JAMES NOONAN
This article traces the career of Audrey Ashley, who as Drama and Music Editor of The Ottawa Citizen for twenty-five years, wrote reviews of a wide variety of touring and local, professional and amateur theatrical productions. Her work, and her relationship with her editors, is representative of the place of theatre reviewing at regional newspapers. Her length of tenure allows for some reflection on the status and influence of the reviewer in Canada from the 1960s through the 1980s.
Cet article retrace la carrière de Audrey Ashley qui, à titre de Rédactrice responsable du théâtre et de la musique au journal The Ottawa Citizen pendant vingt-cinq ans, a écrit des comptes rendus sur une grande variété de spectacles, locaux et de tournée, professionnels et amateurs. Son travail ainsi que ses rapports avec ses rédacteurs en chef sont représentatifs de l'importance accordée à la critique théâtrale dans un journal régional. Le fait qu'elle soit demeurée en poste si longtemps nous permet de réfléchir sur le statut et l'influence du critique au Canada de 1960 à 1980.
Audrey Ashley presided over the Ottawa theatre scene longer than anyone before or after the twenty-five years she spent as theatre critic for The Citizen. She began writing theatre reviews in 1961, when theatre in the city was at a low ebb. The days of the Canadian Repertory Theatre (1949-56) were over, and the National Arts Centre would not open for eight years. Several professional theatre companies-The Town Theatre (1967-69), Theatre Aquarius (1970-72), Penguin Productions (1978-83), Theatre 2000 (1979-83)-would come and go during her tenure as theatre critic. The Great Canadian Theatre Company would outlast her but it did not begin until 1975 when she was over half through her long career at The Citizen. She reviewed them all, and was always genuine and direct whatever she had to say about a performance. When she wrote her farewell column for the newspaper on July 10, 1985, she could reflect fondly on those years: "I can hardly believe my luck at having spent the largest part of my life doing the two things I like best-going to the theatre, and writing about it."1
Her career was that of a faithful, reliable regional theatre critic whose name became synonymous with theatre in her own area, but did not achieve the stature of major theatre critics in Canada like Herbert Whittaker or Urjo Kareda. Yet her story deserves to be told, as it mirrors the fate of many other theatre critics in Canada whose names are not among the most recognized in their profession, but who nonetheless contributed to the awareness and appreciation of theatre in this country.
Ashley left no enduring mark on the evolution of theatre in Ottawa that occurred during her tenure there. Part of the reason was that she was involved in writing more than theatre reviews in her early years at The Citizen, a practice that continued throughout her career. Although no fewer than six professional companies opened in her first fifteen years as theatre critic, she did not nurture them in any particular way, but preferred to be the observer, a kind of everyman/woman who reviewed them all with no serious philosophical commitment to any of them. Theatre was only one of her "beats." Her initial appointment as theatre critic was included in the position of Music and Drama Editor, at a newspaper whose primary purpose in the nation's capital was to reflect the political and business life of the country, and for which theatre and music were minor interests.
In this she was not unlike theatre critics in many regions of Canada who often reviewed theatre because they were asked to do so when they had originally been hired by a newspaper to do other, quite unrelated assignments. In Ashley's case, her first assignment was as secretary to the editor of The Citizen; her last move was a demotion from Music and Drama Editor to mere "Citizen correspondenf' when she fell out of favor with the editor of the paper.
She spent even longer than twenty-five years working at The Citizen. Born Audrey Harris in Birmingham, England, on August 1, 1927, she was educated and got her first job there as a secretary. Her early interest in the performing arts received an outlet when for two and a half years she was in charge of the Midlands area office of the English Folk Dance Society. Her interest in theatre was encouraged by her husband James Ashley, whom she married in 1948, and by whom she had one son born in Ottawa in 1958. James Ashley ran a repertory company in Birmingham, and Audrey assisted him backstage, an experience which proved useful to her as a critic, and which is evident in the attention she invariably gave to stage effects in her criticism.
The young couple moved to Ottawa in 1951, and one year later Ashley came to The Citizen as secretary to the editor, Charles J. Woodsworth, and later to Woodsworth's successor, Marshall Yarrow. The Ashleys moved to San Francisco in 1958, where Audrey worked as assistant to the food editor of the San Francisco Chronicle. They returned to Ottawa in 1960, and she became librarian at The Citizen that same year. In October 1961 she was appointed Music and Drama Editor, succeeding Lauretta Thistle, whom she had assisted from time to time. In those first years at the paper, she says, "I was allowed to cut my writing teeth on small editorials about such momentous events as 'Be Kind to Animals Week' and the virtues of Easter Seals" (July 10, 1985).
