Podcast appearances and mentions of isabel bader centre

Step into the ever-evolving world of the Internet—where reality blurs between a show and a podcast! For this special club takeover, we welcomed Iulia Rus, Assistant Director of the DAN School of Drama and Music's Winter 2025 Major Love and Information, along with Charlie Hensel, who plays “Z” in the production. Recorded in the cozy CFRC studio, our conversation delves into the creative process behind this unique show, currently running at the Studio Theatre in the Isabel Bader Centre from March 5–16. Join us as we go behind the scenes, exploring the stories of the dedicated drama students bringing Love and Information to life at Theological Hall! This episode is hosted and produced by Nathan Zhe

Hello and welcome to this special podcast featuring the Installation Reception for Shelagh Rogers, 16th Chancellor of Queen’s University held at the Isabel Bader Centre for the Performing Arts on November 11th 2024. The private reception featured several speakers and a special playlist curated by Chancellor Rogers herself. The reception was broadcast via CFRC 101.9 FM in Kingston and streamed on CFRC.ca from 5:30 – 7 pm. Welcome and enjoy! Musical selections curated by Chancellor Rogers for this occasion are available for streaming anytime worldwide via Spotify.

This episode of Today in YGK covers the launch of Isabel Bader Centre’s tenth anniversary season, the City’s latest statement regarding the Belle Park encampment, and more updates from limestone city. In sports, we cover highlights from the NFL draft, including some Canadian players stepping up. In campus news, we sit down with one of […]

Coming up on March 28th, 2022 the McDonald Institute and Queen's University Office of Indigenous Initiatives is presenting Red Sky Performance's Trace, with a Two-Eyed Seeing Astronomers' discussion to follow at the Isabel Bader Centre for the Performing Arts.  Joining us in this episode to talk about this event, its inspirations and the collaborations that […]

In this episode, Tricia Baldwin, Director of the Isabel Bader Centre for the Performing Arts joins us for a fabulous conversation.  We chat about the very exciting fall concert line up at The Isabel and fantastic events including the Echo: Memories of the World live workshop performance and the Imagine Online Arts Festival.  We also […]

This week, enjoy the second movement of Antonín Dvořák's Piano Trio No. 4 in E minor Op. 90 "Dumky" performed by the Gryphon Trio, recorded at the Isabel Bader Centre for the Performing Arts at Queen’s University. Watch the video edition of this excerpt at honens.com/home.

In this week’s episode of Today in YGK, Alex sits down with Emilie Steele from Emilie Steele and the Deal, a local Kingston band. They have a livestream performance at the Isabel Bader Centre for the Performing on Wed. August 5 at 7pm as part of the Ballytobin Festival.

In this week’s episode of Today in YGK, Alexandra sits down with Tricia Baldwin, Director of the Isabel Bader Centre for the Performing Arts to discuss the inaugural Ballytobin Festival, an online music festival that kicked off May 16th and runs all summer long. As well as an interview with one of the artists of […]

Tricia Baldwin, Director at the Isabel Bader Centre for the Performing Arts at Queen’s University joins us again in our studios. She chats with us about the Human Rights Arts Festival currently underway at the Isabel until April 2020. From her, we learn much about the performances, the human rights and social justice issues the Continue Reading

Our September episode takes Johnny and Riley from the confines of our urban podcasting studio, where they chat with Claire, Aaron and Katie on the exciting YGK Emerging Musician showcase at The Isabel Bader Centre, to the rural outskirts of Kingston for live interviews from the annual Back to the Farm Beer & Music Festival at the Mackinnon Brothers brewery. There, they discuss the festival experience with local singer/songwriter, Megan Hamilton, along with a few "bruvs" from The Wilderness, and catch up with Chris Koster on life on the road with Kingston's The Glorious Sons. Hosts: Johnny San john@kingstonlive.ca Riley Jabour riley@kingstonlive.ca Links: YGK Emerging Musician Competition: https://www.queensu.ca/theisabel/content/ygk-emerging-musician-competition-showcase-concert Mackinnon Brothers Brewing Co.: https://www.mackinnonbrewing.com/ The Glorious Sons: http://www.theglorioussons.com Grand OnStage: https://www.kingstongrand.ca/about/resident-companies/grand-onstage Photo credit: Jamstone Productions Feedback: Your suggestions, ideas and criticisms are important and encouraged. Please let us know what you think by commenting here, or by email at podcast@kingstonlive.ca

