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Teddy Atienza


Edward Atienza

27 January 1924 — 16 September 2014

Received September 17, 2014

Dear friends,

I am writing to let you know that Teddy died last night just after 8 pm. It was very peaceful. He was listening to Mozart and just slipped away before my eyes. The end of a full and interesting life.

He wanted no funeral - but he did want there to be a party. We will be arranging a little celebration of his life to be held here in Stratford. Hopefully it will include some music and some readings. All his friends and those who knew him would be very welcome to come along. I will let everyone know further details as soon as possible.

My thanks to you all for your support and care for Teddy over the years.

My best regards,
Pauline

Received September 27, 2014

Dear friends,

You will probably know by now that Teddy died on Tuesday 16th September. It was very peaceful … and he was listening to Mozart.

There will be a celebration of Teddy's life on Friday, 24th October, 7.30 pm at Greenwood Court.

All Teddy's friends and colleagues are invited to come along. There will be time for music, readings and comments. It would be helpful (but not essential) if you could let me know if you wish to contribute in any way.

It would be lovely if you were able to come along to this celebration.

Best regards,
Pauline

Joyce Campion


Joyce Campion

CAMPION, Joyce - The death of Joyce Elaine Campion occurred on September 3, 2014 at Hillside Manor in Stratford, Ontario. She was the daughter of the late Canon J.R. and Ethel Campion. She was predeceased by her brother Canon B.H. Campion. Joyce is survived by her sister-in-law Ann, niece Jennifer (Douglas), nephew Peter (Rebecca), great-nephews Nicolas, Peter and Felix and great-niece Cressida. Born in Ballycastle Northern Ireland in 1923, Joyce had a notable career in the theatre which began in Ireland and England and continued on in Canada and the U.S. She spent 10 seasons at the Shaw Festival and 19 seasons at the Stratford Festival.

Among the many recognitions for her work were the prestigious Dora award for her performance in Michael Tremblays’ Bonjour, la, Bonjour and a Gemini nomination for her work in television’s Street Legal. Her last performance, at the age of 86, was at the Stratford Festival as Anfisa in the Three Sisters. Joyce considered herself a working actor and was unceasingly generous to her colleagues. She never retired and considered herself an actor to the end. Warmly loved and highly admired she will be greatly missed by all who knew her. Her family wishes to thank special friends Marti, Dan, Anne, Sadie, Robin, Ann and numerous others for their love and support.

A Memorial Service will be held at St. James Anglican Church, 41 Mornington Street, Stratford on October 27th at 11:00 a.m. If desired, memorial donations in her memory can be made to The Primate’s World Relief and Development Fund and may be made through the funeral home. 519.271.7411 www.wgyoungfuneralhome.com


Reminder
There will be a memorial service for Joyce in Stratford on Monday Oct. 27th at St. James Church,
41 Mornington St. at Huron, at 11 am with her nephew Peter from Ireland giving the service.

Reception to follow.

In Toronto, there will be a Celebration of Life at the Tarragon Theatre on Sunday Nov. 9th,
with bar opening at 6:30 pm and the celebration beginning at 7 pm.


Article below by Ann Baggley, as published in start, January, 2012.

At 88 years of age, actress Joyce Campion does not consider herself retired. She is simply out of work. “I'm up for grabs!” she says cheerfully, seated on her sofa, surrounded by framed theatre posters, collected plays and books of Irish poetry.

Theatre and the joy of make-believe have been with Joyce since she was a child back in Ireland. “I think I was always being an actor because I was (always) pretending to be someone else. I liked being Robin Hood. I loved being with bows and arrows and things. My mother made me a lovely costume of it. She used to do all my sewing for me and for herself. I always had nice clothes."

Born in Balleycastle, Ireland in 1923, Joyce grew up close to Dublin. Her father was a clergyman with the Church of Ireland, her mother had “a lovely contralto (voice), and (was) a very nice lady,” and her brother Brian was her ally in play acting, just a year and a half younger than she.