Thus, like many other theatre critics, Audrey Ashley came into this work through journalism of various sorts. As she said in her farewell article, it was "by luck" that she became a theatre critic. She had no special training in theatre besides her backstage work with the Birmingham repertory company, and she had no special academic background in drama. Thus it is not surprising that we do not find in her writing a broad theoretical base from which she reviews plays, nor a strong bias for one particular type of theatre over another, except perhaps a preference for a well-made play over much of the avant-garde theatre she would attend in those years.
Such preference, rarely stated, is seen in her review of the 1977 Stratford production of Ibsen's Ghosts: "These things (in the play) and much, much more, are deftly woven into three acts which build steadily and could well provide any budding playwright with an object lesson in the art of play construction. There is an element of Greek tragedy in the inexorability with which the past pursues the Alving family" (June 9, 1977, p. 78).
Ashley was not greatly influenced by other theatre critics, though she has expressed admiration for several, including the influential British writer Kenneth Tynan, and the New York writers Walter Kerr and Clive Barnes (before the latter sold out and became a "popular" critic, moving from The New York Times to The New York Post). (Interview, October 26, 1990)2 Rather, she wrote from her own experience, and looked for those things in a play that revealed the universally human, and for those qualities in the directing, acting, and the technical aspects of a performance that enhanced the human elements in a play. As she said of another production of Ghosts with which she was less happy than the Stratford one: "But [the issues in the play] are still issues of deep human concern, and it is certainly still possible for Ibsen to speak to a modem audience. Unfortunately, his voice doesn't come through very convincingly in the production of Ghosts which the NAC Theatre Company opened Thursday night in the Studio" (Feb. 27, 1981, p. 22). "Deep human concern," or "human beings and the things that drive them," or "purely human dimensions" (June 9, 1977, p. 78) were what Ashley looked for in the theatre.
In seeing how these human qualities emerged in any given play, Ashley invariably concentrated on the production values of the performance. In practice, this meant emphasizing the work of the director and the actors. She rarely gave a play's performance history, or many details of the plot, or discussed the themes of the play beyond a succinct statement of them early in the review. For her the play was the thing, and she focussed on what made it work or fail. More often than not it was the quality of the acting that caught her attention and swayed her overall judgment of the production.
Thus she has high praise for the touring production of John Gray's Billy Bishop Goes to War at the National Arts Centre, in which Cedric Smith played the role made famous by Eric Peterson in the original stage version. The second paragraph of the review summarizes her view of the play itself: "But the fact is that on second viewing, the play still remains superficial, full of razzle-dazzle that tries to cover up a hollow centre" (August 28, 1981, p. 38). And while she criticizes the character of Bishop portrayed by the author, she deems the performance a success, and concludes: "This is a show that depends entirely on the star for its effect, and Cedric Smith comes through with flying colors;" The director is not mentioned.
The director is mentioned at length in her scathing critique of the 1973 Stratford production of Othello. She writes: "David William (later, 1989-1993, Artistic Director of the Festival) seems to have had difficulty in taking the play seriously. He has ignored all the subtleties and nuances of this powerful study of jealousy and revenge" (June 7, 1973, p. 75). William's fatal error-noted by many reviewers-was in casting Israeli actor Nachum Buckman in the title role: ". . . one wonders what perversity would cast in this great Shakespearean role a man who obviously has difficulty in speaking the English language." Nor does her criticism of the acting stop at Buckman. She scorns Alan Scarfe's Roderigo, Scot Denton's Cassio, and Douglas Rain's Iago. The only actors worthy of the play are Martha Henry as Desdemona and Amelia Hall as Emilia.
Conversely in her review of the Shaw Festival's One for the Pot, a slapstick comedy whose complicated plot she doesn't venture to explain, the directing and the acting received her unstinting praise: "Chris Johnston's directing comes close to wizardry ... (Heath) Lamberts and (Barry) MacGregor ... are the perfect vaudeville team, aided by David Schurmann as the scheming butler" (May 25, 1985, p. Cl).
