The Title Block

On September 3, 202, we held a panel entitled Sustainability in Design.The UN has named this the Decade of Action, our last chance to create the transformation to a livable future. What does it mean to align our practices with a 1.5 degree Celsius global temperature rise?This event focuses on the aesthetics of climate-friendly sustainable design in theatre, as a core design practice and as part of a larger equitable green recovery.Panel members include Logan Raju Cracknell, Kendra Fanconi, Paul Fujimoto-Pihl, Lauren Gaston, Elia Kirby, Ken MacKenzie, and Edward T Morris. The moderator is Ian Garrett.

Kim Senklip Harvey is a proud Syilx (silk), Tsilhqot'in (sil-co-teen), Ktunaxa (to-naka) and Dakelh (da-kell) woman and is a Fire Creator, Indigenous Theorist and Cultural Evolutionist. She completed the BFA program at UBC and is currently doing her Masters in Creative Writing at UVIC. Kim is interested in Indigenous creation works dismantling and troubling colonial and neo-capitalistic systems with a particular focus on the resurgence of Indigenous Matriarchal led systems and frameworks. Especially those amplifying the emancipatory journeys of those enduring state oppression. She is also really good at buck hunter, like really good. Website :www.kimsenklipharvey.com

This time the final conversation from my trip in Vancouver at the end of 2018. Michael Whitfield was the head of lighting design at the Stratford Festival for over 25 years from the mid 1970’s through to the early 2000’s., so he is perfectly placed to round out our discussion about the history of the design of the festival stage. He is also has designed opera across North America and we talk about his take on the important communication strategies when building your show in a team.

This week a special presentation of The Title Block Live, presented in partnership with The Associated Designers of Canada on Supporting a BIPOC cast with your design. A panel of fantastic Canadian theatre designers and artists discuss several questions around how our designs and collaborations can support or hinder the flourishing of Black, Indigenous, and People of Colour in live performance.This weeks panal consists of Carmen Alatorre, C.J. Astronomo, Sammy Chien, Deanna H. Choi, Rachel Forbes, Camilia Koo, Sage Paul, Kimberly Purtell, and Emily Soussana, and is moderated by Michelle Ramsay.Please go to designers.ca for more information about the ADC. All members of the panel were paid a honorarium by the the ADC to sit on the panel. The Title Block and Michael Kruse did not accept any fees for this.

Conor Moore in the pentultimate interview from my trip to Vancouver and Victoria in December of 2018. We talk about his early schooling at Queen’s University and UBC and his breakout as a projection, lighting and set designer at Bard At the Beach and other great Vancouver based companies. Conor was persuing his Masters of Socialwork in Labour studies at Simon Fraser University and is very active in the labour movement of the Canadian theatre scene, so we talk about this shift in his focus and his great work advocating on behalf of Vancouver and Canadian designers in several forums. You can see his portfolio at conormooredesign.com.LinksQueen’s Dan School of Drama and MusicTom McGee and Kat SandlerUBC MFA Theatre designCarmen AlatorreHeadlines Theatre, Theatre for Living and David DiamondAfter HomelessnessBard on the Beach, Falstaff directed by Glynis LeyshonAlan BrodieRobert GardinerThe Pipeline Project produced by ITSAZOO and Savage SocietyDr. Silver, A Celebration of Life by Musical Stage Company and Outside the March TheatrePeter and the Starcatcher at the Artsclub TheatreKevin LamotteShaw FestivalJock MunroLouise GuinandVancouver Design ForumAssociated Designers of CanadaSFU Labour Studies ProgramProf. Kendra StraussIATSECanadian Actors Equity AssociationPrecarious work and Theatre and the Arts