Joyce studied acting in Dublin and worked at summer theatres for a short time before she volunteered for the ATS, the woman's branch of the British Army during World War II. “I thought it was my duty to go and help.” Joyce learned to drive for the British Army and drove anything and everything from ambulances (without patients in them) to trucks and jeeps, shuttling officers “to wherever it was they had to go.”

While in the ATS, Joyce answered the call of duty again and went to give blood. “I was sent in to the doctor, and there he was! He was more handsome than any man I'd ever seen in my life. And he smiles at me and he says, 'Oh get out of here,' (he had this great English accent!) '...you skinny little thing! You need every drop of blood you've got!'" Joyce laughs and sighs, “I'd thought I'd met Mr. Right!”

Joyce arrived in Canada in the early 1960's, following the death of her father. She came along with her mother and Brian, who had become a clergyman and had an offer to come to Canada. Joyce headed to Toronto and began a career in performance that has spanned almost 50 years. Her career includes 19 seasons at the Stratford Shakespeare Festival, many seasons with the Shaw Festival, shows at Toronto Free Theatre, CanStage, NAC, Alley Theatre in Houston, Texas, regional theatres across Canada, as well as television and film roles. Joyce received a Dora Award for her performance in Bonjour la Bonjour at the St. Lawrence Centre and a Gemini nomination for her role in Street Legal (CTV).

Joyce's obvious success hasn't been without some struggles. After performing a one-woman show she wrote called Irish Coffee (a collection of Irish songs and poems) she went home to have supper and found that all she had left in her fridge was one egg and one potato. So, in her characteristic pragmatic fashion, she made an omelette, boiled the potato, and then the telephone rang. It was director John Wood, phoning to offer her a role in a play he was directing. Thank goodness – she'd eat again!

Of the hundreds of productions that Joyce has done, some of her favourites have been here in Stratford. One of them is the 2002 production of My Fair Lady in which Joyce played Mrs. Higgins. “I loved doing 'My Fair Lady' with Colm Feore. He's a very nice man to work with. And I got to know a lot of the musical people, because you don't, unless you are in (the show). I loved doing that.” Another favourite is the 2005 production of Fallen Angels, in which she played Saunders, the maid. “They called me the show stealer!” Joyce beams. “I love making people laugh. I say, 'If I can make one person laugh every day, my living has not been in vain!'”

No worries there! As someone who has always taken great pride in taking care of herself, Joyce is now spouting the virtues of 'Laughing Yoga' and how important it is to 'start with a laugh everyday'. One afternoon with Joyce provides a person with a week's worth of laughing. During our interview, she keeps me in stitches as she shares her very frank musings on aging. “People call them the Golden Years. I call them the Rusty Years!”

Performing is everything to Joyce. While she is acting, “I'm not me, and I don't have to think of myself. I think that's why I feel much better, doing a show. Because you're not yourself, your somebody else. And then you get to understand people. And that's why actors, when I first got to (theatre),were so much nicer than the people in the outside world. And understanding that is a great help.” “It's like family,” I reply. Joyce nods her head. “You can be rude to your family because they love you,” she laughs, “so you don't have to be perfect with them.”

With a room full of memories around her, Joyce stays in the present by doing Tai Chi and walking into town on a regular basis – although up until a few years ago, her bicycle was her preferred mode of transportation. She also recites poetry by heart (audio clip at left) and is working on another one-woman show, hoping to incorporate some of those deeply ingrained words. This, and some of that 'Laughing Yoga.' As Joyce says, “You have to make yourself laugh, or you'll drop dead!” Sign me up, please!

PAL Stratford Endorsements


The Stratford & Shaw Coalition of
Theatre Professionals & Friends of Pal

Statement of Support for PAL Stratford

A sanctuary, a safety net, a home, a community, PAL Place Stratford will be there for those of our own who find themselves in times of need during and at the end of careers that can be uncertain and insecure.
 
We the undersigned extend our enthusiastic endorsement to the Stratford Performing Arts Lodge project at 101 Brunswick Street, Stratford, Ontario.
 
PAL is a proven success story in several other locales nationwide. We heartily endorse and look forward to the same success story becoming reality here in Stratford.