True to her backstage experience in England, Ashley never fails to mention the impact of stage effects on a particular performance, usually in a paragraph or two at the end of each review-unless an unkind editor removed them to squeeze the review into a space not already taken by ads. The elements commented upon include one or all of lighting, sets, costumes, music, props, sound and other stage effects. This is true in all three reviews quoted above, though not all the effects are mentioned in any one of the three, and none at length except for the sets and costumes of Othello. In this case the emphasis on richness and colour combinations in the court scenes provides a sharp contrast with the chaos and violence of the later scenes of the play: "Visually there are some interesting effects- the light of live torches on metal helmets and breastplates, the opulent robes of the court, with fur-edged sleeves reaching almost to the floor and patterns of dark blue-green to match the floor" (June 7, 1973, p. 75).
In her review of A Streetcar Named Desire at the Ottawa Little Theatre, all these technical elements and the names of those responsible for them are mentioned in two short paragraphs which show how aware Ashley was of their vital contribution to the mood and poetry of this and other productions of the Tennessee Williams play:
Dorothy Shaw's set is less romanticized than many Streetcar designs, though it is still clearly New Orleans and she has opted for a scrim to conceal the street outside.
Peter Brebner's lighting and Jim Hogan's choice of music accentuate the changing moods of the play, and Susan Loignon has done a fine job on the 1940s costumes. (March 13, 1985, p. F14)
The final aphoristic paragraph in which she sums up her reaction to the play is also typical of an Ashley review: "One of Blanche's lines in the play is, 'I don't want realism, I want magic.' There are times when everything comes together and gives us just that." Coincidentally she had used this same touchstone line in another review of the play by Ottawa's Theatre 2000 three years earlier, but that time the production did not fulfill Blanche's dictum: "And that's the problem with Theatre 2000's opening production of the new season-it has realism aplenty, but none of the essential magic" (Sept. 17, 1982, p. 65).
Another touchstone for actors and reviewers is Hamlet, and Ashley reviewed this play, as well as many other of Shakespeare's, several times for The Citizen. I will look at four of her reviews of Hamlet-John Gielgud's version starring Richard Burton in 1964; the NDWT Company's production that formed part of its cross-Canada tour with The Donnellys in 1975; the Stratford production that toured Canada in 1976; and the NAC production directed by John Wood in 1979. In these four reviews we see a pattern similar to that noted in many other reviews-an emphasis on the actors and the acting, attention to the director's role in the play, and some mention of the technical aspects of the production, but little attempt to come to grips with interpretations of the play itself.
In the Gielgud-Burton Hamlet, performed at the O'Keefe Centre in Toronto, there is a preoccupation with the street clothing worn by the actors, since Gielgud conceived the production as a final run-through. The dress of most of the main characters she could accept, including Burton in sweater and T-shirt, "But why on earth would Hume Cronyn (as Polonius) and Alfred Drake (as Claudius) turn up to a rehearsal in such immaculate suits, when everyone else wore working clothes?" (Feb. 27, 1964, p. 13) She grants that "Burton's interpretation of Han-det is an unusual, though not especially memorable, one," but does not come to grips with his shortcomings beyond the comment that the role was "under-played." Still, as so often with Ashley, her summation of the production is apt: ". . . it is confusing to turn the illusion inside out and pretend that an opening night is merely a final run-through. It is no such thing.... And no amount of pretence will ever make it so."
The review of John Wood's modern-dress Hamlet at the National Arts Centre she judged "unforgettable" (April 3, 1979, p. 34), yet there was as little justification offered for the director's interpretation in this production as there was for Gielgud's. The dress was at least as unusual as that of the earlier version, including Neil Munro as Hamlet "sitting in a wicker peacock chair wearing white shorts and sneakers" reciting "To be or not to be." Ashley says, "All of this fits easily, and surprisingly, into Wood's concept of the play," but she does not say what that concept is. She admits that "the one thing that does not, emerge clearly is Wood's justification for setting the whole thing in the 1930s." Yet that setting was as essential to Wood's version of the play as was the attire of the actors in Gielgud's Hamlet. Truth to tell, Ashley was sympathetic to most of Wood's productions when he was artistic director of English Theatre at the NAC from 1977-1984, just as she was often critical of Robin Phillips's productions during his tenure at Stratford. So she concludes the review of Wood's Hamlet with: "This production, with its fresh and highly individual approach, is its own justification." Yet at the end of Gielgud's Hamlet, "One is left wondering . . . what has been accomplished by such drastic stripping-down" (Feb. 27, 1964, p. 13).
