Deutsche Welle wieder da / available again

Liebe Freunde des deutschsprachigen DW-Programms,

nach längeren Verhandlungen mit Rogers Cable können wir Ihnen nunmehr mitteilen, dass Rogers Cable ab sofort zwei Kanäle der Deutschen Welle anbietet:

Der deutsche Kanal DW (Amerika) ist bis zum 27.05.2014 im Rahmen einer Free Preview im digitalen Kabelangebot von Rogers Cable in Ontario auf Kanal 172 frei empfangbar.

Nach dem 27.05.2014 kann DW (Amerika) als Einzelprogramm/á la carte abonniert werden.

Anmeldungen für das DW (Amerika) Abonnement sind ab dem 20. Mai bei Rogers Cable möglich.

Bitte weisen Sie ausdrücklich darauf hin, dass Sie DW (Amerika) abonnieren möchten, um Verwechslungen zu vermeiden.

Der englische Kanal „DW“ ist im englischen News Package enthalten.

Über Cogeco Cable kann ab sofort wieder der deutsche Kanal DW (Amerika) empfangen werden.

Sollte dies nicht der Fall sein, informieren Sie uns bitte unter oder wenden Sie sich direkt an Cogeco Cable.


Dear friends of DW’s German programming

After longer negotiations with Rogers Cable we can announce that Rogers Cable will offer two Deutsche Welle channels with immediate effect.

The German programming DW (Amerika) can be received free of charge until May 27, 2014 in the digital package on channel  172 in Ontario. After May 27, 2014 DW (Amerika) can be ordered as an á la carte channel/single subscription.

Subscription for DW (Amerika) starting May 20, 2014 at Rogers Cable.

Please state explicitly that you wish to subscribe to DW (Amerika) to avoid mix-ups.

The English programming “DW” is part of the English News Package.

The German programming is also available again via Cogeco Cable.

If this is not the case for you, please inform us by writing to or contact Cogeco Cable directly.

Arabesque’s SAWAH world premiere April 10 at Harbourfront Centre


Arabesque‘s SAWAH to have its world premiere April 10 at Harbourfront Centre

Arabesque infuses Middle Eastern dance and music with Western style

 TORONTO – Critically acclaimed dance and music ensemble Arabesque returns after a year’s hiatus with the world premiere of its production, SAWAH.  The show runs April 10 – 13, 2014 at the Fleck Dance Theatre (207 Queens Quay W) as part of Harbourfront Centre’s NextSteps Series. The performance includes over 20 dancers and 20 musicians.

SAWAH is directed and choreographed by Arabesque founder Yasmina Ramzy and directed and composed by Bassam Bishara and Suleiman Warwar. Arabesque brings Western sensibilities to traditional Arab style. They create large intricate ensemble performances, while maintaining the essence of the improvised tradition.

“The creation of any Arabesque performance involves an evolution of ideas and styles. It’s a very collaborative process. We’re like the United Nations of dance and music,” says Ramzy.

The Toronto dance company boasts a diverse, multicultural cast originating from 12 countries, including Tunisia, Peru, Jamaica, Lebanon, Iran etc. Among the 43 artists are five dancers who commute from Montreal to Toronto for rehearsals.

Arabesque 1 Arabesques SAWAH world premiere April 10 at Harbourfront Centre
Photo credit: Peter Lear

SAWAH is an Arabic word that means traveler or wanderer. The show evokes the sense of joy and freedom one feels when embarking on an exciting journey to new far off places. It’s a celebration of Middle Eastern culture and art and how it has found a new home in Canada.

SAWAH runs at the Fleck Dance Theatre, Harbourfront Centre from April 10-13, 2014. Tickets start from $19 and are on sale now.

To purchase tickets, please visit: or call 416.973.4000

To learn more about Arabesque, please visit:
Get social on Facebook & Twitter

About Arabesque
Formed in 1992, Arabesque has thrilled audiences internationally with nine major productions featuring many dance and music styles of the Middle East as well as contemporary interpretive expression led by directors Yasmina Ramzy, Bassam Bishara and Suleiman Warwar. The recipient of numerous awards and critical acclaim for artistic excellence, the company has performed alongside such artists as Alabina, Bijan Mortazavi, Amr Diab, The Rolling Stones, Rageb Alema and Ben Harper.

“The more things change the more they stay the same.”

A Horse’s Behind and the Space Shuttle

Does the statement “We’ve always done it that way” ring a bell?