Yan Lianke is one of China's most influential living writers. His often-satirical works have earned him an international readership. He has been touted for the Nobel Prize in Literature. And yet, most of Yan's books are effectively (if not formally) banned in China. Ben brings together three previous guests (Tricia Baldwin, Elizabeth Goodyear-Grant and Daniel Woolf) to discuss the rise of China, the absurdity of modern life, and what government power will look like in the future. Their point of departure is a 2018 profile of Yan Lianke in The New Yorker magazine. Note: you don't need to read anything before listening to the conversation; the below piece is a starting point only. Read the article in The New Yorker by Jiayang Fan. Read the blog post for this episode. About Yan Lianke Yan Lianke has secured his place as contemporary China’s most essential and daring novelist, “with his superlative gifts for storytelling and penetrating eye for truth” (New York Times Book Review). His newest novel, The Day the Sun Died—winner of the Dream of the Red Chamber Award, one of the most prestigious honours for Chinese-language novels—is a haunting story of a town caught in a waking nightmare. Yan was born in an impoverished region of Song County, Henan Province in 1958. His parents, illiterate farmers who lacked the means to send him to university, encouraged him to enlist in the army, where he rose in the ranks to become a propaganda writer. Upon returning to civilian life, Yan embarked on a career as a novelist. Over the last 30 years, he has produced an extensive body of work that ranges from novels, novellas and short fiction to essays and criticism. Although he has had two of his novels banned in China and was, for a period of three years, prohibited from obtaining a passport or travelling abroad, Yan continues to speak honestly about the impact that government censorship—and self-censorship—have had on contemporary Chinese writers. His full-length novels include: The Dream of Ding Village (丁庄梦, Ding Zhuang Meng), a tale of the blood trade and subsequent AIDS epidemic in a rural Henan village; The Joy of Living (Alt title: The Living, 受活, Shou Huo), a sweeping tale of the lives of disabled rural villagers from the Chinese Communist revolution through the years of reform and opening; The Sunlit Years (日光流年, Riguang Liunian); Solidity of Water (also called Hard as Water, 坚硬如水, Jianying Ru Shui) and Serve the People (为人民服务, Wei Renmin Fuwu), which was banned in China and later translated into English, French and Japanese. He has published ten collections of novellas and short stories: among them, the critically acclaimed Days, Months, Years (年月日, Nian Yue Ri), Song of Balou (耙耧天歌, Balou Tiange) and a five-volume set of his collected works. He is a member of the Chinese Writers’ Association and the recipient of numerous literary awards, including the first and second Lu Xun Literary Prizes and the Lao She Award for literary excellence, awarded in recognition of his novel The Joy of Living (受活, Shou Huo), considered by many to be his master work. Yan is also a winner of the Franz Kafka Prize.   About the Guests Tricia Baldwin Listen to Ben's previous podcast conversation with Tricia (Episode 12 on The Role the Arts Play) Tricia Baldwin became the Director of the Isabel Bader Centre for the Performing Arts (‘the Isabel’) in December 2014, and works with a tremendously talented team at the Isabel. Tricia is responsible for its programming featuring top diverse emerging and established artists, education, student and community engagement resulting in significant increase in audience participation, socially engaged art, and facilities management. She established the Isabel as an arts incubator for new works, the Ka’tarohkwi Festival of Indigenous Arts with curator Dylan Robinson, the Isabel Human Rights Arts Festival, and the Isabel Overton Bader Canadian Violin Competition. Tricia is the co-creator of Queen’s University’s new M.A. in Arts Leadership program with Queen’s Dan School of Drama and Music, and is the course developer and instructor of the program’s Contract Negotiations in the Arts graduate course. A champion of training the next generation of arts leaders, Tricia has been a mentor with the Canadian Heritage Talent to Lead Program and the Cultural Career Council of Ontario Mentor Program. Tricia recently served on the International Association of Venue Managers Association conference panel on arts management education. Prior to the Isabel, Tricia Baldwin was the Managing Director of Tafelmusik from 2000 to 2014. During this period, Tafelmusik doubled its operating revenues and increased its endowment seventeen fold. The orchestra undertook over 50 national and international tours, created 20 recordings and films that garnered significant industry awards and nominations that led to the launching of its recording label and digital concert hall, established artist training programs attracting pre-professional musicians from around the world, and undertook a successful $3M venue renovation. Tricia also headed up Tafelmusik’s expansion of venues within Toronto that contributed to the doubling of earned revenues and significant audience development. Prior to Tafelmusik, she was the Executive Director of Ballet British Columbia and General Manager of the Kingston Symphony. Tricia received her Bachelor of Music (University of Toronto) and her MBA (York University), and has continued her education with courses from Harvard Business School, University of Oxford School of Continuing Studies, the Harvard Kennedy School, and Boston University. Tricia Baldwin has been awarded the Canada Council for the Arts’ John Hobday Award in Arts Management, a scholarship to attend Harvard University’s Strategic Perspectives in Non-Profit Management program, First Prize for Student Philosophy Essay