After a two week hiatus we are back with the Title Block Live for June 6 2020. This week a multi-disciplinary panel discusses collaboration in theatre design. The panel is also composed entirely of women, so that lens is applied to think about design in Canada. Our panel consist of: Kate De Lorme, Rachel Forbes, Pam Johnson, Beth Kates, Megan Koshka, Michelle Ramsey, and Amelia Scott. The panel was co-hosted by Vancouver based sound designer and composer Mishelle Cuttler.BiosMishelle Cuttler is a sound designer and composer based in Vancouver who works primarily with the intersection of music and storytelling. She is board member for the ADC and a core member of the Vancouver Design Forum.Kate De Lorme is a Sound Artist and Co-founder of Lobe Spatial Sound studio in Vancouver, BC. Her work ranges from contemporary dance and theatre to immersive sound experiences. More at: Katedelorme.com Lobestudio.caRachel Forbes s a Toronto based set and costume designer who thoroughly enjoys a good puzzle. Artistic, jigsaw or crossword. She loves (and misses) collaboration most of all.Pam Johnson has been a theatre designer for 40 years, and was an instructor at Studio 58 for 29 years. She has designed in most theatres from Montreal to Victoria.Beth Kates is a set, lighting, video and mixed reality designer, who started working in rock and roll a long time ago and is now actively creating work that blends virtual reality, augmented reality and live performance. She is currently completing a Masters degree at the University of Calgary, is a proud member of the ADC, and is the mom to an 8 year old who has the same initials. More infot: www.playgroundstudios.ca www.burythewren.caMegan Koshka is an Edmonton based set, costume, and lighting designer and graduate of the University of Alberta. She was recently nominated for two Sterling Awards for "The Blue Hour" as part of the SkirtsAFire festival. More info: www.mkoshka.comMichelle Ramsey is an award winning Toronto based lighting designer who works with dance, theatre and opera companies across the country. She is also on the board of the Associated Designers of Canada. More info: michelleramsaydesign.caAmelia Scott is a video designer, projection technologist, and new media artist creating for theatre, opera, dance, and beyond. Based out of Montreal and working across Canada, she works in the intersection of animation, video, film, and live performance. More info: ameliascott.ca

This is the second to last interview from my BC interview trip at the end of 2018. Mishelle Cuttler invited me to her home in Vancouver BC and we speak about her career as a composer and sound designer. We speak of her early career at UBC and discovering her talents as a composer as well as an actor/musician up to her experience at NYC’s Tisch School of the Arts studying composition and all points in between. You can find more information about her work at www.mishellecuttler.com

On this next episode of The Title Block Live we discuss video and projection design with a panal of fantastic Canadian designers. Our panel is led by Conor Moore and includes Hugh Conacher, Cameron Fraser, T. Erin Grube, Jamie Nesbitt, Sean Nieuwenhuis, and Emily Soussana.

The next episode of The Title Block Live for May 7 2020 features an all-star panel of costume designers.

This week on The Title Block Live on our You Tube channel, a panel of top Canadian theatrical set designers take questions about their craft and approach to design. On this episode, Pat Flood, Susan LePage, Shawn Kerwin, Camellia Koo, Ken MacDonald, Ken Mackenzie, and Lorenzo Savoini join co-host Conor Moore to take your questions.

I met with Robert Gardiner at the University of British Columbia’s Fredrick Wood Theatre in the design department at the beginning of 2019. We speak about his early work in the US and is eventual move to the UBC drama department, and his thoughts on theatre training and the changes in producing theatre in Canada over the last 40 years.

On this inaugural Title Block Live event, join Conor Moore as he attempts to wrangle a rambunctious panel consisting of Bonnie Beecher, Kevin Fraser, Louise Guinand, Kevin Lamotte, Kimberly Purtell, and Michael Walton to answer your questions about lighting design.

Hey there, Michael Kruse here again - I have to recall that last announcement! We are also in a period of flux, I jumped the gun a bit, and the First Title Block Live episode will now be on Thursday April 16th at 8 pm EST. Join me, and designer Conor Moore, as well as an all-star panel every Thursday at 8 pm EST, starting April 16th on the Title Block Podcasts channel on youtube live. Find us at The Title Block Podcast on YouTube and plug into a great conservation about theatre design. The show can be linked to here: https://youtu.be/QAo7izFCuZ0 So, this Thursday, April 16th at 8 pm EST we start with lighting designers Louse Guinand, Kevin Fraser, Michael Walton, Kim Purtell, and Kevin Lamotte who will be answering your questions sent to thetitleblock@gmail.com, so start sending those in and we will try to address them during the show. We will have a panel on video design coming up in a couple of weeks, so stay tuned for that anouncement, and in the mean time, please visit thetitleblock.com for past episodes. I will be releasing the audio from the live shows on the podcast feed as well, and the videos will stay up to review after the event as well, so don't worry if you miss it.

I joined Rob at his home in Port Moody BC, just outside Vancouver in December of 2018. We speak about his start in lighting at the Banff Centre and move into live events at Christie Lites Vancouver. Waxing on about early movers we flesh out his work in large scale live events for television, including the opening and closing ceremonies for the Paralympics in Vancouver in 2010 and the Grey Cup half time show. You can find his portfolio at www.robert-sondergaard.com.