The US standard railroad gauge (distance between the rails) is 4 feet, 8.7 inches. That’s an exceedingly odd number.

Why was that gauge used?

Because that’s the way they built them in England, and English expatriates built the US Railroads.

Why did the English build them like that?

Because the first rail lines were built by the same people who built the pre-railroad tramways, and that’s the gauge they used.

Why did “they” use that gauge then?

Because the people who built the tramways used the jigs and tools that they used for building wagons, which used that wheel spacing.

Okay! Why did the wagons have that particular odd wheel spacing?

Well, if they tried to use any other spacing the wagon wheels would break on some of the old, long distance roads in England, because that’s the spacing of the wheel ruts.

So who built those old rutted roads?

Imperial Rome built the first long distance roads in Europe (and England) for their legions. The roads have been ever used since.

And what about the ruts in the roads?

Roman war chariots formed the initial ruts, which everyone had to match for fear of destroying their wagon wheels. Since the chariots were made for Imperial Rome, they were all alike in the matter of wheel spacing.

So…the United States standard railroad gauge of 4 feet, 8.5 inches is derived from the original specifications for an Imperial Roman war chariot. And bureaucracies live forever.

So the next time you are a handed a specification, or task or event and wonder what horse’s behind came up with it, you may be exactly right, because the Imperial Roman war chariots were made just wide enough to accommodate the back ends of two war horses.

And now the twist of the story…

When you see a Space Shuttle sitting on its launch pad, there are two big booster rockets attached to the side of the main fuel tank. These are solid rocket boosters, or SRBs. The SRBs are made by Thiokol at their factory in Utah. The engineers who designed the SRBs would have preferred to make them a bit fatter, but the SRBs had to be shipped by train from the factory to the launch site. The railroad line from the factory happens to run through a tunnel in the mountains. The SRBs had to fit through that tunnel. The tunnel is slightly wider than the railroad track, as you now know, is about as wide as two horses’ behinds.

So, a major Space Shuttle design feature of what is arguably the world’s most advanced transportation system was determined over two thousand years ago by the width of a horse’s behind.

…and you thought being a HORSE’S ASS wasn’t important!

(story told by Tany Rahn Kubata)

Holler for Health Care

Canadian artists sound off on end of Health Accord

TORONTO, March 28, 2014 – Over 30 Canadian performers all have their reasons for Hollering 4 Health Care on March 31st, the day that the Conservative government will allow the Health Accord to expire. They are hollering because:

“Hollering is one of the only things I’m actually good at doing. I urge Stephen Harper to skip even just one band practice so he can sit down with provincial leaders and negotiate something that works for all Canadians.” Rick Mercer

“I’m hollering for health care because it has saved my life.” Andrew Moodie

“I want universal health care in Canada to BE universal, and not have a system in which provinces pick and choose what they want to support, and privatize the rest.” Fiona Reid

“What is the federal government thinking? ARE they thinking? Whose hand is steering this devastating operation? I’m hollering because I can’t afford to buy a bus ad.” Nancy White

“We’re hollering for health care because we’re moving into the procedure years.” Women Fully Clothed (Kathryn Greenwood, Jayne Eastwood, Robin Duke, Teresa Pavlinek)

“My grandfather Tommy Douglas believed passionately that access to health care is the right of every citizen. He warned us to be vigilant in order to preserve that legacy Šwe’re going to make our governments sit up, and tell them that our parents and grandparents worked, fought, and suffered to get us Medicare and we’re not going to let anybody take it away.” Kiefer Sutherland

Everyone is invited to HOLLER 4 HEALTH CARE!, a musical, comical protest filled with merry maladies and malady melodies this Monday March 31st, 8 pm at Trinity-St Paul’s United Church, 427 Bloor Street West. Tickets are $12 – $25 cash-at-the-door or through 

Performers: John Alcorn, Ben Bass, Brent Carver, Shirley Douglas, Robin Duke, Jayne Eastwood, Mary Lou Fallis, Kathryn Greenwood, Art Hindle, David Huband, Tabby Johnson, Ray Landry, Jani Lauzon, Napalm-the-Magnificent, Judy Marshak, Nora McLellan, Amy Matysio, Rick Mercer (video), Andrew Moodie, Teresa Pavlinek, The Polka Dogs, Fiona Reid, Jackie Richardson, Julian Richings, Rick Roberts, John Roby, Mike Ross, Michael Therriault, Adrian Truss, Kiefer Sutherland (video), Viva! Youth Singers, David Warrick, Nancy White.