Not so justified either was the 1976 touring version of Hamlet directed by Phillips and William Hutt. "What you get," Ashley says, "is your basic four-hour Hamlet, plain and unadulterated" (March 30, 1976, p. 60). No attempt is made to find a special view of the play besides the comment that "The directors have been rather heavy on the Oedipal overtones of the scenes between Hamlet and his mother." And while Nicholas Pennell is commended for his performance in the title role, almost all the other actors are labelled "distressingly bland ... They are all more or less interchangeable." But most of her criticism is directed at style and technique rather than interpretation. So Pennell's Hamlet is "aristocratic in appearance, clear and unambiguous in delivery. This actor weighs every word carefully and gives it full value, and he does the same with his emotions." But she does not try to see what Phillips and Hutt were getting at in this Hamlet, nor does she give her own vision of the play against which the directors' approach could be measured.
She is much more sympathetic to Keith Turnbull's view of the play as presented by the NDWT Company in 1975. That view she was given in an interview with the director (Nov. 3, 1975, p. 56) before she saw the play, and so she informs us in the review that Turnbull considered Shakespeare a story-teller first and foremost: "He is mainly concerned with getting the story on the stage, and he and his admirable cast do it in a brisk, businesslike, no-nonsense fashion" (Nov. 8, 1975, p. 85). In contrast to the other reviews of Hamlet noted above, this vision of the play-"an intelligent approach that the cast makes work"-pervades all her comments on the performance. Her last paragraph might also be a judgment on the other three productions of the play: "Simply presenting Hamlet, devoid of frills, makes a refreshing change from the eternal agonized attempts at reinterpreting Shakespeare." Yet the other reviews scarcely told us what reinterpretation of Hamlet was being made.
Ashley was theatre critic at The Citizen in the late 1960s and early 1970s when a renaissance in Canadian playwrighting occurred. Ottawa was not exactly the centre of that activity, but Ashley did review many of the new plays, and the new and not-so-new playwrights. She was there when the National Arts Centre had its official opening in 1969. And while the NAC has not distinguished itself until recently for the number of Canadian plays it has produced, its arrival meant that more Canadian plays were being presented in Ottawa. Ashley reviewed many of them, including the first English-language production at the Centre, George Ryga's The Ecstasy of Rita Joe, directed by David Gardner.
In this drive for more Canadian drama some critics, such as Herbert Whittaker and Urjo Kareda, were supportive and encouraging of the new thrust, and would often be more benign in their criticism of new Canadian plays than of others. Note for example Kareda's excessive praise of the Canadian plays in the admittedly important 1971-1972 season in Toronto, of which he said: "A common subconscious barrier had somehow been lifted, releasing forces which transformed our theatrical character."3 It would take more than one season of many new plays by new playwrights to do that. Ashley was not as enthusiastic about the new Canadian plays. She did not believe plays should be put on simply because they were Canadian (Interview, Oct. 26, 1990). As a result she was often perceived as unsympathetic to Canadian plays by such groups as the Great Canadian Theatre Company, whose mandate was to produce only Canadian work.
But when one looks at her reviews of Canadian plays it is clear that she had no bias against Canadian playwrights, and indeed was quite high in her praise of playwrights such as John Coulter, James Reaney, Gratien Gélinas, George Ryga, Michel Tremblay, John Gray, David Freeman, and David Fennario. Others she enjoyed less- or not at all- including Sharon Pollock, George Walker, Carol Bolt, and Rick Salutin. But while she was not biased in favor of plays because they were Canadian, it is clear that she was not critical of them because they were Canadian either. In fact, she strove to judge every play on its own merits, and wrote, as always, of her own experience of the play at the time of the performance.