During these, um, what's the euphimism markerters are using? "Uncertain Times" we are all stuck at home waiting to make our art again; waiting for the world to change and settle and pushed apart from each other.In an effort to build comm unity and to take one small advantage of this, tumolt, The Title Block is debuting a new weekly live event to deepen the conversation about design in Canadian theatre. bJoin me, and designer Conor Moore, as well as an all-star panel every Tuesday at 8 pm EST, starting April 14th on the Title Block Podcasts channel on youtube live. Goto youtube.com/thetitleblockpodcast/live and plug into a great converstation about theatre design. This tuesday April 14th we start with lighting designers Louse Guinod, Kevin Fraser, Michael Walton, and Kim Purtel talking about the Fourth Wall and how lighting designers think about it.We will have a panel on video design coming up in a couple of weeks, so stay tuned for that anouncement, and in the mean time, please visit thetitleblock.com for past episodes. Thank you for your support, and take care during these outrageous times.

Mary and I met at her home in Victoria BC in December of 2018. We speak of her early days growing up in Winnipeg dancing in her mother’s dance studio and her transition to majorette, sculpture and finally nationally renowned set and costume designer. We speak for considerable length about her collaboration with the late Stephen Katz and her work on the spectacular opening ceremonies for the Commonwealth Games in 1994. Mary’s work was featured in the seminal book Scenography in Canada by Natalie Rewa and she currently is a professor at the University of Victoria.

I had a great opportunity while I was in Calgary in the winter of 2019 to speak with designer April Viczso. She is an associate professor and the chair of the department of design in the school of creative and performing arts at the University of Calgary. She is also the past president of the Associated Designers of Canada and a founding member of the controversial Designers Working Group. We speak about her early experiences at Scenotecnica Piu in Italy at the beginning of her career and her journey from Prudhomme Saskachewan to Toronto and back to Calgary. You can see examples of her work at https://aprilviczko.com/ .

On September 23, 2019, Sholem Dolgoy, the head of theatre production training at Ryerson University’s School of Performance retired. He taught at the school since the early 1980’s while building a towering career in lighting design in Canadian theatre and dance. I recorded the presentation that night and present here to you the juiciest bits of that evening, including an addendum to our talk from Episode #13 of the The Title Clock. We recap Sholem’s career, how he got into teaching and his efforts to laud the word of theatre administrators in a time when we need them most.Thank you, Sholem, for being a mentor to so many great artists, and we wish you all the best on your next adventure.

Susan Benson was born in Kent, England, trained as a fine artist but as a member of a theatre family moved quickly in to theatre design. I met with Susan in Victoria in December of 2018 and she recounted her early life and training in England and her development of a robust training environment at the Stratford Festival, where she was the head of design for many years. Susan defends the idea of a theatre designer as an artist and the need of support of traditional theatre spaces to insure we train a future generation of theatre artists. You can follow along visually by finding a copy of Patricia Flood’s new book about Susan’s design career here. You can also find visual references online from Susan’s work here.

My interview with costume designer Mara Gottler is a continuation of my profiles of Vancouver theatre designers from December 2018. Mara and I speak about her early life at the Stratford festival as a tailor and sewer and her move to the National Theatre School, and eventually Vancouver where she is a founding member and resident designer of the west coast Shakespearian powerhouse Bard on the Beach. We speak about her career and her approach to the conceptualization and communication of design. We also speak about the infra-red camera technique established by Robert Lepage to better incorporate front projection video into your production.

Scott Miller is a partner in DWD Theatre Design and Consulting based in Vancouver BC. He and I speak about our beginnings in Toronto theatre as classmates at Ryerson Theatre School and proceed to a fascinating conversation about designing your theatre. While this is a program about theatre design, we rarely speak about the actual design of our spaces and all the work that goes into them. Scott spoke to me at his office in Vancouver, BC in December 2018, and this is the first of the series of interviews based on the my trip to the west coast in December.

This episode a great conversation with legendary Canadian theatre designer Astrid Janson. I joined Astrid in at her home in November of 2018 to discuss her early days at Toronto Workshop Productions and Toronto Dance Theatre and her set, costume, and yes lighting design work in opera and new theatrical works. Please find her complete portfolio at THIS link. and follow along with this key Canadian designer. We also briefly remember costume designer Susanne Mess who we lost in Janary 2019, and Mallory Gilbert who passed in February.

