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Theresa Tova appeared as Yente in Fiddler on the Roof, May 3 to November 5, 2000, and as Lady Jane in Patience, July 11 to October 13, 2000, at the Stratford Festival, home of North America's largest repertory theatre company. Theresa, a veteran Canadian actor and singer, has graciously agreed to share her Stratford experiences with Canadian Actor Online.
To Page 2 of Yenta's e-Notes: starting April 20
To Page 3 of Yenta's e-Notes: starting June 21
March 9 - Today was my first day of rehearsals for Fiddler on the Roof at Stratford. Took a brisk 20-minute walk to the festival along the river. Sunny... beautiful... Believe it or not, every single person I passed on the path said hello. Must be rural Ontario. I am finally excited to be here. Should be a fun 9 months.
I walked into the rehearsal hall full of young actors I hadn't met yet and a few of us old timers I know from decades ago. The company is full of some very talented sweeties. We spent the first morning doing the usual deputy business, safety talk, etc., etc. Then we sang. You really haven't lived until you are sitting in front of a wall of fabulous voices.... and my god... I get to sing with them! I am truly a lucky sot.
Brent Carver is going to be brilliant! I just want to hold him. Gerald Isaacs is playing one of the sons... Is this a stretch? Nice guy. The Accent Coach was introduced to me by the Musical Director and I already took a meeting with her to help her get a handle on all things Yiddish.
I was paid my first cheque... YAY! Had a wig fitting and finished my day at 2:20. Yes, this is the life...
More singing tomorrow. Have to be off book on Tradition for Saturday when we start choreography. Back to editing CD liner notes and lyrics tonight. And checking in on Kidz in the Biz Discussion Board on Canadian Actor Online.
Regards from
Yenta Tova
March 11 - First the weather! It's snowing again. AUGH!! Yes this really is southern Ontario.
What a great day. We started out this morning working with the chorographer Michael Lichtefeld. He is so funny... and for a non-dancer he makes things so easy. Thank you dance gods! I guess there is some sort of agreement when you do a Jerome Robbin's musical that you must abide quite closely to the original choreography. Well, on a thrust stage that's not always possible so there was some sort of deal struck for Stratford. We were told we would get the full story over drinks one night. Michael is so respectful of Mr. Robbins and acknowledges his genius and sources And then at another dance step will giggle "that's not Jerome... that's me!"
There is a little 7 or 8 year old girl in the opening number and Michael got up, took her hand, and danced through the number with her. A gem of a guy.
After lunch we came back to sing through a very funny bit called "The Rumour". For a first go through it went very well. The company was busting a gut at the punch lines. My job will be concerned with how to keep Yente not just funny... but real.
Berthold Carriere the musical director has a lovely way about him. First he asks you not to sing while the pianists plays through the song. He sings out himself in a scratchy, smoked too many cigarettes kind of throat. Whatever inhibitions one might have about making a mistake are immediately gone. And of course when I can't get the timing on my entrance he sweetly says, "Don't worry, we have lot's of time." I immediately borrowed a tape recorder from stage management and had the accompanist put my stuff down on tape so I can come in on Monday and get it right.
Tomorrow is a day off. My kids and husband are coming in later tonight but I will make time to learn my music. Our director arrives Monday from New York and I know things they will be a hopping.
BTW, Brent carver had me crying at least 4 times today during the sing through. I feel very blessed to be here and to be working with such talented and generous artists.
TTFN,
Yenta Tova
March 17 - What a place this Stratford is! Beginning to understand how some actors can spend decades working here. The organization is huge yet... so actor friendly. First, did you know there is a green room/cafeteria with a full time chef, just for the company? The food is spectacular. And they give you an employee number so you don't even need to have cash to buy lunch. It is deducted from your pay.
The scheduling of 120 actors in rep must be a nightmare but the SM staff is very accommodating. One calls in at around 5 pm every night and they tell you what is on for the next day. Or you can go to one of three computers type in your name and your personal call sheet will come up. And the support staff are incredible. There is a company warm up at 9 am every morning. Have to admit I haven't made it yet but I plan to....
Some of the finest teachers and coaches are here for us to make use of as we have time. There are voice coaches, dialect coaches and text coaches. I have signed up for all I can get. There are also play readings every Tuesday night. Had my first, one-on-one, Alexander technique class. Imagine a therapist on staff to help actors cope with physical challenges? Am I spoiled yet?
