Tools for Cutting/Soupe du Jour one of NOW magazines Top 5 Dance Shows of 2011:

http://www.nowtoronto.com/stage/story.cfm?content=184456

Paula Citron names d:mic/fac the most important new festival of 2011!

http://www.theglobeandmail.com/news/arts/theatre/flights-of-fancy-and-leaps-of-faith-dance-in-2011/article2285337/

We are so excited to see what the next festival will bring! Applications for d:mic/fic 2013 are due February 17th, 2012. Spread the word!

Thank you for all your support in making dance: made in canada/fait au canada a success.  Happy New Year!

Founded in 2000 by Yvonne Ng under the umbrella of princess productions, nine festivals of dance: made in canada/fait au canada (d:mic/fac) have been produced.

d:mic/fac will provide publicity, marketing, a festival production team, venue and other support for applicants selected by the curators for presentation.  Mainstage choreographers will receive a fee for their work, while WYSIWYG choreographers will receive an honorarium.

The deadline for all applications is 5.00 P.M. (E.S.T.), Friday, February 17, 2012.

Artists working in all genres and cultural aesthetics are encouraged to apply, within the following criterion:

□   A choreographer must have had a minimum of five of their works professionally presented, and have been professionally active for a minimum of six years.  Workshop, process-based showings and academic settings do not qualify as being professionally presented.

□   Existing or proposed new creations may be a minimum of fifteen minutes in length, or up to a maximum of twenty-five minutes.

□   A choreographer must have had a minimum of three of their works professionally presented, and have been professionally active for a minimum of four years.  Workshop, process-based showings and academic settings do not qualify as being professionally presented.

□   Existing or proposed creations may be a maximum of ten minutes.

□   A statement that summarizes your choreographic intention (350 words or less)

□   A summary of any anticipated technical requirements (e.g. lighting, sound, scenery, rigging, effects, props, makeup)

□   A video recording of the previous works within the past four years. Please limit to no more than two works.  DVD (NTSC) or an electronic link to the complete recording (company website, Dropbox, Vimeo, etc.) are the only acceptable formats.  Please note: DVD recordings will not be returned – DO NOT SEND MASTER RECORDINGS.

□   A video recording of the complete work.  DVD (NTSC) or an electronic link to the complete recording (company website, Dropbox, Vimeo, etc.) are the only acceptable formats.  Please note: DVD recordings will not be returned – DO NOT SEND MASTER RECORDINGS.

□   A description of the work (350 words or less).

□   A summary of technical and production requirements (lighting, sound, scenery, rigging, effects, props, makeup) or a tech rider.

□   A performance history of the work (ie. date of premiere, subsequent performances including dates and locations/venues).

□   Information of artistic collaborators, e.g. designers, composer, dramaturge, mentor, et cetera.

□   Which series you are applying for? Mainstage OR WYSIWYG OR both.  If you meet the criterion for presentation, you may apply for both Mainstage and WYSIWYG presentation, however, separate applications and fees must be submitted for each presentation.

□   A biography of the choreographer (350 words or less)

□   A biography of the applicant, if the applicant is not the choreographer(350 words or less)

□   A detailed list of the choreographer’s choreographic work for the past five years, please include professional choreographic work only; no process-focused or workshop presentations, academic/educational work.  In addition, if the applicant is not the choreographer, a detailed list of the performer’s performance work for the past five years

• Curators may not review all the video material, so please provide notation/timings for specific excerpts if you are submitting more than fifteen minutes of material.
• Please do not send press kits or other promotional material not directly related to the application.
• You have the option to submit up to three letters of reference or support.
• We strongly recommend that applicants submit as much of their material electronically whenever possible.  This includes contact information; written content, video recordings, support material, etc.
• Please use PDF format for all written documents.
• The application fee, as follows:

□  $25 for Mainstage or      □  $25 for WYSIWYG or      □  $50 for both

• New or existing works may not have been presented in a completed state within a 400km radius of Toronto for 4 years prior to the 2013 performance date.
• d:mic/fac will endeavor to provide the highest possible level of technical production support, however works with technical demands that exceed the possibility of festival-format presentation will not be considered.
• The applicant will be responsible for all fees and expenses related to the creation of their work: choreographer, dancers, other artistic collaborators and design fees (ie. lighting, costume), royalties, costume/set/prop construction, etc. d:mic/fac will provide festival-format lighting and sound equipment; providing any technical equipment or resources outside of standard theatrical gear (ie. video projectors) will be the responsibility of the choreographer. d:mic/fac will endeavor to help choreographers share additional equipment and rental costs where possible.
• Applicants selected for presentation will receive detailed information about deadlines, schedule, technical parameters, etc.
• Application materials will NOT BE RETURNED.  Do NOT send original video material or other valuable documents.