Kevin Fraser has been at the Stratford festival for 30 years and designed the lighting for over 500 productions since graduating from Ryerson Theatre School in the late 1970’s. He invited me to his home in Stratford Ontario in August of 2018 and we spoke about his early career and beginnings in Toronto at the Adelaide Court and the Tarragon Theatre and his move into the large festivals including Stratford and Drayton. Find examples of his work here: www.kevinfraserlighting.com.

Glenn Davidson sat down with the Title Block in August of 2018 to talk old times and design. Among our topics were included the start of the Toronto Fringe Festival and the Poor Alex Theatre Group as well as his early work as an actor and his most recent design work with the Tarragon, Tafalmusik and beyond. Also, if you don’t know what a “golden donut” is, you will have to listen right to the end.

Dana Osborne is a set and costume designer based out of Stratford Ontario. She started out working in some of the top wardrobe shops in the country, including the Canadian Opera Company, the Shaw Festival, and the Mirvish shops when they still owned them. We talk about her transition to design and her work over the last 20 years in Canadian theatre. Find samples of her work at www.danaosborne.ca

This time on The Bellows we feature a conversation about the genesis and production of Pearle Harbour: Chautauqua, from the spark of an idea to the gathering of the creative team and the final realization in the marvelous 40-seat revival tent installed at Theatre Passe Muraille in October in 2018. A subset of the creative team, creator of the Pearle Harbour persona, Justin Miller, musical director and composer Steven Conway and stage manager Guiseppe Condello discuss the development of a fabulous piece of bouffant theatre and drag performance. The Bellows Toronto is a collective committed to fostering discussion about all issues concerning theatre production and has existed since 2015. The Bellows is Pip Bradford, Rebecca Hooton, Kevin Hutson, Christopher Ross, and Michael Kruse.

Jamie Nesbitt is a Vancouver based projection designer and we caught up in June of 2018 at the Shaw Festival where he was designing The Hound of the Baskervilles. Jamie and I talk about the start of his career at the end of the slide projector era and the transition to the full integration of video projection into modern Canadian theatre.

Its time for another presentation of The Bellows! This time a discussion with stage manager Megan Speakman, stagehand Sally Roberts, and designer Simon Rossiter about unions and associations and how they work to protect the rights of the theatre workers they represent. the conversation took place at Theatre Passe Muraille on September 21st, 2018. The Bellows Toronto is a collective committed to fostering discussion about all issues concerning theatre production and has existed since 2015. The Bellows is Pip Bradford, Rebecca Hooton, Kevin Hutson, Christopher Ross, and Michael Kruse.

Siobhán Sleath is a Toronto-based lighting designer with a history at our two big festivals, Shaw and Stratford. Siobhán and I chatted in June of 2017 about her early career at Stratford, her work in dance and musical theatre, and her adventure touring to India with Anandam Dance. We lost some names in the audio so follow along with the notes below to make sure you get all of the connections. 

A little palate cleanser for the end of the summer. On July 18 2018, Blyth Festival artistic director Gil Garrett and local historian David Yates sat down with moderator and film director Christopher Spaleta to talk about the history around Blyth's current production of 1837: The Farmers' Revolt. We talked about this play during the episode with designer Rachel Forbes and the production last year at the Shaw Festival. This is more of a historical discussion, rather than one about design, but it is still a great talk about politics and privation and standing up to government, a topic no less germane today than it was 130 years ago. A special thanks to Beth Kates who coordinated and recorded this event, without whom this presentation would not be found here.

Gillian Gallow was a designer right out of the gates. Before finishing her degree at York University, she was already assisting at the Stratford Festival, and had cut her teeth at our favourite summertime haunt: Blyth. Gillian and I discuss her early career and take on design, and her recent work on the Canadian Opera Company remount of the Harry Somers opera Lous Riel. Gillian and I spoke in July of 2017.

This time a special presentation that I happen to catch at the last minute about digital dramaturgy. The teleconference was recorded on April 25, 2018 as a presentation of the Professional Association of Canadian Theatre. The panel discussion is an result of an idea by the artistic practice committee of PACT and centres around the role and dramaturgy of projections in theatre. Designer Beth Kates and artistic director and playwright Gil Garratt from the Blyth Festival speak with artistic director Ardith Boxal and director, writer, and arts educator Health Davies about how to successfully integrate projection into a live theatre production.