For more information or to
arrange interviews/photo ops contact:

Valerie Dugale, or 416-948-0195


Tarragon Theatre: “A God in Need of Help”

Tarragon Theatre proudly presents the world premiere of

A God in Need of Help

by Sean Dixon

Directed by Richard Rose


TORONTO, March 20, 2014 - Tarragon Theatre proudly presents the world premiere of A God in Need of Help by playwright-in-residence Sean Dixon, directed by the theatre’s artistic director, Richard Rose. This vividly painted sojourn into 17th century Europe examines the role of faith at the dawn of the Age of Reason and opens Wednesday, April 23, running to May 25 (with previews from April 16) in Tarragon’s Mainspace. Tickets range from $21-$53 (inclusive of HST) and are available by calling Patron Services at 416-531-1827 or by visiting

It is 1606 and Europe is at war over God. The four strongest men in Venice and their Captain stand before the Magistrate of Venice and the Cardinal-Archbishop of Milan. The men had been charged with transporting a holy painting – The Brotherhood of the Rosary – at the behest of Rudolf II of Austria from Venice across the Alps to Prague. In the small Alpine village of Pusterwald, they were set upon by Protestant zealots; their escape attributed to a miracle. An inquiry has been called to determine whether something miraculous did indeed occur. The imperious Magistrate swears all to secrecy while the art-expert Archbishop leads the investigation.

Director Richard Rose has assembled an outstanding cast for this mystery set in a time fraught with religious and political upheaval.

Richard McMillan (2011 Toronto Theatre Critics Award for Tarragon’s After Akhmatova, 11 seasons at the Stratford Festival, 4 Dora Awards) portrays Cardinal-Archbishop Federico Borromeo; John Cleland (Bottom in CanStage’s A Midsummer Night’s Dream, Dora Award for title role in Workman Arts’ Edward the Crazy Man) is the Magistrate of Venice, Renier Zen. Alden Adair (The Valley for Prairie Theatre Exchange and appearances in Cymbeline and Elektra for Stratford Festival), Daniel Kash (Tarragon’s Alice’s Affair, premiere Unidentified Human Remains and the True Nature of Love for Crow’s), Tony Nappo (The Real World? and The Golden Dragon for Tarragon, Mirvish Productions/Studio 180′s God of Carnage) and Jonathon Seinen (The Normal Heart for Studio 180/Buddies in Bad Times, Highway 63: The Fort Mac Show for Theatre Passe Muraille /Architect Theatre) portray the four strong men – Marco, Cocco, Dolfin, and the enigmatic Rafal respectively – while Dmitry Chepovetsky (Tarragon’s Forests and Remnants, YPT’s Cinderella) plays the Captain hired to ensure their safety. Daniel Giverin and Ben Irvine (both seen in Tarragon’s No Great Mischief) round out the cast as Guards.
Sean Dixon is a playwright, novelist, and actor. While this is his first play for Tarragon, his plays have been produced all over Canada, the U.S, Australia and England. They include The Notorious Right Robert and His Robber Bride (Caravan Farm Theatre 2012), France or, The Niqab (Summerworks 2012), Lost Heir (Blyth 2007) and the Chalmers’ nominated District of Centuries (1995), among others. Dixon’s first novel, The Girls Who Saw Everything (2007), has been published all over the English-speaking world and translated into Romanian. His second novel is The Many Revenges of Kip Flynn (2011). He has also written two young adult novels, set in the time of the Viking expansion.
When asked about his inspiration for this play, he notes, “It is based on true events. Emperor Rudolf II did hire four strong men to carry this painting over the Alps on foot from Venice to Prague, because he was morbidly afraid it would get damaged from transport in a cart. But in my version, something happens that stops the men halfway. That, and the events that ensue, are fictional. I wrote it partly because I once got lost in those mountains and felt briefly what it must have been like to be one of those guys carrying that painting, swept along by the broom of history. But more, I suppose, I wrote it to express empathy for those held in the grip of a passion or belief that gives their life meaning against all reason.”
Richard Rose recently directed Joan MacLeod’s The Valley and Evelyne de la Chenelière‘s Flesh and Other Fragments of Love for Tarragon earlier this season. Since becoming Tarragon’s Artistic Director in 2002, he has directed over 20 productions for the Tarragon stage, won 5 Dora Awards and received the prestigious Walter Carsen Prize and City of Toronto Mayor’s Award for career achievements including an Honourary Doctorate from Thorneloe University, Sudbury. Rose continues to direct outside of Tarragon: across the country including at Neptune Theatre, Manitoba Theatre Centre, Theatre Calgary and the Stratford Festival; internationally in Los Angeles, New York and London. Before Tarragon, Rose founded and was Artistic Director of Necessary Angel for 24 years. In addition to his many directing credits, Rose has also worked with students at Ryerson University, the University of Toronto and the National Theatre School. He currently is on the Advisory Committee for the George Brown College Theatre Program and is an adjunct professor at York University.