• A non-refundable processing fee must accompany each application. Depending on the number of programs you are applying to, please send $25 (one program) or $50 (both programs) payable via PayPal or by cheque to the order of princess productions.  If you are applying to both Mainstage and WYSIWYG, please ensure you submit an application for each presentation.
• Please send electronic applications to info@princessproductions.ca and the $25 or $50 processing fee via our PayPal account on our website.
• By post, please send applications and cheques to:

dance: made in canada/fait au canada

476 Parliament Street, 2nd Floor

Toronto, ON

M4X 1P2, Canada

• Deadline: Applications must be received by Friday, February 17, 2012, 5.00 P.M. Eastern Standard Time to be considered for the 2013 festival.

www.princessproductions.ca

see dance: made in canada/fait au canada

Le festival biennal de répertoire dance: made in canada/fait au canada (d:mic/fac) se tiendra du 11 au 18 août 2013. Le festival présente des pièces existantes et de nouvelles créations de chorégraphes établis et émergents œuvrant au Canada, au théâtre Betty Oliphant, à Toronto. La programmation compte deux volets : le volet Mainstage, sous la direction artistique de trois artistes du milieu de la danse du Canada, y compris Yvonne Ng, et le volet What You See Is What You Get (WYSIWYG), une programmation basée sur une loterie, présentée en fin de soirée. Les chorégraphes peuvent soumettre leurs créations dans l’un ou l’autre programme, ou dans les deux.

Yvonne Ng fonde le festival d:mic/fac en 2000 sous l’égide de princess productions, et elle produit neuf éditions depuis.

d:mic/fac fournit la publicité, le marketing, une équipe de production, la salle et un soutien aux chorégraphes sélectionnés par les commissaires. Les chorégraphes de la série Mainstage reçoivent un cachet et ceux de la série WYSIWYG reçoivent un cachet symbolique.

La date limite pour déposer un projet est 17 h (heure normale de l’Est) le 17 février 2012.

Nous encourageons les artistes de tous les genres et esthétiques culturels à soumettre leurs créations, en respectant les critères suivants :

• L’artiste doit avoir présenté un minimum de cinq œuvres dans un contexte professionnel et compter au moins six ans d’activité professionnelle. Les ateliers, les présentations de processus et les contextes académiques ne qualifient pas de contexte professionnel.
• Les pièces et nouvelles créations doivent être d’une durée minimale de quinze (15) minutes et maximale de trente (30) minutes.

• Un chorégraphe doit avoir présenté un minimum de trois œuvres dans un contexte professionnel et compter au moins quatre ans d’activité professionnelle. Les ateliers, les présentations de processus et les contextes académiques ne qualifient pas de contexte professionnel.
• Les pièces et les nouvelles créations doivent être d’une durée maximale de dix (10) minutes.

□   Un énoncé qui résume votre intention chorégraphique (maximum 350 mots).

□   Un aperçu de besoins techniques prévus (par exemple, éclairages, son, décor, montage, accessoires, maquillage).

□   Une vidéo de créations réalisées au cours des quatre dernières années. Veuillez vous limitez à deux créations. Nous acceptons uniquement les DVD (NTSC) et les liens vers des captations intégrales (site Web de compagnie, Dropbox, Vimeo, etc.). Veuillez noter que nous conservons les DVD ; N’ENVOYEZ PAS DE DOCUMENTS ORIGINAUX.

□   Un enregistrement vidéo de la pièce entière. Nous acceptons uniquement les DVD (NTSC) et les liens vers des captations intégrales (site Web de compagnie, Dropbox, Vimeo, etc.). Veuillez noter que nous conservons les DVD ; N’ENVOYEZ PAS DE DOCUMENTS ORIGINAUX.

□   Une description de la pièce (maximum 350 mots).

□   Un aperçu des besoins techniques (éclairages, son, décors, montage, accessoires, maquillage) ou une fiche technique.

□   L’historique des présentations de la pièce (par exemple, date de la première et présentations subséquentes, y compris les dates, les salles et les villes).