from the University of Oxford School of Continuing Studies, and the Queen’s Human Rights Initiative Award. As a volunteer, she currently serves on the Advisory Board of the York University Schulich School of Business Arts, Media, and Entertainment Management program, the City of Kingston Arts Advisory Board and Professional Development Working Group, and St. Lawrence College Music and Digital Media Program Advisory Committee. She has been a panel advisor/juror/assessor for the Canada Council for the Arts, Ontario Arts Council, Manitoba Arts Council, City of Toronto Cultural Services, City of Barrie Department of Culture, and the Department of Canadian Heritage. Learn more about Tricia. Elizabeth Goodyear-Grant Listen to Ben's previous podcast conversation with Elizabeth (Episode 37 on US Politics: Women, Polarization and the Media) Elizabeth Goodyear-Grant (Ph.D. McGill) is an Associate Professor in the Department of Political Studies at Queen’s University, and the Director of both the Queen’s Institute of Intergovernmental Relations (IIGR) as well as the Canadian Opinion Research Archive (CORA). Her research focuses on Canadian and comparative politics, with particular interests in electoral politics, voting behaviour, and public opinion; news media; and the political representation of women. She is the author of Gendered News: Media Coverage and Electoral Politics in Canada (Vancouver: UBC Press, 2013), which won the 2016 Pierre Savard Award from the International Council of Canadian Studies, and was one of three books shortlisted for the Canadian Political Science Association’s 2014 Donald Smiley Prize. In Gendered News, Goodyear-Grant presents compelling evidence that gender structures certain aspects of news coverage of candidates and politicians – not how much they’re covered, but certainly how they’re covered – and demonstrates that these differences can impact negatively on female candidates’ and leaders’ electoral prospects and political careers, contributing to the persistent under-representation of women at all levels of politics. Goodyear-Grant has also published work on attitudes toward democracy and political representation, attitudes toward the use of referenda, and so on, all part of a larger research agenda that concentrates on representation and political behaviour published in venues such as Political Behaviour, Politics & Gender, Electoral Studies, Commonwealth & Comparative Politics, and the Canadian Journal of Political Science. In the Department of Political Studies at Queen’s, Goodyear-Grant teaches courses on campaigns and elections; women, gender, and politics; Canadian politics more generally; and empirical methods. Learn more about Elizabeth Goodyear-Grant or follow her on Twitter (@eplusgg). Daniel Woolf Listen to Ben's previous podcast conversation with Daniel (Episode 10 on History and Jazz) Daniel Robert Woolf is the 20th Principal and Vice-Chancellor of Queen’s University, a role he stepped into on September 1, 2009. It wasn’t his first time on the campus, of course: Principal Woolf studied at Queen’s as an undergraduate in the late 1970s, graduating with a degree in history in 1980. After earning his doctorate at Oxford University (DPhil’83), Dr. Woolf returned to Queen’s in 1984 as a Social Sciences and Humanities Research Council (SSHRC) postdoctoral fellow in history. His teaching career took him from Queen’s to Bishop’s University, before he joined the history department at Dalhousie University in 1987. Seven years later, he became a full professor, then associate dean and later, the acting dean of Graduate Studies. In 1999, Dr. Woolf moved to McMaster University, where he held the role of dean of the Faculty of Humanities. He joined the University of Alberta as dean of Arts in 2002. Dr. Woolf, who is a Fellow of the Society of Antiquaries of London, the Royal Society of Canada and the Royal Historical Society, admits that learning he would become the principal of his alma mater initially inspired feelings of “shock, elation, and a little bit of fear,” and he continues to regard his role as both an honour and a challenge. A specialist in early modern British cultural history and the history of historical thought and writing, Dr. Woolf continues to teach at Queen’s on a part-time basis as a professor in the Department of History, and also pursues his own research and writing. He is the author or editor of a number of scholarly articles, monographs and books, including the five-volume Oxford History of Historical Writing (2011-2012) and a textbook on historiography entitled A Global History of History (Cambridge University Press, 2011), which has been translated into several languages. But Principal Woolf isn’t just about books (though he does have a growing collection of old and rare ones!) – he is also a fan of music (especially jazz), classic movies and is the father of three (one of whom is also a Queen’s graduate). Born in London, England, Dr. Woolf grew up in Winnipeg. A love of academia runs in his family: his mother taught English at university, his physician father was a member of a medical school faculty, and his uncle is a historian of modern Europe. Dr. Woolf, who began his second term as principal in 2014, is motivated by Queen’s students and by their dedication to making a difference in the world. While the university is a bigger place than it was when he was a student, it is also more research-intensive and has a more diverse student body. Since taking the helm, Dr. Woolf has built new connections with government, industry and institutions across Canada, led Queen’s through an extensive series of planning exercises, established the Principal’s Commission on Mental Health, and overseen the Initiative Campaign, the most ambitious fundraising campaign in Queen’s history. Principal Woolf’s term concludes on June 30, 2019.