(I authorize PAL to acknowledge my endorsement in its fundraising materials)

     
Geraint Wyn Davies Peter Hutt Ian D. Clark
Len and Heather Cariou Terri Dans Roberta Maxwell
Frank Moore Lesley Walker-Fitzpatrick Bruce Dow
Barbara Bryne Denny Spence Martha Henry
E. B. Smith Xuan Fraser Juan Chioran
Ben Carlson Tristan Tidswell Nicola Pantin
Tyrone Savage Luke Humphrey Lucy Peacock
Jeff Hughes Victor Ertmanis David Collins
Steven Gartner Keith Dinicol Margret Palmer
Kelsey Rae Shira Ginsler Don Sweete
Alicia Kuntze Nancy Benjamin Art Fortin
Nick Glenn AnthonyGentile Tim J. Hartman
Alec Cooper Angela Marshall Carl Danielson
Michael Barber Barry Gammon Joyce Lange
Margaret Blowes John Hautin Sandy Dunn
Scott Boyce Nicko Giannakos Jordan Till
Karl Wylie Cindy Tousshan Stephen Cota
Zeph Williams Gail Sorensen Jill Merner
Jay T. Schramek Ben Thomas Judy Smith
Brian Counihan Callan Potter Christine Yundt
Patricia Taylor Margret Lamb Ruby Joy
Caroline Yates Kelly McIntosh Lois Zurell
Karen Mills Deborah Howes Josie Muncaster
Dianne Chisholm Leslie Lee Ingrid Schmekies
William Gosling Jason Collier Leslie Wade
Lally Cadeau David Keeley Amanda Ryan
Margaret Ryerson Tina Watson Vic Ryan
Pam Brierley Brenda Keogh John Banks
Kyle Golemba Dan MacDonald Brenda Martin
Ann Swerdfager Richard Fitzpatrick M. K. Bohdanetzky
Roy F. Brown David Spence Brian Reynolds
Gayle Tribick Paul Shilton Robert King
Marie Fewer Renate Hanson Varrick Grimes
Alon Nashman Paul Thompson Vern Good
Sarah Mansikka Gillian Gallow Brenda Pilatzke
Daniel Mac Ivor Jessica Stinson Janine Pearson
Scott Farley Katherine Laing Nigel Bennett
Skye Brandon Christopher Sibbald John Vickery
Robin McCulloch Kristian Truelsen Maria Vacratsis
Stephen Woodjetts Michael Gyapjas Raemond Fletcher
Steve Bayne Barbara Young Kelley Teahen
Angela Smith Linda Mackay Brian Tree
Nora Polley Paul Elliot Aggie Elliot
Iain Paterson Wayne Mahon Dean Gabourie
Karen McCabe Maxine A. Graham John Pennoyer
Kim Foster Kevin Gormley Stacy Smith
Denise Fergusson Alan Laing Rachel Neville-Fox
Patti Muma-Cook Nancy Ferguson Ian Deakin
Jeff Wincott Jeremy Kushnier Michael Roth
Dave Collier Benedict Campbell Lisa Dent-Couturier
Kennedy C. MacKinnon Mark Beckett Ted Dykstra
Brian Crockatt Barbara Ross Carmen Grant
Carol A. Miller    
     

Endorsement List


Note to Stratford & Shaw Theatre
Professionals & Friends of PAL:
You can add your endorsement by clicking the link
below to send us an email. We will add your name
as soon as possible after we receive your email.

 I endorse PAL Stratford 

Welcome to PAL Stratford

Who Are We?

Performing Arts Lodge (PAL) Stratford is a volunteer-based Canadian charitable organization dedicated to the provision of affordable housing, social assistance and other services to local members and associates of Canada’s professional and performing arts community who are in need of assistance by reason of low income, age or disability.

PAL Stratford was established as a non-profit organization in 2002 and in 2005 was registered as a Charitable Organization (86363 2881 RR0001). PAL Stratford is one of eight Chapters of PAL Canada; others are located in Halifax, Ottawa, Toronto, Winnipeg, Calgary, Edmonton and Vancouver. Each Chapter is an independent organization.

The "Places, please" capital fundraising campaign is seeking community support to retire the mortgage on the recently opened affordable housing units at 101 Brunswick Street, Stratford.