□   Une description des collaborateurs artistiques, par exemple, concepteurs, compositeur, dramaturge, mentor, etc.

□   Le programme qui vous intéresse : Mainstage ou WYSIWYG ou les deux. Vous pouvez soumettre votre travail aux deux volets si vous répondez aux critères. Cependant, vous devez soumettre une demande incluant les frais d’administration pour chaque dossier.

□   Une biographie du chorégraphe (maximum 350 mots).

□   Une biographie du candidat, si le candidat n’est pas le chorégraphe (maximum 350 mots).

□   Une liste détaillée des créations du chorégraphe au cours des cinq dernières années. Veuillez citer uniquement les présentations professionnelles (les ateliers, présentations de processus et contextes académiques ne comptent pas). Si le candidat n’est pas le chorégraphe, une liste détaillée du travail de l’interprète au cours des cinq dernières années.

□   Les frais d’administration :

Mainstage 25 $ □ WYSIWYG 25 $ □ Mainstage et WYSIWYG 50 $ □

• Autant que possible, envoyez votre dossier en format électronique, y compris les coordonnées, les textes, les vidéos, les documents d’appui, etc.
• Les commissaires ne visionneront pas nécessairement l’intégralité des documents audiovisuels ; veuillez fournir le minutage des différents extraits si vous envoyez plus que quinze minutes de matériel.
• N’envoyez pas de dossier de presse ou autre matériel promotionnel qui ne se rapporte pas directement à la demande.
• Vous pouvez soumettre jusqu’à trois lettres d’appui.
• Veuillez envoyer les textes en format PDF.

• Les pièces existantes et les nouvelles créations ne peuvent pas avoir été présentées en version intégrale dans un périmètre de 400 km autour de Toronto dans les quatre années précédant la date de diffusion en 2013.
• d:mic/fac vise à fournir le meilleur soutien technique possible ; toutefois, les pièces dont les exigences techniques excèdent les possibilités offertes dans la cadre d’un festival ne seront pas considérées.
• L’artiste est responsable de tous les frais et dépenses liés à la création : cachet du chorégraphe, des interprètes, des collaborateurs et des concepteurs (éclairages, costumes), droits de suite, costumes, construction de décors ou d’accessoires, etc. Le festival fournit un plan d’éclairage et un système de son de festival. Le chorégraphe doit fournir tout équipement ou ressource qui n’est pas inclus dans un théâtre normal (par exemple, un projecteur). Le cas échéant, d:mic/fac a l’intention – lorsque possible – d’aider à défrayer les chorégraphes des coûts de location d’équipement supplémentaire.
• Le festival enverra de l’information détaillée sur les échéances, horaires et paramètres techniques aux artistes sélectionnés.
• Les documents soumis NE SERONT PAS RENVOYÉS. N’envoyez pas une vidéo originale ou autre document de valeur.

• Chaque dossier doit être accompagné d’un paiement non remboursable pour les frais d’administration. Selon votre proposition, veuillez envoyer 25 $ (un volet) ou 50 $ (les deux volets) par PayPal ou par chèque à l’ordre de princess productions. Si vous soumettez votre travail aux deux volets, assurez-vous de préparer un dossier pour chaque présentation.
• Envoyez les dossiers électroniques à info@princessproductions.ca et payez les frais d’administration de 25 $ ou 50 $ par l’entremise PayPal (voir le lien sur notre site Web).
• Par la poste, envoyez les dossiers et chèques à :

dance: made in canada/fait au canada

476 rue Parliament, 2^e étage

Toronto, ON

M4X 1P2, Canada

• Afin d’être admissible au festival en 2013, la date limite pour recevoir les projets est le 17 février 2012, 17 h, heure normale de l’Est.

www.princessproductions.ca

consultez la rubrique « dance: made in canada/fait au Canada »

Stay tuned for our next call to artists which will be released in November 2011 for the August 2013 dance: made in canada/fait au canada festival!

Tina Fushell's Dance-a-line-with-me

Tina Fushell and Kate Franklin lead  the crowd in the all-Canadian, contemporary flavoured Dance-a-line-with-me in the courtyard of the Betty Oliphant Theatre. This is a high profile line dance: dance celebrities Peggy Baker, Sylvain Brochu, Laurence Lemieux, Denise Duric and Yvonne Ng, among others join in! Kenny Pearl looks on.