Rehearsals are fun. We started blocking and scene work. Susan Shulman (our fabulous director) works very quickly. She blocks a scene in broad strokes with the choreographer Michael at her side and then goes back to detail work the next day. This is something I saw for the first time last year while touring Ragtime. This way of working is one where the choreographer has a much bigger hand in staging the whole show and not just the dance numbers.
Barb Barsky (Golde) and I spent a few hours on Wednesday breaking down our first kitchen scene. I don't have a huge part but man I just don't stop talking... Yenta I mean.. I've got a mouth full every time she opens her gab. I love it. Got the big laughs down... my next challenge is to make sure she's real.
Had a mask fitting for the "dream sequence" (this place is so full of talented artisans in every department!) and am back today to block the Sabbath Prayer. (How fitting on a Friday :-))
I walk around with a tape recorder listening to vocal lines whenever I can. I am becoming totally Yiddified. Next I'll be asking you to throw me down from the stairs a sweater. Funny thing... The other night I was heading home from rehearsals and running the scene over that we had just worked on, when a group of young kids passed by me on the street. In Toronto or New York no one would have noticed or said a thing. But this kid stopped and screamed back at me: " Who are you talking to?" I told him I was running my lines. And he looked less confused. How sweet!
Yes this is beautiful small town Ontario. The locals love the theatre and what it has done for their town. In stores and banks I am constantly asked what show I'm in and made to feel welcome. I'll bet that will change come October. They'll probably be sick of us by then and want us to go home...
Yenta Tova
March 18 -- Happy belated St Patrick's Day! The IATSE brothers threw a bash in the AVON theatre carpentry shop last evening for cast and crew. Free beer, pizza and cab chits so no one had to drink and drive. They fixed up the place with stage lighting, smoke and even had a really good local band do four sets through the evening. My kids and husband drove in from Toronto and have to say it was a really fun night.
Lot's of introductions, met a lot of other actors in other shows and lots of chit chat about process. LOVE ACTORS.. We care so much about what we do. OK, I didn't make it to Patsy Rottenberg's class this morning... but she's still here next week. I was in this morning for music review. Laura the assistant musical director switched my vocal lines.
I was singing the alto part an octave below and turned out I was singing lower than the men. Obviously that won't do so now I am singing the melody an octave below on group numbers. Me complain? Never.
Back in this afternoon to look at the first 19 blocks of the show. We are moving fast. My daughter ran lines with me... and hopefully I'll remember what foot I'm on in the dance numbers. Tomorrow is our day off. L'chaim! (To Life!)
TTFN,
Yenta Tova
March 21 - Today is a big day. We are on the Festival stage today... and not in the rehearsal hall. Quite a thrill! Looking forward to stepping out for the first time on one of the most famous stages in the continent. Even though we are only about 3/4 's through staging the first act we are being given a chance to work what we have so far in the space. What a luxury.
Rumour has it that Fiddler is one of the largest shows ever built on the Festival stage. Debra Hanson has designed a colorful, Chagall-inspired three story high wall of shtetl life, all perched on a revolve floor we have to dance on... which is actually two revolves, one inside the another... We affectionately call the revolve "the doughnut". Today we find out how many actors lose their balance walking left while the floor is moving right... Should be fun!
The dancer boys just blow me and all the other women away! Yesterday we were blocked into the wedding sequence. After a bit of dancing, we get to sit off to the side as Jewish women would.... and watch those cuties actually dancing with real bottles perched on their little black hats. Worth the price of admission alone! The Alexander coach was in yesterday also taking a look at the "bottle dance"... ward off any physical challenges before they become problems.
Off to a Patsy Rottenberg warm up this morning....
Yenta Tova
March 23 - I love this show ... It is so full of heart and joy. We are almost finished staging Act One. The dream sequence is a hoot to do. We will be all dressed in fabulous masks and will be whipped around the turntable as FRUMA SARA flies above us. Michael Licktefeld is the best. When someone got frustrated over a dance step the other day I heard him announce, "What are we doing building a bridge? Have Fun!!" That attitude is so refreshing. Empower your fellow artist instead of working from a place of fear.
In the wedding sequence someone suggested Michael Fawkes would sing a bit of a Yiddish song.....so I took it upon myself to do some research. I found old Yiddish folks songs from 1901 St. Petersburg and brought in a selection for Bert our MD to pick from. Michael Liktefeld now calls me Miss Yiddish Britannica. :)
The two days we just spent on the stage will be invaluable as we continue back in the rehearsal hall. Someone, I believe Barb Barsky, organized a dance warm up . So I'm off early this morning to pretend these muscles still stretch.
