEAR MRS A HOORAY HOORAY AT LAST YOU ARE DEFLOWERED STOP ON THIS AS ANY OTHER DAY I LOVE YOU STOP NOEL COWARD

Private Letters, Public Lives traces the relationship of these two on- and off-stage personalities through the things they wrote to one another – and the things they wrote to other people about one another.

success of their other works. Interest in Ms Arden’s musical picked up again and an American producer bought the rights – but never exercised them. “He sat on them for almost ten years,” she told CBC Radio’s Mainstreet PEI in 2018. “I couldn’t do anything with the show, and he didn’t produce it. Finally the rights reverted to me.”

Since then, The House of Martin Guerre has had a concert staging at P.E.I.’s Confederation Centre of the Arts and a production at Sheridan College. A long-buried treasure of Canadian musical theatre is finding its audience once again.

GERAINT WYN DAVIES AS ELYOT CHASE AND LUCY PEACOCK AS AMANDA PRYNNE IN PRIVATE LIVES. PHOTOGRAPHY BY DAVID HOU.

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THE INSPIRING STORY OF A BOY BORN TO DANCE, WITH MUSIC BY ELTON JOHN

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