This past season to commemorate the 400th Anniversary of the death of William Shakespeare we ran a Endowment campaign with the goal of raising $4,000. We are thrilled to report that we exceeded our goal by $200!  And even more exciting is that this amount was matched by a private donor which in turn was also partly matched by the Winnipeg Foundation. In turn, that amount was submitted as part of a Canadian Heritage Grant matching endowment program and could potentially (we will learn in March) be matched dollar for dollar. What does all this mean? Well our campaign to raise $4000 could turn into $19,000!

Left: Nick in Stripped-Down Romeo & Juliet. By Nick Petuhoff During the summer of 2015, I received a call asking me if I was interested in interning with SIR as part of ACI Manitoba’s Youth Internship Program. I was ecstatic at having this opportunity to work with Andrew, Michelle, and Lisa, quickly accepting the proposal before I completely understood what I was getting myself into. I was interested in learning about Theatre Administration during my internship with SIR. I reasoned that I knew nothing about the subject and I wanted to understand how the daily business of running a theatre company was conducted. Starting in late August, I was usually coming in twice a week, sometimes more, to help out Lisa at the office as she exposed me to the incredibly demanding workload expected of a General Manager. Andrew and Michelle taught me about their equally important duties as Artistic Directors. In October, I had the opportunity to be mentored by Andrew and Michelle when I was acting in SIR’s Stripped-Down Romeo & Juliet. The two of them taught me much about acting, touring, and the “dessert first” tradition, which I still implement whenever I am touring. Following the tour, I was the main organizer for SIR’s highly successful “Bard on the Beats”, which was an event that showcased the musical talents of Winnipeg artists and the timelessness of Shakespeare’s work. When the internship came to an end last April, I continued working with the SIR team on Richard III as the Volunteer Coordinator and House Manager at the Ruins.  All of these experiences culminated into an amazing journey which has expedited my theatre career beyond my wildest dreams. When I was in university, I was preparing myself to spend at least a year trying to make my break into the Winnipeg theatre scene, but with this internship, I found myself working in professional theatre while I was still finishing my degree. The Youth Mentorship Program has given me much, but the most valuable gift it has given me was the gift of family by becoming a part of SIR. I was able to meet the Board, the Ensemble, several of our Volunteers, and the three very hard-working individuals in the office. Whenever I came into work, I was always greeted with a smile from Andrew, Lisa, and Michelle. There was always time in the workday to chat, discuss personal interests outside of the workplace, and get to know each other in a meaningful and deeply familial level. To this day, Lisa is still my sister, Andrew my brother, and Michelle my “Mama Bear”. I love them all for all their guidance and everlasting friendship.

SIR General Manager, Lisa Nelson-Fries, test-drives the Larry Introducing the Larry Chair As I write to you today the snow is knee-deep in ‘The Ruins’, but the promise of the coming spring means that before long, our thoughts will turn to love. I know you share our excitement in that the 2017 Shakespeare in the Ruins’ production is Romeo & Juliet, perhaps the greatest love story ever told. As always, our promise to you is to present the unique ‘Ruins’ experience that is the hallmark of our annual celebration of the Bard’s work since our first production in 1996. Unfortunately, unlike the immortal words of Shakespeare not all things may persist. And so it is with our complimentary seating. We have had our current chairs since we did the “rooftop” Romeo & Juliet in 2002 and we have used them every year since. They travelled with us the next season to Gaboury-Lagdimodiere Park in St. Boniface, then onward to the Assiniboine Park for seven years before finally returning triumphantly with us to the Ruins in 2012. For fifteen years they have served us well but since your comfort and safety mean everything to us they must go.  Since is it through the generosity of our amazing donors that we were in a position to purchase chairs the first time around, we ask that you make a donation to help us purchase our new chairs. Our old chairs are literally coming apart at the seams and new ones are needed by June 1st (opening night). We are committed to not repeat history by returning to watching “old school”. For those of you who don’t know what that is, well, back in the day instead of handing out chairs we handed out carpet bits; discarded sample squares you get at carpet retailers. Not exactly the promenade experience we want for you…our loyal audience. So for the sake your comfort, and for the sake of the show; a shared exchange between audience and actors unlike any other theatre experience in Manitoba, I am asking that you make a donation. The tear-away donation slip in this newsletter has all the details. In recognition of your contribution you will be acknowledged in the 2018 newsletter and production program. The proceeds will be put toward the amazing Larry Chair which is pictured below. With all you lovely people in mind, we test drove many models and this is far and away the most comfy one to sit in; and may they keep you safe and comfy for the next fifteen years. Yours, Michelle Boulet, Artistic Director