What Do We Do?

The principal object of all PAL organizations is to provide affordable housing to those fifty-five years and older who are, or were, associated with Canada’s professional and performing arts communities. PAL’s goal is to assist senior members of our community in living independently and securely.

PAL Stratford is already providing services to the community through Supporting Cast, a volunteer outreach group, which offers confidential support to retirement age or ill members. Services include assistance in dealing with local social and community agencies, as well as offering companionship, check-up phone calls, rides to appointments and running errands. organization. Supporting Cast also organizes group activities, including a weekly coffee and conversation hour at a local restaurant.

Supporting Cast has an email for easy contact, If you would like to join this group, please email us at: supportingcast@palstratford.org

A Brief History

In October 1999, Tom Patterson, Stratford Festival Founder and Herbert Whittaker, Critic Emeritus for the Globe and Mail, spearheaded the inception of PAL Stratford, using the PAL Toronto Lodge as a model.

They recognized that the Stratford Festival had a substantial legacy: an aging theatre and arts community whose members wished to continue living in and around Stratford. As well, there are others in the professional and performing arts who have also chosen to make their home in Stratford.

True to Tom’s vision, PAL Stratford’s long-term goal is to provide affordable congenial housing for these valued members of the Stratford community. Our primary need is to find a building or a site that can be used to provide this kind of facility.

Over the years we have been involved in a number of different projects: twice with different owners of 500 Ontario Street, the land immediately west of the Arden Park Hotel as well as with the owner of 210 Water Street. We seriously considered Falstaff School when it was available. In 2005 we made an unsuccessful bid for City-owned property on Queensland Drive.

We recently opened an affordable housing unit PAL Place at 101 Brunswick Street, Stratford.

PAL Stratford is governed by an elected Board of Directors.

Henry Benjamin Kennedy James

Henry Benjamin Kennedy James
September 20, 2014

Brava/Bravo to all!

PAL Stratford’s Expect the Extraordinary Monday September 15, 2014 8pm Avon Theatre

PAL Stratford’s ninth annual Expect The Extraordinary “Heart and Home – in Heels” hosted by Lucy Peacock indeed provided extraordinary surprises in music, passion, magic and stagecraft. Counting the audience, actors, musicians, backstage wizards, volunteers and front of house hosts, close to one thousand people supported the PAL Stratford objective of “Caring for our own.” In addition to other programs supporting artists in our performing arts community, proceeds from the event help PAL provide affordable housing in Stratford.

Expect the Extraordinary! is made possible each year through the generosity of the talented artists and performers based in Stratford, and the time and energy of the staff, cast and crew of the Stratford Festival. From one caring community led by Lucy Peacock, a significant amount was raised on Monday evening and it is earmarked to fund the ongoing operation of PAL Stratford’s community programs and residence.

The success of Monday’s event belongs to all who conceived, created, performed, staged, lit, fed, donated, auctioned, poured, opened, closed, swept and tidied but especially Lucy. Thank you Lucy once again for opening your heart and home while making the evening’s magic extraordinary. Thank you to the Stratford Festival, to participating members of Canadian Actors Equity, A F of M Local 149, and IATSE Locals 357and 924, the front of house hosts, the silent auction coordinators and lastly, but not least, the PAL Stratford volunteers and board members who have worked tirelessly for months stewarding the event to a magnificent conclusion.

Brava/Bravo to all!

JDS

Nora Polley never imagined she could earn a living in theatre

As published in The Stratford Beacon Herald, Tuesday, September 2, 2014.
By Donal O'Connor, The Beacon Herald


The limelight tends to shine on the leading actors and the director, designer and choreographer, leaving the backstage folks in the dark.

But Nora Polley has no lament about the unsung off-stage role she played at the Stratford Festival for almost four decades.

"Good stage management is invisible," says Polley, who stage-managed around 70 plays at the Festival during a theatre career that began with a Canada Council apprenticeship in 1969.

Now 66 --and still with the Festival but in a different role --Polley's roots in Stratford and with the theatre go deep.