Set and costume design is by Camellia Koo, lighting design by Kimberly Purtell and sound design by John Gzowski. The stage manager is Kristen Kitcher.

Tarragon Theatre proudly presents the world premiere of

A God in Need of Help

by Sean Dixon

directed by Richard Rose

featuring Alden Adair, Dmitry Chepovetsky, John Cleland, Daniel Kash, Richard McMillan, Tony Nappo and Jonathon Seinen with Daniel Giverin and Ben Irvine 

 set and costume design by Camellia Koo

lighting design by Kimberly Purtell

sound design by John Gzowski

Opens April 23 to May 25, 2014 (previews from April 16)

Tarragon Theatre’s Mainspace, 30 Bridgman Avenue, Toronto

Tuesday-Saturday at 8pm, Sunday at 2:30pm

with Saturday 2:30pm matinees on April 26, May 3, 10

Tickets range from $21-$53 (including discounts for students, seniors and groups)

AND a Pay-What-You-Can on April 16 at 8pm

- $13 Rush Tickets at the door Fridays (on sale at 6pm) & Sundays (on sale at 1pm) starting April 25 -

For tickets, call Patron Services at 416.531.1827 or visit

Dictatorship and Democracy in the Age of Extremes

Dictatorship and Democracy in the Age of Extremes

March 10 – 18, 2014

Exhibition of 190 rare photographs, newspaper clippings, political cartoons
at the

Cloister of the Munk School of Global Affairs,
Trinity College
1 Devonshire Place, Toronto, ON   M5S 3K7

“In 2014 we remember several historic anniversaries: The 100th anniversary of World War I, 75 years of World War II, 25 years since the Berlin Wall came down, and 10 years of eastward enlargement of the European Union.

From March 10 to 28, 2014 the German Consulate General Toronto and the Goethe Institut Toronto presents an exhibition at Toronto’s Munk School for Global Affairs to commemorate these significant events.

The exhibition “Dictatorship and Democracy in the Age of Extremes. Spotlights on the History of Europe in the Twentieth Century” tells the tale of Europe’s 20th century as a dramatic story oscillating between freedom and tyranny, democracy and dictatorship. It opened on March 10 at Toronto’s Munk Centre, and the German Consulate Toronto invites you to visit it and take home a few insights not only on our past, but also on our future.

Beginning with the outbreak of World War I, the exhibition illustrates the rise of Italian Fascism and Soviet Communism, the world economic crisis and the takeover of the Nazi regime in Germany, leading to the catastrophe of World War II. It continues with the struggle of newly formed democracies after decades of dictatorships, and depicts Europe’s journey from the Cold War to the Peaceful Revolution. In its complexity, the exhibition is a detailed historic localisation of Europe as we know it today.

The exhibition includes a total of 190 rare photographs, newspaper clippings and political cartoons from different European archives.

The exhibition was developed by the Institute of Contemporary History in Munich, the Deutschland Radio Kultur and the Federal Foundation for the Reappraisal of the SED Dictatorship.”

Hindu Spring Festival of Holi

Minister Kenney issues statement to mark Holi  

Ottawa, March 17, 2014 – The Honourable Jason Kenney, Minister for Multiculturalism, issued the following statement marking Holi:

“March 17 is the Hindu spring festival of Holi. Also known as the Festival of Colours, this ancient religious festival is now also popular with non-Hindus in Canada and around the world.

“By spreading a message of peace and friendship, it is a celebration that can serve to strengthen our country by bringing together people from different faiths and cultural communities.