Last night we had a full company EQUITY meeting, nominations of committees, etc. Tonight the festival is throwing a welcoming reception as the last show to start rehearsals has finally arrived and on Friday I am bowling on the Stratford team to raise $$ for Big Brothers. Next week I will be involved in a reading of a Tony Kushner piece. Yes it is a real community. Lot's to keep one busy.
Regards from
Yenta Tova
March 28 - Started this morning with a 40 minute dance warm up in rehearsal hall 3. Still sore from the last class, but have promised myself to get my bones there as often as I can. I remember getting my nose down into my knees and will again!
We choreographed a group number called the Rumour. Later in the afternoon we put it on stage... My god, I was to leave through the vomitorium down right and appear a few minutes later up left. Well... I ran down into the underworld below the stage and got completely lost. The tour we had was over three weeks ago..... I had no idea how to get back up and went through wardrobe and wigs up a flight of stairs and just kept running.... I got on stage all winded, and just in time. The lovely SM department walked me through it before we went again and even went with me the next time just to make sure I didn't take a wrong turn........
Yes this really is BIG theatre.
We then continued to block the end of the show. I still can't watch the Chava sequence without balling my eyes out. And Amy Walsh is an angel as she dances the Chava ballet.
Had a wig and mask fitting as well. Clayton (head of wigs) has been at the festival for decades. He is a lovely man who's interests are more eclectic than one might first imagine. He has taken to wearing a skull cap in respect for the "Fiddler world" and is always asking me about this Yiddish phrase or that. Do you know how to spell Payet? (pronounced payes). Translation: forelocks.
Even though we are 4 weeks before previews we rehearse in live body mikes every time we are onstage. I am blown away by the resources here. There is even a library in the AVON where one can watch videos of famous Shakespearean productions. We should have the whole show blocked by tomorrow. We also get back to the whirling dream sequence tomorrow. Can't wait to see Barb Fulton fly. Back to learning lines tonight.
BTW, if you are planning to come see Fiddler, get your tickets ASAP. Box office records were broken last season and sales are way ahead of last year already.
Regards from Stratford
Yenta Tova
March 30: What a wonderful, really good group of folks. Are you getting bored yet? Sorry, but I truly am really enjoying this cast. I spend my days laughing, crying (for all the right reasons) and being totally inspired.
Back in the rehearsal hall today, we worked Act 1 and also about half of Act 2. Everyone is still experimenting ... but you can see the story beginning to take shape. There wasn't a dry eye in the room today as we watched Tevya and the family say their respective good-byes.
Fiddler is such a simple story and yet so beautifully written... beautifully scored... and Bert our MD is removing some of the original 60's over the top orchestrations. Imagine the simplicity of three lone notes ringing their own emotional truth ... it is startling.
Susan Schulman and Michael Lichtefeld are a great team!! They continue to surprise us with little changes that move us emotionally further into the Fiddler world. Today Susan simply reminded us of the spiritual meaning of a certain gesture we had been doing for three weeks now. Amazing how a true intention will inform the same action and fill it full of meaning.
Michael continues to fine tune the group dance numbers, changing bits we aren't quite getting right. And the sweetheart he is, he blames himself for giving us moves that make no sense.... Is that unbelievably supportive? Again today, he and Susan both made a point of commenting aloud how impressed they were, that for the most part, we remembered the moves in dance numbers we hadn't done in over 6 days. This cast would do anything for them at this point.
Last evening some of us did a reading of a Tony Kushner piece. I was blown away with the talent around the table. And I love that supporting actors are given the opportunity to shine in a leading role, to strut their stuff... There is a reason for each and everyone of us being here. The kids proved that last night in spades.
A few of us went out to a local diner (Madelyne's) for lunch. Poutine and Ontario homemade sausages? Who says this country isn't bilingual.
BTW......... I touched my nose to my knees this morning! It hurt...but I got it there!
Love from Stratford
Yenta Tova
April 3 - Amazing! Even the swans wings are clipped.....Perth County folk lore lives!
My husband, my daughter, and I were treated to a delightful Perth County surprise Sunday Morning. We were at Balzac's (the closest fix you can get to Starbucks in Stratford) and ran into Michael Therriault. He told us they were letting the swans go into the river in about 15 minutes. Next thing I know we're standing in the pouring rain, in a crowd of a few hundred strong...