Associate Dean Marta Straznicky (School of Graduate Studies) and PhD Candidate Heena Mistry (History) join us in studio to talk about the Queen’s PhD-Community Initiative, Heena’s experience as a participant, and to chat about the upcoming Capstone Presentation event taking place at the Isabel Bader Centre for the Performing Arts on March 12th 2019. Free Continue Reading

Watch the video of this episode. What does it mean to be live? Can a hologram be considered performance? Is going to the theatre a private or communal act? And should performing artists embrace and incorporate technological change—or should they resist, and build an oasis from social media and screen time? What on earth is going on with live performance in the digital age? Listen to the first-ever recording of the podcast with a live audience! The panel, moderated by Ben, features Colleen Renihan, Craig Walker and Michael Wheeler of the Dan School of Drama and Music. About the Panel Colleen Renihan Colleen Renihan was delighted to join the Dan School of Drama and Music faculty as a Queen's National Scholar in 2016. She earned a B. Mus. in Vocal Performance from the University of Manitoba, an Artist Diploma in Opera Performance from the Vancouver Academy of Music, and an MA and PhD in Musicology at the University of Toronto in 2011 with generous funding support from the Social Sciences and Humanities Research Council of Canada. Her dissertation Sounding the Past was a finalist for the Society for American Music’s Housewright Dissertation Award. Dr. Renihan’s research considers aspects of opera and operatic culture from a postmodern perspective. Inherently interdisciplinary in nature, it explores cultural politics, popular culture, performance theory, temporality, memory theory, opera’s interactions with media (specifically film), and opera’s potential for intervention in current debates in the philosophy of history. Her work has been published in a variety of edited collections and journals, including, most recently, twentieth century music, The Journal of the Society for American Music, and Music, Sound, and the Moving Image. Forthcoming publications include an invited chapter on Benjamin Britten’s coronation opera Gloriana to an edited collection for Boydell & Brewer, and a chapter on affective listening in Harry Somers’s Louis Riel for Wilfrid Laurier Press. Two current book projects explore the historiographical dimensions of American postwar opera, and innovation in Canadian opera and music theatre 1970-2010. Dr. Renihan has presented her research at academic conferences in Canada, the United States, and Europe, including chapter and national meetings of the American Musicological Society, and in 2010, she participated in the Society for Music Theory’s graduate student workshop on ‘Music and Narrative’ with Michael Klein. She was a founding member of Operatics (a working group for the interdisciplinary study of opera) at the University of Toronto, a founding member of IPMC (Interdisciplinary Perspectives on Music in Canada), and has been involved with several research and writing projects at the Canadian Music Centre. Learn more about Colleen. Craig Walker is Director of the Dan School of Drama and Music and Professor of Drama, and is also cross-appointed to the