Jacob Niedzwiecki's Ego Echo

Jacob Niedzwiecki set up shop in the basement of the theatre with his interactive film project Ego Echo. Audience members became part of this piece that played with technology and perspective.

Keiko Ninomiya in her own work Kanan-Kiri

Keiko Ninomiya is awarded the Paula Citron Award for choreography for her work Kanan-Kiri. “This seductive piece was gorgeous from both a choreographic and theatrical perspective.” Paula Citron

Lina Cruz

I’m introduced to Lina Cruz, both the woman and her work, Soupe de Jour, and am blown away by the work, dancers, and all technical aspects. I also take ballet class with Lina: my first ballet class in too many years to count. Thrilling and slightly embarrassing all at once. Amazing woman. Definite highlight.

Jasmyn Fyffe in WYSIWYG

The Late-Night Series What you See is What you Get has it’s first season at 11 p.m. Friday and Saturday nights. Dancing in Sylvie Bouchard’s new work La vie was a personal highlight and we were thrilled when Paula Citron gave the piece a special mention in her Toronto Star review!

Collaborators for Ash Unravel, Michael Caldwell and Seth Ruggles Hiler

Michael Caldwell and Seth Ruggles Hiler hang out at Seth’s exhibit of original charcoal drawings. Their collaboration for Ash Unravel was stunning. Michael’s performance, also a highlight.

The d:mic team (minus Jeff)

Me with the dance: made in canada/fait au canada team. Being part of the team working behind the scenes was an amazing learning experience and deepened my sense of pride in being a part of the event.

Jennifer at the Blake House after party.

And of course what good is all the hard work if we can’t enjoy it over a beer or two at a party or two? And party we did, at the opening night reception, donor reception, post-shows, and finally at the Blake House for our closing night bash.

It was an amazing ride and I know we all can’t wait for the next one!

Best,

Mairéad

I am especially excited as I am performing a new work by Sylvie Bouchard in the Late-Night Series. How I’m going to stay awake and energized to perform at 11 p.m I don’t know! I’m sure that the excitement of the festival will pull me through though! We had technical rehearsal yesterday and stepping onto the huge and amazing stage at the Betty Oliphant was quite incredible. I had forgotten the vastness of the space!

I am thrilled and very proud to be dancing Sylvie’s new work La vie, one part of a piece that will hopefully expand in the future. It is quite magical, with many surprises! Please come out and see for yourself!

Sylvie Bouchard
La vie was created with and for Mairéad Filgate and recreates a character’s interior world, her fears, dreams and questioning; and her ambivalence towards what she is leaving behind in order to move forward.
Photo: Ömer Yükseker

And of course four other exciting new works:

the moment before… situates three dancers on stage 10 minutes before they’re about to perform, observing their neurotic rituals of preparation. In a pressure cooker of irritability, stomach cramps, and sabotage, they are forced to come to terms with the inevitable.
Photo: Ömer Yükseker 

Robert Stephen

Salut D’Amour was first performed by Jillian Vanstone as part of a cultural exchange in Kenya in January 2011, in connection with a project by Artbound in support of Free the Children.  This dance will now be presented alongside a new work, Liebeslied, to be danced by choreographer Robert Stephen.  

Jasmyn Fyffe

Suspended in a passage-way, a space-between; looking at the door, wanting to go through it and move forward. Balanced Corridors is inspired by several recent changes and new phases that I have experienced in my life.  It is a physical exploration of change, adjustment and balance commenting on the emotional extremes of fear, excitement, joy and frustration.
Photo: Erica Cheah

Box Step - Sometimes I feel surrounded by preconceived notions of how I should act and who I should be. While others around me seem to fit so nicely, function so perfectly, despite any restrictions. What is it that I am lacking that leaves me feeling so awkward and unsure – so boxed in.
Photo: Iden Ford

Late-Night Series: What you See is What you Get!
August 12th 11:00 p.m.
August 13th 11:00 p.m. 

Featuring:

Balanced Corridors - choreographed and performed by Jasmyn Fyffe.

Boxes - choreographed by Jannine Saarinen of Jay9 Dance Projects and performed by Jen Hum, Chelsea Lee and Jamee Valin.

La vie - choreographed by Sylvie Bouchard and performed by Mairéad Filgate.