First a marching band comes down the hill...The excitement was contagious... All of a sudden a television camera crew and photographers come backing down the road preceding a dozen or so swans as they come waddling down the hill towards the river. Beautiful white creatures.... and even a pair of black swans (talk about looking like a fish out of water). They had been kept in a pen all winter and this was their moment of glory. The swans walked and squawked the two blocks and then gracefully slipped into the river cheered on by the crowd. I even had my camera ... stay tuned for snaps...
April 1st came and went with no major disturbances ... only a mock rehearsal schedule discreetly circulated that included 25 voice sessions for a certain lead actor... that started at 7 AM. I thought a company bris might have been appropriate for the Fiddler boys?
The rehearsal process has turned a corner. The show is blocked. We have all been asked to be off book... James the fight guy has choreographed the Pogrom action at the end of Act ONE... Looking good! Every day a new Jewish Joke.....Keith Dinicol must be given credit for this yuck: Hope they spell my name right in the Pogrom....
Susan and Michael continue to adjust moves. Yesterday the roaming tree of life was added to all the street scenes. It meant for a few spatial adjustments. Now after running through the underworld, I climb a ladder in a skirt.... to get to a second floor balcony in order to button the rumour scene. Ah yes... the beauty of live theatre... Thought I was in this for the glamour did you?
The show is a prop nightmare. Only poor shtetl folk but boy we have lot of stuff... Brent/Tevya is constantly working the cart. Milk cans, cheese, ropes, buckets ... we all have satchels and bags, babushkas, baskets, bagels... At the end of act two eventually all must be packed into the cart for the exodus from Anatevka. Well, everyone including Yenta comes to say good-bye and we had been using a large bench in rehearsals to sit together at one moment. Yesterday we saw the actual size of the trunk we must use so it can be fit into the cart. It's so small.... Susan even wondered about trying the scene not sitting. Then she said, "No... never mind, we'll get them to change the shape of it." She said, "Just imagine that it's hard and sturdy." Yes, I couldn't help myself and piped backed... "I often have to pretend that." I am sooooooooo bad.
The first orchestra rehearsal was last night. I didn't hear any of it. But just knowing they have started makes it all the more exciting. Can't wait to hear the orchestrations. Imagine the thrill of a first zitsprobe. You haven't lived until you get to sing supported by a 27 piece strong band.
Went to a reading last night of a new Play "Good Mother" by Damien Atkins, a company actor. Damien has a good ear for dialogue and has painted a picture of an endearing family struggling with the realities of life gone wrong. The kids especially are very entertaining. He has found pathos and laughs in the roles of unwilling caretakers and outrageous nurses... Damien's humour comes through loud and clear in his writing... My few words of encouragement included suggesting he infuse even more humour. The man is twisted and that's a good thing.
Today is not a primary rehearsal day for Fiddler. Most of the cast is rehearsing As You Like it, Elizabeth Rex, or Three Musketeers.... so I get to take it easy... A voice class... a workout and then try and finish my taxes.
Regards from the middle of Perth County,
Yenta Tova
April 7 -- I am elated! The idea of throwing a Passover Seder for the at least the Fiddler and Ann Frank companies was looming heavy on my mind. How can one be in a Jewish show and not celebrate one of the most important dates on the Jewish calendar? Just wasn't certain where or how I would make matzo balls and gefilte fish for at least 35-60 strong... The other evening I had a stroke of genius. I thought we might be able to seat everyone in the actor's Green Room at the festival theatre. Remember I told you there was an amazing restaurant there just for the theatre staff. I approached Ruth, the chef, to ask about the possibility of using her kitchen ... and lo and behold before I could outline my request she said, "I'll cook." I asked her how her gefilte fish was and we both agreed we would cook together.
I am elated!
Today I go in with my mother's Hadassah cookbook to figure out the menu with Ruth. Sweet gefilte fish, noodle kugel, bubbele... Every Jew in the company has their own mother's favourite recipes. This is going to be a hoot. Ruth will cost out the menu and then I will put up a sign in sheet for any Jew or pretend Jew who wants to celebrate the feast commemorating freedom.
I love the idea of having Al Waxman (the Ann Frank director) officiate at one end of the seder table with our Fiddler Rabbi Keith Dinicol seated at the opposite end. We'll see what happens.... The Seder actually falls on Easter weekend this year so it should make for a very spiritual and food filled weekend.