Departments of English and Cultural Studies. Dr. Walker earned his Ph.D. at the University of Toronto, where he had taken his earlier degrees in English. He has taught courses in most subjects in Queen's Drama at one time or another. As a director, for the Queen’s Drama, Dr. Walker has directed the world premiere of Orbit, a play about the daughters of Galileo by Jennifer Wise (2014), a double-bill of Michel Tremblay’s Counter Service and Nina Shengold’s Lives of the Great Waitresses (2012), Thornton Wilder’s Our Town (2010), his own adaptation of Bertolt Brecht’s Drums In the Night (2008), John Lazarus’ Meltdown (2005), Michel Tremblay’s Les Belles Soeurs (2003), Thornton Wilder’s The Skin of Our Teeth (2000), his own translation of Odon von Horvath’s Judgement Day (1999), Richard Rose and D.D. Kugler’s adaptation of Timothy Findley’s Not Wanted on the Voyage (1997), the medieval morality play Everyman (1996) and Elmer Rice’s The Adding Machine (1993). From 1997 to 2007, Dr. Walker was Artistic Director of Theatre Kingston, during which time the company produced 54 plays, 36 of which were Canadian, including 18 world premieres. On the academic side (see profile on academia.edu), Dr. Walker's most recent publication is "Canadian Drama and the Nationalist Impulse" in The Oxford Handbook to Canadian Literature. He is the author of The Buried Astrolabe: Canadian Dramatic Imagination and Western Tradition and co-editor (with Jennifer Wise of the University of Victoria) of The Broadview Anthology of Drama: Plays from the Western Theatre, Volumes I and II and The Broadview Anthology of Drama, Concise Edition. He was Book Review Editor for Modern Drama for two years, from 1998 to 2000. In 2009, he was appointed as a Corresponding Scholar at the Shaw Festival. He is a Fellow of the Royal Society of Canada. Learn more about Craig. Michael Wheeler is Artistic Director of SpiderWebShow Performance, an online performance company working at a national scale. His previous position was as Executive Director of Generator, a mentoring, teaching, and innovation incubator that empowers independent artists, producers and leaders in Toronto. He has co-curated The Freefall Festival with The Theatre Centre and HATCH emerging artist projects with Harbourfront Centre. In 2017, he will co-curate the first Festival of Live Digital Art (foldA) at The Isabel Bader Centre for the Performing Arts. As Founding Artistic Director of Praxis Theatre and a theatre director, he has produced and created numerous independent works including Rifles (2 Dora nominations), the World Premiere of Jesus Chrysler by Tara Beagan presented in association with Theatre Passe Muraille, a National Tour of the SummerWorks Award-winning G20 drama You Should Have Stayed Home, and Jesse Brown’s Canadaland World Tour of Canada. Much of Michael’s work has intertwined with online tools, as editor and publisher of websites like PraxisTheatre.com (Winner Best Blog Post & Best Arts and Culture Blog: Canadian Blog Awards), DepartmentOfCulture.ca, AfricaTrilogy.ca, WreckingBall.ca and most recently SpiderWebShow.ca. He holds a BA (distinction) from McGill University and a Masters of Fine Arts from The American Repertory/Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University. Learn more about Michael.