The power of Canadian plays to move her is evident in many reviews. Of George Luscombe's production of Ten Lost Years she writes:
I've seen the show three times now, and it has lost none of its power to move the heart with its account of how people survived the Great Canadian Depression- people who were kind and cruel, gallant and despicable, angry and monumentally patient. (Sept. 19, 1975, p. 60)
Of Coulter's Riel she says:
Riel is something of a landmark: a Canadian play about a Canadian historical figure, handsomely mounted by an all-Canadian team in Canada's National Arts Centre. Perhaps the muses are at last trying to tell us something. (Jan. 14, 1975, p. 22)
Of Fennario's Balconville she claims:
What saves it from being merely another recital of the woes of slum living is Fennario's sardonic humor and his talent for reproducing the salty conversation of the denizens of 'the Pointe.' (Jan. 29, 1979, p. 48)
She praises Gray's musical 18 Wheels:
[It] comes close to being genuine modem Canadian folklore, and the beauty of it is, it never takes itself too seriously. (Jan. 9, 1980, p. 46)
For her, John Murrell's Waiting for the Parade
is a small masterpiece. But it's small only in the sense that it fits easily into the NAC Studio.... Its theme-war-is a large one, and the emotions it evokes are certainly full-scale. (May 15, 1979, p. 62)
And of The Easter Egg she writes:
Although Dr. Reaney's play is Canadian in its origin and setting, the human qualities with which he is concerned are universal.... This timeless quality is one of the things which make The Easter Egg a good play, refreshing in its literacy and craftsmanship. (April 24, 1970, p. 28)
On the other hand, Ashley does not hesitate to fault several Canadian plays and playwrights who have been enthusiastically received throughout the country. The documentary play 1837: The Farmers' Revolt "is, despite all its sound and fury, much less interesting, and not nearly so well put together (as The Farin Show)" (Nov. 9, 1976, p. 71). Both George Walker and the GCTC are faulted in one review:
It's not often you find the Great Canadian Theatre Company laughing, and it's a welcome change.... Filthy Rich is,when you get right down to it, a pretty awful play, despite the exuberance with which it tries to endear itself to the audience. (Feb. 3, 1983, p. 54)
She qualifies that criticism of the GCTC in her review of another play, but does not spare the playwright: "While I have nothing but admiration for the members of the Great Canadian Theatre Company, I was sorry to see all that energy and talent expended on as messy a piece of work as Carol Bolt's Buffalo Jump" (Feb. 17, 1977, p. 71). Of the Neptune Theatre production of Michael Cook's Color the Flesh the Color of Dust, which opened the 19721973 NAC season, she laments: ". . . it is difficult to feel any deep concern with characters to whom the playwright denied any real existence. Color them the color of dust" (October 17, 1972, p. 44). And in reviewing Doc, she writes:
Construction has never been Pollock's strong suit, and in this case her method has worked against the material; the relationships and motivations might have seemed stronger and more relevant if she had opted for a more conventional method of telling her story. (Nov. 14, 1984, p. F13)
Ashley warmed to the production of new Canadian plays when she saw the care and detail lavished on many of them, and how determined and capable playwrights and theatres were to create a Canadian theatre. A measure of that warmth is seen now in the reviews she writes from her home in Stratford. One of her favorite places has become another theatre which produces only Canadian work- the Blyth Festival- and she regularly sends reviews of its productions to The Citizen. Many of Blyth's plays are first productions byaspiring young playwrights, and Ashley usually approaches them with the honest yet restrained criticism that characterized her work in Ottawa. The conclusion of her review of Firefly is typical of the more mellow Ashley: "Firefly looks to me as if it still needs a little more work, but it has the makings of an interesting, small-scaled musical-yet another addition to Blyth's slice-of-Ontario-life repertoire" (July 27, 1990, p. D10).
Ashley has no illusions about her own influence as a critic. In an interview she said, "I really haven't any idea what my influence was. It's very hard to tell because I think in a city like Ottawa ... it's a very mixed bag" (October 18, 1991). The "very mixed bag" that she reviewed in Ottawa made it difficult for her to gain authority or deep respect as a theatre critic. She was an important figure in the theatre scene for 25 years, but theatre companies and writers did not change as a result of her presence or her reviews. No doubt she influenced theatregoers to attend plays or stay at home by her positive or negative reviews. But she was too spread out to give theatre her undivided attention. In this she was not unlike many reviewers in many regions across Canada.
Ashley wrote much more than theatre reviews at The Citizen. She interviewed actors and directors and performers, reviewed folk and symphony concerts, operas and dance companies, wrote background stories on plays and on theatre generally, and reviewed books, television dramas and radio plays. She also did much administrative work, especially in her twenty years as Music and Drama Editor. She covered both amateur and professional theatre in Ottawa, and plays for children of all ages. She reviewed particulary and regularly plays at the Ottawa Little Theatre, which has been operating since 1913, as well as musicals of the Orpheus Society and of the Savoy Society.
While she tended to farm out the work of reviewing many of the amateur companies that came and went in her time, she was very encouraging of amateur theatre. The same could be said of her as she said in a tribute on the death of Betty Swimmings, who reviewed amateur theatre regularly for The Citizen under Ashley: "She loved her work and always had the best interest of these people (music and drama groups) at heart" (October 2, 1985, p. 2).