Her father Victor Polley was the Festival's bookkeeper in 1954 and 17 years later was administrative director. Her grandfather Francis Patrick Polley coached the choir that performed in the Festival inaugural season for Richard III in 1953.

A machinist with the Canadian National Railway, music was his passion.

Not surprisingly, Nora Polley's interest in theatre was sparked by her father but at first she never imagined there was something in theatre she could do to earn a living.

That changed following a successful university production of a play by Vaclav Havel called The Memorandum in which she had been involved as producer.

With Havel at the time in internal exile in Czechoslovakia the production garnered media attention that included a review by then Toronto Telegram critic Nathan Cohen.

Jean Gascon, artistic director at the Festival starting in 1968, had a word with Polley's father about her success with the Havel play and the Festival took her on board.

Polley was an assistant stage director in 1970 and stage managed her first Festival play in 1972, in which Bill Hutt was the leading actor. It was a play she had good reason to never forget, especially the student performance that was on when Canada and Russia were facing off in a world hockey final.

Since then, Polley missed just three Stratford Festival seasons. That was when John Hirsch, artistic director 1981-1985, cleared out some of the theatre people who had been associated with the previous artistic director Robin Phillips.

"I was too closely identified with Robin Phillips," recalled Polley. "There were some of us not invited back for that three-year period."

She returned as a stage manager when John Neville became artistic director in 1986.

"The thing that I loved about stage management was the actors. I love working with actors. I think they are extraordinary beings who sort of bare their souls on the stage in front of thousands of strangers night after night."

"Those of us who work backstage, I think that we have a very important role to support them, to help them to do the best they can."

For Polley, the most fascinating aspect of the job was being present during rehearsals.

"You're there when the penny drops and someone says I know what this play is about' or somebody does something so extraordinary and instinctual that is brilliant."

Many times the only people in the room apart from herself would be the actors and the directors and she cherished those moments.

As stage manager she was responsible for keeping record of all stage movements as determined by the director and actors and for noting sound and lighting cues as those were worked out.

Adapting to a spectrum of director approaches was naturally part of the job and a key task was disseminating all of the staging instructions to everybody else -in props, wardrobe, sound and lighting.

One vital challenge right from the beginning was to establish an atmosphere of trust.

"Actors have to feel free to make mistakes and not feel they'll be judged by anybody, that we're all on their side," said Polley. "It's a hard thing to do, acting. There's no safety net. There's no promise of things to come. It's all in the moment."

Polley recalled, too, that she was told very early on in her career that if someone notices that you're doing your job as stage manager "it's because you just made a mistake."

It's something she has always believed, she said.

As one might expect, there were some extraordinary situations that cropped up from time to time and probably the most notable for her was when in the 1972 production the leading actor, knowing that the audience was preoccupied with a hockey game, said on stage that Canada won and Henderson had scored.

Polley has stated her surprise publicly before now.

"It was extraordinary. Terrifying. Absolutely terrifying," she said in an interview Saturday.

"There's nothing in the stage management manual that tells me what I'm supposed to do when my leading actor announces the hockey score from the stage."

The play went fine, with good audience attention, after Hutt's announcement.

One important aspect of the stage manager's role is to keep the production to script.

Another extraordinary, but quite different, situation was precipitated during the province-wide power blackout of Aug. 14, 2003.

The power loss occurred in the middle of a performance of The King and I at the Festival Theatre.

The emergency lighting that's designed to allow the audience to exit came on but stage manager Cindy Toushan (Polley was assistant stage manager for that show) conferred with musical director Bert Carriere and they decided to continue the show with just the low lighting.

The show continued but a lot had been changed backstage. All of the electronic amplification for actors and orchestra was gone, as was the lighting in dressing rooms.

Polley recalled that anyone backstage with a flashlight was pressed into action and that actors had to change outfits in the hallways where there was more light.

But something else happened that was magical.

"Because of that (loss of amplification) everybody was listening really carefully and we continued the show and the audience loved it," recalled Polley. "They loved it."

No one would have immediately known the extent of the blackout.

The only part of the play that became problematic was at the end when the king dies and the stage was supposed to fade to black.