Two Dances – “En Plein Air”: Salut D’Amour, performed by Jillian Vanstone and Liebesleid, performed by Robert Stephen, both choreographed by Robert Stephen.

the moment before& - choreographed by Andrea Spaziani and performed by Spaziani with Amanda Acorn and Lauren Cook.

For tickets call: 416.504.7529. or visit: www.artsboxoffice.ca

1. What is your name?

Jasmyn Fyffe

2. What is the exact location of where you are based?

Toronto

3. Tell us in 25 characters who you are. 

A choreographer described as “Alvin Ailey meets street dancer,”(Allan Ferguson – Director: Nelly Furtado Music Video); Fyffe’s work is created within a movement style that is an eclectic blend of her versatile training background while maintaining a strong contemporary foundation.

4. Who has been the greatest influence in your life and why?

My parents have been the most influential people in my life. They have always supported and helped me in anything I have ever done in my life. They are always rooting for me, encouraging me and giving the push and support that I need in this sometimes tough career. They have influenced my drive, work ethic, goal setting and the values that are allowing my career to really begin to progress as an artist. I love them and I thank God for them.

5. What was the last book or film you read or saw?

Novel: “Mine Boy”, Film: “Wild Cats”

6. Tell us a little about the work you are performing at d:mic/fac.

The work I will be performing at d:mic is a fresh new solo that is inspired by my somewhat overloaded life between being a mother, wife, dancer, choreographer etc. It is called “Balanced Corridors” and takes the audience on a journey of “a day in the life of Jasmyn Fyffe” so to speak.

7. Is Toronto a good place to perform in?

Yes. I am still building my name in this city, which I find challenging at times in the contemporary dance world, however for the most part I have generally enjoyed the experience of performing in this city. The venues are wonderful!

8. What do you do without fail following a show? Before a show, to prepare?

Pray, I always pray before and after shows. It calms my nerves and helps me to feel centered. After shows I will also often write notes about what I thought worked and what may not have worked and what I would do differently if I had the opportunity.

Catch Jasmyn Fyffe as a part of the Late- Night Series – What you See is What you Get at the Betty Oliphant Theatre, August 12th and 13th at 11 p.m. For tickets call 416. 504. 7429. or visit www.artsboxoffice.ca For more information click here!

1. What is your name and name of your company?

Jannine Saarinen – Jay9 Dance Projects

2. What is the exact location of where you are based?

Toronto, Ontario

3. Tell us in 25 characters who you are.

Jannine created Jay9 Dance Projects to choreograph/produce dance that is expressive and character-based. Her work has been presented in many shows and festivals around Toronto.

4. Who has been the greatest influence in your life and why?

In regards to my life in general my family has always been a great influence on me as their love and support have helped me become who I am.

In regards to artistic influences it would be difficult to name just one as I have a wide range of likes and interests, but I could probably say that one of my earliest influences was Bengt Jörgen. The majority of my training when I was young was at schools where we had demos, not recitals, and where there was a definite focus on technique. I loved performing but it wasn’t until after seeing Ballet Jörgen Canada’s Romeo & Juliet that the idea of dance being more than just the steps really clicked in me. I loved the patterns that the dancers were making onstage, as well as how expressive their features and movements were – it was like I suddenly saw a bigger picture.

5. What was the last book or film you read or saw?

I am an avid reader and I love to mix things up by reading a lot of different styles and genres. Last week I read The Tale of Despereaux by Kate DiCamillo which is a beautiful children’s novel, as well as The Sirens of Titan by Kurt Vonnegut who is one of my favourite authors.

6. Tell us a little about the work you are performing at dmic/fac.

An issue that I feel is common among many people is the feeling of being boxed in. These boxes can be the result of many things; including stereotypes/prejudice, societal/gender roles, the expectations of those around us, or even by our own expectations and desires. Often times when you are having trouble fitting into one of these boxes it feels as if you are the only one with this problem – as though everyone else can find the freedom to move except you. Box Step explores this idea by showing three dancers learn a piece of movement each within the confines of a small square laid out on the floor. Two of the three dancers seem to be able to function quite nicely within these limits while the third just cannot seem to get it together. I drew inspiration for some of the piece from footage of Arthur Murray teaching dance, as well as from the classic Disney cartoon where Goofy learns to dance. It does, however, still explore the more serious side of the issue – A person can end up feeling frustrated, isolated and depressed when they are consistently unable to fit in with those around them.