“Holi was first celebrated as an agricultural festival hundreds of years ago to say farewell to winter. Holi is also a time to repair and strengthen relationships and to look forward to new beginnings. Today, it is best known for its many colours, as celebrants throw coloured powder and water onto each other as a playful gesture to usher in Spring.

“For all Canadians, this festival serves as an opportunity to reflect on the tremendous contributions that Hindus have made to our country’s rich and diverse heritage.

“As Minister for Multiculturalism, I wish everyone celebrating a happy and fun-filled Holi.”

K-W & Beyond – Twist and Shout – British Invasion

K-W & Beyond
by Irena Syrokomla

Twist and Shout – British Invasion at Dunfield Theatre in Cambridge

It was 1963 when The Beatles crossed the Atlantic and appeared at The Ed Sullivan Show. For North America the Brits with their long hair, noisy guitars and innovative melodies were shocking. I read somewhere that one of the reasons why their music was so appealing was that the rhythm and the beat is exactly the same as the beat of human heart. So it is subconsciously and naturally appealing to humans. Good story.

Dunfield Theatre, the new Cambridge location of the Drayton Entertainment is presenting this innovative music assembly to the joy of the Boomers generation who were singing, swaying to the music, clapping and re-living their young days.

The show opens with All My Loving by The Beatles, followed by She Loves You and I Want to Hold Your Hand. Very appropriate. And then come The Animals, The Searchers, The Draemers and eventually The Rolling Stones. The world has never been the same since. The show is interwoven with the commercials from the 60-ties, not any more bizarre than to-days commercials, comments from The Roy Solomon Shaw (Ted Simonett occasionally imitating Ed Sullivan) and some circus-like tricks performed by Nick Settimi. The main singers are remarkable, their style and voices so much like the originals it is hard to believe. Yvan Pedneault in his rendition of The House of the Rising Sun (original by The Animals) is exceptional, so is Gerrard Everard in his final dance and song performance of The Rolling Stones. Christne Glen singing Shirley Bassey’s Goldfinger was great, her voice so strong and carrying. Among more than 70 songs everyone can find something they remember from those days, be it Yesterday, Mellow Yellow, You Don’t Own Me, Georgy Girl – the memories come back and the performance is superb. How do those young people get into such spirit!

The credits go to Alex Mustakas who came with this idea, written and directed it, Robert Foster – Music Director, Gino Berti – for choreography and Jessica Bray for costume design. They must have had fun, day after day for several months putting it together. And the audience, after initial moments of surprise watching black and white commercials and very 60-tish movements and dance style – just too off and joined in singing and massive applause. It is good to see and hear it again!

Twist and Shout continues at Dunfield in Cambridge till March 30 and then in from August 7 to 30 at King’s Wharf Theatre in Grand Bend. Cambridge box office 519-621-8000 or toll free 1-855-372-9866. Have fun!

Wonders of Theatre at National Arts Centre


Artistic Director Jillian Keiley lifts curtain on 2014-15 English Theatre Season

March 11, 2014 – OTTAWA (Canada) – Riding high on the exceptional success of her inaugural season, National Arts Centre English Theatre Artistic Director Jillian Keiley brought her magic touch to the NAC Fourth Stage today in a fun and entertaining event to announce what English Theatre has in store for the 2014-15 season at the National Arts Centre.

Ms. Keiley, joined by special guests, unveiled the ten productions and presentations that will make up the Theatre, Studio and Family Series, introduced the ten-member 2014-15 Ensemble and visiting artists from coast to coast to coast, and shined a light on the growth of The Collaborations, a unique investment with theatre companies and artists across Canada.

“It is truly an experience to behold the variety of great works and artists that make up our season,” said Ms. Keiley. “The shows are spectacular and represent the richness of variety and strength of what’s happening on stages throughout Canada.” In putting together the season she explained, “We bring in our treasured Ensemble, and program shows we think will feature them beautifully. Then we complete our season by presenting some of the most brilliant stage works from across the country.”
Ms. Keiley, along with Associate Artistic Director Sarah Garton Stanley, spent the last year and a half combing the Canadian theatre-scape to deliver this season featuring brave, political, funny and hot tickets productions.