With that not possible with the emergency lighting, the actors stood still for just enough time for the audience to realize the play was over.

"Then the king got up and walked off and we did the curtain call."

"It was quite extraordinary," said Polley.

After the show Antoni Cimolino informed the audience of the province- wide blackout.

For Polley the experience was a reminder of what's at the centre of theatre.

"It's an interesting thing that, when you get right down to it, all that the theatre needs are actors and a good story. That's all that's required. All the rest of it is helpful and supportive but not necessary."

In 1987 after what she describes as a troubled production of Othello, Polley was considering "taking a break" from the theatre but she credits former artistic director Richard Monette for pulling her "back from the edge" when he asked her to manage The Taming of the Shrew, his first production on the Festival stage.

The play featured Colm Feore and Goldie Semple.

Monette --and Phillips earlier on --were very appreciative of her work, said Polley.

After close to 40 years as a stage manager, Polley decided it was time to retire from the job and she did just that about five years ago. The Festival Archives, however, offered a welcome career shift and currently she is working on identifying people in scores of photographs that are included in the theatre's extensive photo collection.

"All the things that I know and remember are actually of use here. Every day in the Archives they bring in something that has no label and say What is this?'"

Many of the early photos, notes Polley, just identify the leading actors, labelling the others in the picture as, "The supporting Canadian cast."

donal.oconnor@sunmedia.ca

Lucy Peacock presents ...

Lucy Peacock presents ... Heart and Home ... with Heels

Lucy Peacock Matt Alfano Thom Allison
Sean Arbuckle Anna Atkinson Daniel Briere
Cynthia Dale Ted Dykstra Barbara Fulton
Sean Hauk Claire Lautier Magick of Maya
and Dominique
Yanna McIntosh Loreena
McKennitt
Nora McLellan
Marcus Nance Steve Ross Tyrone Savage
Scott Wentworth Shawn Wright Geraint
Wyn Davies

PAL Stratford’s Expect the Extraordinary! 2014 with host Lucy Peacock: “Heart and Home… with Heels!” A Variety Show Benefit Monday September 15, Avon Theatre, 8pm

Performing Arts Lodge (PAL) Stratford announces that tickets are now available at Festival box offices for the charity’s annual fundraising event Expect the Extraordinary! 2014.

Headliner Lucy Peacock hosts a heartwarming evening of love, laughter and song in the “Living Room” with: Matt Alfano, Thom Allison, Sean Arbuckle, Anna Atkinson, Daniel Briere, Cynthia Dale, Ted Dykstra, Barbara Fulton, Sean Hauk, Claire Lautier, Magick of Maya and Dominique, Yanna McIntosh, Loreena McKennitt, Nora McLellan, Marcus Nance, Annie Newton, Steve Ross, Tyrone Savage, Scott Wentworth, Shawn Wright, Geraint Wyn Davies and the Fantasmagorical Fandago Orchestra with musical director Laura Burton.

“This year’s guests are simply over-the-top in star-shine talent the like of which is not to be missed! Please join us for an evening of gorgeous music, loads of laughter, with a little bit of magic and madness and a ton of love thrown in for good measure ...yes… Expect the Extraordinary!

In addition to other programs supporting artists in our performing arts community, proceeds from the event help PAL Stratford provide affordable housing in Stratford. Expect the Extraordinary! is made possible each year through the generosity of the Stratford Festival along with the passionate gift of the performers' time and talent, and the generous support of the staff, cast and crew of the Stratford Festival.

Doors will open at 6:30 pm to preview our annual silent auction of one-of-a-kind unique treasures, with the curtain rising on the performance at the Avon Theatre, September 15th, 8 pm.

Tickets can be purchased from PAL Stratford board members and through the Stratford Festival Box Office, in person or by calling 519-273-1600 or 1-800-567-1600.

With something for everybody, prices range from $20 through $75. The Avon Theatre is wheelchair accessible.

Get your tickets: September 15



Monday, September 15, 2014, 8pm
PAL Stratford's 2014 Expect the Extraordinary Event
Tickets available at the Stratford Festival Box Office.
519-273-1600 | 1-800-567-1600
$20 $35 $50 $75


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