When I was starting in the 90's Andrea had all the work. She was connected to all of the most interesting theatre companies in toronto and had production managed many of them. I envied her for getting their first, for having the ability to get into the middle of the most interesting creative work, but that was not the whole story. Andrea is a brilliant artist, she learned her craft while working with iconic Canadian theatre artists like the Daniels - Daniel Brooks and Daniel McIiver, she was a part of the re-invention of alternative theatre in Toronto with the Poor Alex theatre and the companies surrounding it, with the fringe and with summer works - and most importantly, she fostered and trained a generation of theatre artists that themselves became top artists in their own right, like Rebecca Picherack and Michelle Ramsey. Now she runs one of the most important training programs in Canada for theatre production The National Theatre School in MontrealI had a sublime conversation with Andrea about her career, training and philosophy of design as well as the changes she has wrought at NTS during her 6 year tenure. This is an important conversation.

This time on the panel, finally a conversation of the crew/creative members who keep the entire machine together communicating from early days of workshops through the grueling tech-week and then single-handedly corralling all of the artists together to perform the same great show (if you'r luck) over and over again.  Stage managers are experts in communication, project management, social psychology and most have an absolute obsession about what is the best post it note.  And of course us designers could not do what we do with them.

Alan Brodie is a lighting and set designer based in Vancouver B.C. I caught up with him during my visit to the Shaw Festival in May of 2017. We speak about the early 90's in vancouver and the changes that have taken place there over the last 30 years. We continue the story of the Phantom of the Opera tour that is legendary in Canadian theatre history and Alan recounts his rise to the top of design in Canada.

On this episode of The Bellows our trusty moderator Kevin Hutson talks with Ian Garrett and Ryan Wilson about what do do with that old set or how to build a more sustainable design. This installment of the monthly production panel discussion was recorded at the Wychwood Barns in Toronto on Oct 24 2017. The Bellows is Pip Bradford, Rebecca Hooton, Kevin Hutson, Christopher Ross, and Michael Kruse..

Ken MacDonald went from teaching drawing and painting at high school in the 1970's to one of the most sought after theatre artists in Canada today. His artistic and personal partnership with Morris Panych has resulted in some of the most iconic Canadian theatre productions, including the international sensation The Overcoat.  Ken and I spoke in May of 2017 at his home in Toronto. In the opening rant I reference this interview that appeared on CBC Metro Morning, regarding the civil suit brought against now former artistic director of Soulpepper Theatre Albert Schultz.  Please support the show at Patreon.com

Another installment of the Bellows for this episode. This is a compliment to the previous episode on Contracts and Fees we did earlier in 2017. This time with production manager Erin Birkenbirgs and producer Sue Balint. This covered areas we did not have a chance in the last episode and I am sure you will learn even more from this discussion. The Bellows was recorded on September 23 2017 at Theatre Passe Muraille in Toronto. As normal, the panel discussion was moderated by Kevin Hutson and hosted by Christopher Ross.

I caught up with Rachel Forbes just before the opening of 1837:The Farmer's Revolt at The Shaw Festival in May of 2017. We discuss choice of going into theatre and the beginnings of what promises to be a long a fruitful career in theatre. 

Peter is a set and costume designer based in Niagara-On-the-Lake, Ontario. Peter began his career in England, and there will be half the show that will be a lot of names and places that you may not be familiar with, if you go to the show notes, you can follow the links for some context so you can understand the roots of Peter's career in the 70s and 80's.

This time on our presentation of The Bellows, a topic close to the heart of this podcast, Getting Started in Design. Moderator Christopher Ross speaks with lighting designer Jareth Li, performance designer Shannon Lea Doyle, sound designer and composer Alex Williams, and lighting Designer Michael Kruse (:)) about their best advice on getting becoming a theatrical designer.

On June 13th, Toronto theatre artists were feted again by the irreverent and always random Harold Awards. Established in 1995 by 13 bad-ass independent theatre artists, the awards have wound their way through the theatre community, establishing a timeline of independent theatre creators that have pushed the boundaries and held everything together in the Toronto theatre scene.  The new artists are "Harolded" by the previous year's winners, who look for theatre creators who inspire them professionally, or personally, or surrealistically and come from all aspects of the theatre, on stage and off. Stage managers, producers, educators, administrators designers and yes actors and directors make up all of the recipients of what Daniel MacIvor has called "the most important award a theatre artist can win".