August 8th – Chloe Beisheim of the Dunin-Deshpande Queen’s Innovation Centre Summer Initiative program (QICSI) and two very enthusiastic venture teams join us in studio! Ms. Beisheim talks about the Queen’s Innovation Centre and its programming including the upcoming Summer Pitch Competition taking place at the Isabel Bader Centre for the Performing Arts on August Continue Reading

What is the role of art and music in our society? Is art supposed to effect change or simply represent it after the fact? Is all good art subversive, and is all subversive art good? What does it mean for an arts organization to be responsible to its audience: give them what they want, or help them develop newer, deeper, unexpected tastes? How do you nurture art and artists who work on a cutting edge that is not always popular or immediately accessible, yet still keep it commercially viable? Ben chats with the award winning arts administrator, and Director of the Isabel Bader Centre for the Performing Arts in Kingston, Tricia Baldwin.  About the Guest Tricia Baldwin became the Director of the Isabel Bader Centre for the Performing Arts (‘the Isabel’) in December 2014, and works with a tremendously talented team at the Isabel. Tricia is responsible for its programming featuring top diverse emerging and established artists, education, student and community engagement resulting in significant increase in audience participation, socially engaged art, and facilities management. She established the Isabel as an arts incubator for new works, the Ka’tarohkwi Festival of Indigenous Arts with curator Dylan Robinson, the Isabel Human Rights Arts Festival, and the Isabel Overton Bader Canadian Violin Competition. Tricia is the co-creator of Queen’s University’s new M.A. in Arts Leadership program with Queen’s Dan School of Drama and Music, and is the course developer and instructor of the program’s Contract Negotiations in the Arts graduate course. A champion of training the next generation of arts leaders, Tricia has been a mentor with the Canadian Heritage Talent to Lead Program and the Cultural Career Council of Ontario Mentor Program. Tricia recently served on the International Association of Venue Managers Association conference panel on arts management education. Prior to the Isabel, Tricia Baldwin was the Managing Director of Tafelmusik from 2000 to 2014. During this period, Tafelmusik doubled its operating revenues and increased its endowment seventeen fold. The orchestra undertook over 50 national and international tours, created 20 recordings and films that garnered significant industry awards and nominations that led to the launching of its recording label and digital concert hall, established artist training programs attracting pre-professional musicians from around the world, and undertook a successful $3M venue renovation. Tricia also headed up Tafelmusik’s expansion of venues within Toronto that contributed to the doubling of earned revenues and significant audience development. Prior to Tafelmusik, she was the Executive Director of Ballet British Columbia and General Manager of the Kingston Symphony. Tricia received her Bachelor of Music (University of Toronto) and her MBA (York University), and has continued her education with courses from Harvard Business School, University of Oxford School of Continuing Studies, the Harvard Kennedy School, and Boston University. Tricia Baldwin has been awarded the Canada Council for the Arts’ John Hobday Award in Arts Management, a scholarship to attend Harvard University’s Strategic Perspectives in Non-Profit Management program, First Prize for Student Philosophy Essay from the University of Oxford School of Continuing Studies, and the Queen’s Human Rights Initiative Award. As a volunteer, she currently serves on the Advisory Board of the York University Schulich School of Business Arts, Media, and Entertainment Management program, the City of Kingston Arts Advisory Board and Professional Development Working Group, and St. Lawrence College Music and Digital Media Program Advisory Committee. She has been a panel advisor/juror/assessor for the Canada Council for the Arts, Ontario Arts Council, Manitoba Arts Council, City of Toronto Cultural Services, City of Barrie Department of Culture, and the Department of Canadian Heritage. Learn more about Tricia.

Sean Rice interviewed the NAC Orchestra's principal oboe Chip Hamann about his new album, a two-disc album that was released in June 2017. It was the first classical recording at the Isabel Bader Centre in Kingston. What a fantastic and incredible hall to record! The double-cd set is called Canadian Works for Oboe and Piano, a collaboration with Ottawa pianist Fred Lacroix. It all started with John Burge's Sonata Breve No. 4 for oboe and piano, composed in 2012. Fred Lacroix was also rather instrumental in the creation of this recording. Chip outlines several ideas that contributed to his CD which is available on the Canadian Music Centre's website. … Sean Rice a interviewé Chip Hamann, hautbois solo de l'Orchestre du CAN, au sujet de son nouvel album, un album à deux disques qui a été publié en juin 2017. Ce fut le premier enregistrement de musique classique au centre Isabel Bader à Kingston. Quelle salle fantastique et incroyable pour un tel enregistrement! L'ensemble s'intitule Canadian Works for Oboe and Piano, et est une collaboration avec le pianist d'Ottawa Frédéric Lacroix. Le tout a commencé avec la Sonate Breve no 4 pour hautbois et piano de John Burge, composée en 2012. Frédéric Lacroix à eglaement joué un rôle important dans la création de cet enregistrement. Chip souligne plusieurs idées qui ont contribué à son CD, œuvre disponible sur le site web du Centre de musique canadienne.

Join host Camila Diaz-Varela as she explores the process of creating The Revolutionsthis past September at the Isabel Bader Centre for the Performing Arts in Kingston. If you'd like to hear more, listen to our first podcast in the series Starting the Revolution.  What is CdnStudio and how does it work? If Christine is rehearsing in Vancouver in the morning and Maddie is rehearsing in Toronto in the afternoon, how do the rules of rehearsal change? What's it like rehearsing with artists you cannot see and cannot touch?