Photo: Michelle Boulet As both a theatre artist and patron, I often ask myself why I am drawn to theatre as an art form. For me, the answer lies in engagement and connection. Theatre is able to completely engage me body, mind and soul. I am able to find my life and experience reflected on the stage in a way that is more immediate and compelling than what I get from movies and television. The connection that occurs between actors and audience is almost spiritual in nature. It reminds me that I’m not alone on my journey through life. I share the same joys, hopes, fears and struggles that people have experienced throughout time. I believe that Shakespeare in the Ruins provides engagement and connection in a way that is both unique and more powerful than that found in most conventional theatres. Audience and actors engage whole heartedly with each other, the story and elements with every promenade we make through Trappist Monastery Provincial Heritage Park. Shakespeare’s writing is both elevated and historic and asks for increased commitment from all participants. The ever changing natural world unifies us all in the experience we have together, whether joyful or tragic, painful or profound. Our direct address performance style connects audience and performers intimately; as does the journey we share through the narrative of the story and the natural world. Thank you to everyone who has shared this experience with us. Andrew Cecon, Artistic Director

by Heidi Malazdrewich  I can’t remember the first time I heard the story of Romeo and Juliet. It seems to have always been a part of my narrative landscape. As a teenager it coloured my angst ridden experience. Baz Luhrmann’s film version emerged into popular culture, and suddenly the soundtrack played in every car and at every sweaty high school dance. Needless to say the story had become hopelessly entangled with memories of love unrequited and pubescent giddiness— a sort of emotional touchstone to a riper more edgy time of my existence. It was filed away and kept for safe keeping. When Andrew and Michelle approached me to direct Romeo and Juliet for Shakespeare in the Ruins I jumped at the chance to tell the story. Reading the play as an adult I was struck by the pace through which all of the action takes place. It is summer, it is very, very hot and there is pressure on everyone to maintain family, profit, peace, and status. The young are fighting and lusting to alleviate the pressure, but also to give their lives meaning. There is a juxtaposition of hate and love at the core of this play. The pendulum of needs and emotion are swinging in great swoops and so quickly that calmer heads do not prevail. All are in a state of re-action. The play begins with a prologue that outlines the plot including the ultimate demise of the titled characters. In the first few minutes the audience learns how and why events will play out. So why bother with the remainder of the exercise? Why spend the next two hours or so re-enacting the events just stated so clearly (and in rhyming verse no less)? I believe it is to exercise our ability to empathize, and through that journey, recognize our own actions and impulses in the rushed and ill-advised behaviour of our proxies on stage. Ideally, when the last words are uttered and we pile into our cars to start the journey home we not only can tell the story of R & J (as I am sure we could have done at the beginning of the night) but we also have a new more visceral knowledge of how poorly laid plans went astray. So how does this relate to me now? No longer swaying in high school gymnasiums motivated by teenage angst and lust? My instinct says that the story is rooted in the every day struggle for steadiness in a time of impulsivity. The experience of the play also serves as a reminder of the privilege some of us have to step outside of a heated conflict (whether it be a mundane social media battle or something much more pressing in our communities) and think about how we may be of aid in preventing tragedies. The play allows us to simultaneously empathize with the characters while maintaining a safe distance. Hopefully this will provides us with the needed insight to chart a better course.