Last September, 2016, I spent 2 hrs talking to composer and sound designer Richard Feren. We spoke about his early career in radio, at the age of 13, through his time in the explosion of indi theatre in Toronto in the early 90's and his work with iconic directors like Daniel Brooks. We land on his process for producing sound scapes and scores for theatre and the genesis of his modern method, from the early days of the Fostex 4-track cassette to Qlab. We finally land on his work in organizing designers to fight back against the cuts to fees in Canada. This is a 2 hr chat, but one that holds on to you at every minute. To see Richard's theatre bio go here

Are you sleeping enough? Do you know what enough is? When was the last time you made yourself a meal, or spent the day taking care of yourself instead of all of your actors and director? Have you had moments of panic for no reason or felt an unyielding force preventing you from leaving the house and going into rehearsal? Perhaps, like the rest of us, you have been focusing on the show to much and on yourself too little. Self care is important, and vital to a long and fruitful career. The next hour and 1/2 we talk about self care. In this session of The Bellows, host and carpenter Kevin Hutson talks to a panel of self-care experts about surviving, well, life in the theatre Recorded on February 20th, 2017 , our panel was made up of David Whitley, advanced care paramedic and peer support worker in paramedic services, and Leah Erbe from the Actors Fund of Canada.

Martha Mann is one of the original Canadian theatre designers. I had the pleasure of speaking with Martha in her home in August of 2016. We speak about her personal origins when there were no theatre training programs in Canada, about the birth of modern Canadian drama from the amateur Dominion Drama Festival, and her work on countless productions of theatre and film, including her work at Glimmerlass Opera and on the Anne of Green Gables films. More quotes from Martha can be found here.

On January 16th, 2017, the Bellows reconvened again to discuss another pressing and mysterious issue in the production of Canadian Theatre: media relations. Kevin Hutsen spoke to Steve Fisher, Rennie Readie and now Title Block veteran, Sue Edworthy about selling the show and growing your audience

Lorenzo Savoini is the director of design at Soulpepper Theatre in Toronto, one of the most successful theatres to be founded in the last 20 years and one that continues to push the envelope on what theatre can or should be. Lorenzo tells me about his time growing up in Thorn Hill Ontario and his adventures at UBC, Stratford and for the last 10 years, at Soulpepper. For the second half of this marathon interview, we chat about his philosophy of design and how he is working to develop the next generation of designers who face a world that is both uncertain but alive with potential. We recorded the interview in May of 2016 in the Soulpepper library.

On this episode we once again return to The Bellows, a monthly informal discussion about theatre production that is recorded in Toronto, this time at Theatre Passe Muraille on November 16th, 2016. Carpenter and Bellows founder Kevin Hutson moderates a Q and A with some of Toronto theatre production's bright lights, with questions poised by the Bellows audience. Taking the spotlight this time are Bellows veterans Remington North and Dave Degrow, as well as Rebecca Hooten and newly minted theatre technician Cameron Kirk. They are asked a number of smart questions about their career in theatre and their thoughts on theatre production, while Kevin makes sure their ego's do not get too inflated.

Eo Sharp joined me at the Shaw Festival in May of 2016 to discuss her growing up at the Tarragon Theatre in the 1970's and her time at the National Theatre School and Working in Montreal. We also talk about her process for Alice in Wonderland at the Shaw festival and the mirrored set that brought her an Director Peter Hinton together. Find her complete portfolio here.

In this next episode of The Bellows, a conversation about contracts and fees. How do you negotiate to your advantage? What are the necessary parts of a contract and is it worth having an agent or being a member of the Associated Designers of Canada? Moderator Kevin Hutson talks to Kesta Graham, business agent at The Tarragon Theatre, designer Simon Rossiter, and the executive director at the ADC Shiela Skye. This was recorded on October 17th 2016 at The Central bar in Mirvish Village, Toronto, Ontario.

I caught up with designer Julie Fox while visiting the Stratford Festival in May of this year. We speak about her entrance into theatre at the Sydney Opera house up to her work with director Chris Abraham at St. Ratfords. Julie also describes her relationship with the theatre space and the profound effect it has on the way she approaches her work. A recent production history can be found here: http://ttdb.ca/people/julie-fox/ .