7. Is Toronto a good place to perform in?

I think that it can be difficult to bring in an audience in Toronto; however, I believe that this is the case in many places as the arts can sometimes be a hard thing to sell. I would also have to say that I have had many amazing experiences performing in Toronto over the past 8 years. The Junction Arts Festival, Nuit Blanche, and Dance Ontario Weekend are a few of the most memorable where I have felt very proud to be a dancer in Toronto.

8. What do you do without fail following a show? Before a show, to prepare?

After a show I am almost always starving, so I usually go out and get something to eat. This is because prior to a show my nerves are often running high and I don’t feel like eating much of a meal.

When I am one of the performers in a show I always go over the piece a million times in my head so that I don’t need to worry about what comes next when I’m onstage. When I’m just choreographing, as is the case for Box Step, I basically try to make sure that everything is ready to go, and that the dancers feel confident about the piece.

Catch Jannien Saarinen and Jay9 Dance Projects as a part of the Late- Night Series – What you See is What you Get at the Betty Oliphant Theatre, August 12th and 13th at 11 p.m. For tickets call 416. 504. 7429. or visit www.artsboxoffice.ca For more information click here!

1. What is your name and name of company?
Andrea Spaziani, Open Air Collective

2. What is the exact location of where you are based?
 M4K 2W5

3. Tell us in 25 characters who you are.
Intergalactic cookie.

4. Who has been the greatest influence in your life and why?
My hubbie Peter. I’d feel pretty lost without him. He knows how to deal with being an adult much better than I do.

5. What was the last book or film you read or saw?
The Tree of Life

6. Tell us a little about the work you are performing at d:mic/fac.
The moment before is about preparedness, and that nauseating 10-minute wait before doing something totally crazy, like dance on stage for a paying audience. The work lives in a place of psychological limbo where time, anticipation, and self-doubt converge. It’s set to a score of field recordings I made leading up to, and in the moments before, the performance.

7. Is Toronto a good place to perform in?
Yes, I think so, but I’ll have to perform in more places to really know.

8. What do you do without fail following a show/before a show, to prepare?
I don’t want to give away too much, but you’ll get an idea of what I do before a show at the show (except the part where I pee ten times, somewhat unsuccessfully). After, I like to/need to lie in the fetal position for a few minutes, and then give/receive hugs. So many feelings…

Catch Andrea Spaziani and the Open Air Collective as a part of the Late- Night Series – What you See is What you Get at the Betty Oliphant Theatre, August 12th and 13th at 11 p.m. For tickets call 416. 504. 7429. or visit www.artsboxoffice.ca For more information click here!

1. What is your name and the name of your company?

Lina Cruz, Fila 13 Productions

2. What is the exact location of where you are based?

Montreal, Québec, Canada Latitude: 45.515500000000003 Longitude: -73.606300000000005

3. Tell us in 25 characters who you are.

I am a female, a friend says my work has a masculine side to it. I like that.

4. Who has been the greatest influence in your life and why?

My mother, because she’s crazy!

5. What was the last book or film you read/saw?

Last book:Short stories by Gogol, including The Nose, very funny.

6. Tell us a little about the work you are performing at d:mic/fac.  

We will be presenting a 25 minutes excerpt of Soupe du jour, the most recent group piece I’ve created for the company. It is performed by five dancers and one musician. Although the dance component of Soupe du jour is quite present, the piece was also was created on the basis of free association of elements, this gives the piece multiple suggestive imagery. It is always a treat for me to hear how it is received.

7. Is Toronto a good place to perform in?

Great place, very organized yet vibrant.

8. What do you do without fail following a show or before a show, to prepare?

Before a show: eat chocolate. After a show: have a beer. All pretty healthy, right? Not uncommon.

9. What is your favourite thing about Toronto?

I love Montreal and I love New York City, in Toronto I find a bit of both, it makes it unique.

See Lina’s work Soupe du jour in as a part of the Kudelka Series, August 12th at 7 p.m., August 13th at 9 p.m. and August 14th at 4 p.m. at the Betty Oliphant Theatre. For tickets call 416.504.7429. or visit www.artsboxoffice.ca For more information about the festival click here!

All volunteers will receive a complimentary ticket for each shift/show worked and access to the festival’s special events including Volunteer Appreciation at the Festival Closing Party.

Contact Jennifer Lee to sign up now!

Jennifer Lee

Associate Festival Coordinator

jenn.erin.lee@gmail.com