Ruth you are amazing ... but you know I really shouldn't be surprised. As I said before, coming to The Stratford festival is like landing in the middle of a huge family. Each member cares about each other and feels an important part the team.... Fred at the stage door.... Roy in props... Martine in the theatre store.... Dave on sound.... Paul in the carp shop... I have seen kitchen staff after hours at play readings. Yesterday there was even a crowd gathered in order to support a veteran head carpenter who was leaving after 38 years. A lot of love ... a lot of laughs ... and a commitment to Stratford's history.
Oh yes, Fiddler... We spent the better part of the last two days rehearsing transitions into and out of scenes. My God, Cindy and her stage management team are impressive. This is a daunting task. In less capable hands we would still be in transition hell next week... But they numbered benches and stools, labelled props and had every movement on the set charted out before we were put into the mix. Revolve cues, moving of trees and furniture, flying actors, it all was made to look so easy. And you know it's gonna look great too.
We finally got to see Barb Fulton fly yesterday. What a sight! There she was clad in a very attractive white-padded body suit with harness built in and hanging 16 feet off the stage floor with a ghoulish mask and hair topping off the look. The glamorous life of an actress? At one point in the song she lays out flat ... very scary. At another she curses as she swings across us cowering creatures below. The swinging Barb has yet to be totally realized but I have every confidence next week the stagehands will have it perfected. Everyone is really excited by it.
Saw Michael Cooper sitting in the house yesterday. Yes, the photo call is a reality for next week. Talk about commitment. Michael was up with his assistant to suss out the show and figure out exactly how best to shoot it.... He is the best. Hmm... that means I have to figure out my no make-up shtetl make-up look.
I always love the first time I get into wardrobe, hair and make-up. There is something magical that happens when you physically embody the role in all its glory. Subtle changes will occur informed by how the clothes feel... greying curly hair, under the babushka…Yes Yenta she is being born....
Last night a few of us met at Pazzos to celebrate Tracy and Lisa's birthdays. I think we have had birthday cake two times a week since arriving. Away from families and loved ones, these moments become incredibly important.
Yenta Tova
April 13 - Put a sign-up sheet on the callboards Monday for the PASSOVER SEDER. As of tonight, 60 folks have signed on. I went to the Stratford LCBO today to look into ordering kosher wine and shock! They actually have about 4 kosher brands of dry red and white as well as Insulin rush Manishewits. I asked the manager, Lori, "Why?". Why would the wasp centre of the universe carry wine kosher la Pesakh? Lo and behold Lori informed me that there are actually 3 Jewish families in Stratford. By the time I left and she realized I was ordering 3 cases, she told me she was real glad I was there. She was wondering how she was going to get rid of all that stock...
It's almost a week since last I reported from the shtetl. We had one of the most celebratory photo calls I've ever been involved in. Wednesday night the villagers of Anatevka became a reality.... And I must say we looked amazing.... Half-hour call was 7:30 PM. The hallways backstage were lined with chairs and lots of extra bodies. Wardrobe dressers, milliners and wig folks, some I have met in fittings, some are new. It is so exciting! So many squeals of delight as everyone is there to see it all come together for the first time.
Debra Hanson is back stage approving every detail... At one point I see her pull scarves off some of the young girls... My shawl is to be left in the dressing room until Act 2.... The wigs transform everyone ... Imagine the excitement seeing Keith Dinicol (our Rabbi) fully bearded and draped for an orthodox wedding a la 1905 Russia? Bruce Dow in a cascade of curls that could get him a hair endorsement it's so impressive. Robin Hutton takes your breath away as beautiful blushing bride. Barbara Barsky is stunningly proud...
I get asked by Bradley Dalcourt (wardrobe) to take a peek at the rabbi to make sure the talis is on right. My orthodox Zayde would have laughed... A woman telling even a pretend rabbi how to wear his prayer shawl?! The whole cast (except for our trusty workhorse swings Kim and Steven B.) are involved in the third shot of the evening. A group number of the Tradition opening.
Michael Cooper shoots a Busby Berkley style shot from way up in the lighting grid. We come through the large gate in full regalia... Magical stage lighting, onto the revolve and we do what we have only ever done for ourselves before. We proudly parade, dancing the opening number of the show. May I say magic without being accused of being overly dramatic? There is magic on that stage. Even our overworked musical team, Bert and Laura, came to photo call to play for us. They are also part of the magic...