The Theatre Series will launch with three works featuring the 2014-15 Ensemble, starting with one of theatre’s greatest comedies, Oscar Wilde’s The Importance of Being Earnest, directed by Ted Dykstra; followed by a special holiday production of Alice Through the Looking-Glass, directed by Ms. Keiley and produced in association with the Stratford Festival; then a look at the Bush administration during the Iraq War, with David Hare’s Stuff Happens, under the direction of David Ferry. Rounding out the Theatre Series will be powerful movement-based Theatre Smith-Gilmour’s Take Me Back to Jefferson and finishing with the return of theatre wizard Robert Lepage, with a new production of his acclaimed Needles and Opium, co-presented by le Théâtre français du CNA and the Magnetic North Theatre Festival.

The Studio Series will feature three critically-acclaimed touring productions, beginning with the wonderfully witty Do You Want What I Have Got? A Craigslist Cantata from Acting Up Stage and Factory Theatre, followed by Tawiah M’Carthy’s powerful one-man creation Obaabarima, from Buddies in Bad Times Theatre, and closing with Bad New Days’ The Double, inspired by Dostoëvsky’s same titled novella.

The Family Series includes Alice Through the Looking-Glass and is followed by two very special productions for children: The Queen of Paradise’s Garden, a traditional Newfoundland fairy tale told by the one and only Andy Jones, and the Red Sky Performance production of Tracey Power’s The Great Mountain.


The 2014-15 Ensemble came together through a nation-wide search by Ms. Keiley and Ms. Stanley.

“Almost two years ago we recognized a few talents that had great political intelligence and a wonderful handle on comedy,” said Ms. Keiley, “Then we began to match them with other artists whom we thought would be inspirational to the original few.”

Introducing the artists from across Canada and beyond who will make up the 2014-15 Ensemble: Lois Anderson (Vancouver, BC); Herbie Barnes (Toronto, ON); Natasha Greenblatt (Toronto, ON); Amy Matysio (Regina, SK/Toronto, ON); Tawiah M’Carthy (Accra, Ghana/Toronto, ON); Alex McCooeye (Montreal, QC/Toronto, ON); Andrew Moodie (Ottawa, ON/Toronto, ON); Christopher Morris (Markham, ON/Toronto, ON); Karen Robinson (Kingston, Jamaica/Toronto, ON); and David Warburton (Stockport, Cheshire, UK/Ottawa, ON). From September through February, The Ensemble will be involved in workshops, the development of new plays, and the education of young people.

“Theatre is the ultimate collaborative art,” she added, “and the heart of theatre, the actors, comes alive in a very special way when they are collaborating with artists who inspire them to greater heights.”



With this in mind, Ms. Keiley highlighted the growth of The Collaborations, a unique partnership with theatre companies and artists across Canada. The goal of The Collaborations is to place different components of English Theatre resources in the hands of artists who are launching their own work, or honing their own shows, in various parts of Canada.

“Sarah Garton Stanley has been working with more than 20 different companies across the country which we believe will contribute significantly to Canada’s theatrical landscape,” added Ms. Keiley. “We really see ourselves as a showcase theatre for Canada. By investing in the up-and-coming projects that really excite us we are setting the scene for stronger presentation choices in the years to come.”

The hope is that the works in which English Theatre makes an investment will contribute to the rich and evolving Canadian canon of theatrical work, and that they be creatively inspired by serving and supporting theatrical invention across this great land.

The National Arts Centre is fuelled by the idea that all of Canada is its stage, and The Collaborations is one of the key ways English Theatre at the NAC is bringing this idea to the fore.

Never one to stop creating, Ms. Keiley recently saw her production of Oil and Water open in Halifax before making its way to London, Ontario and later the NAC.  And now she’ll be heading back to Stratford for rehearsals for Alice Through the Looking-Glass, which opens this May at the Stratford Festival.

As she continues to plan for the years ahead, Ms. Keiley has launched a 2014-15 season which promises to be truly magical!



  • World-class theatre packages starting at $20 per play.
  • Subscribers save 20% or more off regular ticket prices.
  • Subscribe online by May 2nd and save an additional 5% at

For full information on the 2014-15 Season, visit

NAC English Theatre and The National Arts Centre Foundation extend a warm thank you to Dr. Kanta Marwah for establishing the Dr. Kanta Warwah Endowment for English Theatre and the members of the NAC Foundation Donors’ Circle and Corporate Club who generously support English Theatre at the National Arts Centre and the National Youth and Education Trust. A special thank you to the Embassy Hotel & Suites, the Official Hotel of NAC English Theatre, the Ottawa Citizen, Media Partner, as well as Ridley Terminals Inc. for its support of Aboriginal programming. A thank you also to the Government of Canada for its support.

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