The trick is to remember that magical feeling in 6 months....
In the auditorium were a few platters of fruit, cookies and sweets, some real nice ad folks from Montreal... the publicity department, the director's office, administration, wardrobe heads, props, designers, electricians, carps, masks... There were more people sitting in the theatre then were on stage. It really hit home how many artists were concerned over the realization of that night of photos. This show shall always be remembered by the images of Wednesday night. Bravo and thanks to you all.
By the turn out at the theatre bar (Down The Street) later that night I would say folks were happy and ready to celebrate. We were back in the rehearsal hall today. Our next day on stage will be our cue to cue... For now, Michael and Susan are cleaning and refining. Today I had real teas and sugar for the first time during the Yenta visits scene.
FYI... I have been on a protein diet for a while now and..... my oh my. Sugar high in Stratford... So here we go... We will start another work through/run tomorrow. My guess is now Susan and team will start to pace the show. Next week we also hear the orchestra for the first time. The sun is out, we are selling out. We feel good, we are looking good. This is one of the finest stages in the country. I am, as Yenta would say, not one to complain. "Other women enjoy complaining... but not Yenta."
Am I right? Of course, right!!
Yenta Tova
April 17: We have had two run-throughs since last I reported from the shtetl. Sholem Aleichem's story is starting to be told. Must say it is a bit awkward trying to run the show in the rehearsal hall after tasting the real world of the Festival stage. Instead of smooth transitions on the revolve, Cindy, Sharon and Julie run on to move benches, trees, gates, etc., and then run back to the SM table. Also have you ever noticed that once the floor is taped, rehearsal halls are never big enough for all the props and set pieces and cast that needs to be in the room?
The vomitoriums are taped on the floor but half the cast is sitting in that space. There is no where else in the room to be. So everyone in scenes have to make entrances through and around bodies. I found out I can no longer watch the Chava little bird sequence. In the run I had to wipe tears from my eyes as I made an entrance took me half a speech to find my space..... And that just isn't right!
Susan Schulman was so funny today after the run. We were given a 20 minute break and then it was back in the room for notes. She stood in front of us with recipe cards and announced, "Welcome to the 3x5 cards." All her notes from the run had been written by Brian onto the cards. After giving the notes verbally she then handed them out. We all hooted! It became a game with some vying for cards and others trying for shut outs.... How smart! We don't get back to Fiddler until Thursday and the 3x5 cards give you something to hold onto.
Have to make another observation. As I have started to work with some top directors, I notice that each of them is very careful to give notes in a more private manner than I had been used to before. These directors like Susan respect actors and respect their personal process. Open dialogues only happen in moments that include all.
Passover Seder table is now 65 strong and still growing. Did a big Khrain and Matzo run in Toronto on Saturday. How much matzo will be eaten by gentiles who've never tasted it and will liken it to sawdust crackers? Thank God for Ruth and her promise of flourless chocolate cake.
Happy Passover-Happy Easter
Yenta Tova
Theresa Tova: Honoured with a Gemini nomination as BEST SUPPORTING ACTRESS, Theresa was a regular for 5 seasons on the award-winning CTV series, ENG. Since then she has gone on to write, produce and star in the theatrical musical STILL THE NIGHT which won four Dora awards and a nomination for the prestigious 1999 Governor General's Award for excellence in Literature. Recently, Theresa starred as EMMA GOLDMAN in the National American tour of the Broadway Musical RAGTIME and will next grace the boards in the 2000 Stratford Festival season as Yente in FIDDLER ON THE ROOF.
 Theresa's Yiddish Jazz CD titled "Telling Stories" is now available online.
An ACTRA and Equity member, Theresa has been active on a political level in pursuit of children’s rights and clear protective regulations at ACTRA. A past National Council member and part of the IPA negotiating team, she helped clearly define the Children's agreement for Independent Production in Canada. She is also the mother of two Biz Kids and the volunteer CAO Kidz in the Biz Discussion Board Moderator.
A bold work of music theatre, Still the Night by Theresa Tova follows the extraordinary journey of two young women from prepubescence to womanhood; from the pre-war days in Warsaw to the Polish underground of 1939. Young lives once filled with innocence, opera and the Yiddish theatre are transformed by espionage, survival and courage. Brought to life with an inspired selection of Yiddish and American music and songs from the ghettos, Still the Night shines with a vision of hope, compassion, and the power of the human spirit.
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