Like Swimmings, she encouraged amateurs without applying the same rigorous standards used to judge professionals, and without patronizing amateur theatre in the process. As she reported on a seminar in criticism held at the University of Ottawa:
Of course you apply different standards- it would scarcely be fair to expect the same standards of performance and production from a group of dedicated amateurs working in theatre for the love of it (which is, after all, the meaning of the word) and people whose full-time profession it is, backed up by professional training and sometimes hefty sums of production money.(Dec. 3, 1977, p. 38)
Ashley also reported on several theatre companies outside Ottawa- the Stratford and Shaw Festivals regularly, and Toronto, Montreal and Halifax productions occasionally- although not as often as one would expect from a major newspaper in the nation's capital, and not enough to keep abreast of the developments in Canadian theatre in those years. While she was Music and Drama Editor she went to the Stratford and Shaw Festivals each summer, and to New York City in the fall. The reviews from New York were of a mixture of theatre and musicals, the shows that most tourists would be interested in seeing. She did not attempt to survey the best and most significant drama that was being presented on and off-Broadway.
Ashley suffered the fate of many theatre critics whose editors were not always sympathetic to their work. While she received support from some editors, she served under one who had no use for "culture" and felt the main focus of The Citizen should be national affairs. Music and theatre were extras, to be inserted where space was not needed for more important events. She endured the indignity of one editor who "vandalized" her stories, and eliminated a column on the arts which she had written for several years. Eventually, in 1977, Ashley was replaced as Music and Drama Editor. She speaks of the "terrible rows" (Interview, October 29, 1990) with the editor, and was so upset with the way she was removed that she took the case to the paper's union, which filed a grievance on her behalf. She lost the case and her editor's job, and became merely a staff writer for her remaining eight years at The Citizen. A critic's lot is not always a happy one, and we can only admire her tenacity and dedication to her work in remaining with the newspaper after being treated so shabbily.
Ironically, in November of that same year she was awarded the Queen's Silver Jubilee Medal for her work, with a citation that read, "The award of the medal is an expression of appreciation of worthy and devoted service rendered by the recipients in their various walks of life, and of the esteem in which they are held by their associates."4 No doubt this esteem as well as the excitement and challenge of reviewing for a major newspaper sustained her over the next eight years, although the trips to Stratford and Niagara-on-the-Lake and New York were not so frequent.
Ashley's story is not unlike that of other regional theatre critics in Canada, although it differs from most in the length of her association with one newspaper, and in that no woman in Canada has been a regular theatre critic longer. She was a reviewer dedicated to local theatre, and sometimes to theatre farther afield. If not particularly innovative or stylistically brilliant, she was honest, fair, supportive of the local theatre community, and wrote convincingly of those elements of a play that interested her most- acting, directing, and the technical aspects of a production.
Since she left The Citizen, other critics have had much shorter tenures there as drama critics- Barbara Crook (1986-91), Michael Groberman (1991-94), and Janice Kennedy (1994-). It is doubtful that any future critic anywhere in Canada will review theatre for a single newspaper as long as Ashley did for The Citizen.
Ashley's career as a critic did not end with her departure from Ottawa. When her husband took early retirement from the National Research Council of Canada, she agreed- one feels with relief- to leave Ottawa and move with him to the comfortable Victorian house in Stratford they had purchased some years previously. From that perch she still reviews plays for the Stratford Beacon Herald, and even for The Citizen, sometimes of Stratford and Shaw performances and often of Blyth. She continues to review books for various newspapers, and occasionally contributes travel stories about the exotic places she and her husband visit on their extended absences from Stratford in the winter months. She probably enjoys being a Citizen correspondent from afar more than being a staff writer in Ottawa under editors unsympathetic to her work. And she can still say, as she did in the conclusion of her generous farewell article on leaving The Citizen:
To be involved in such things has been not only a job, but a privilege and often an adventure.
People-even critics-mellow over the years, and many of those who used to write angry notes have become friends. I shall miss them, and the friends and respected colleagues who have made my years at The Citizen so memorable.
But from my new listening post at Stratford I still intend to keep close track of what's happening in the world of that 'fabulous invalid,' the theatre. (July 10, 1985, p. D 11)
Canadians in many regions of Canada, from large urban to small rural, may be grateful for the dedication and care of theatre critics like Audrey Ashley to that "fabulous invalid" in their community.5
NOTES
1. All subsequent quotations from The Ottawa Citizen are identified by date and page after the
quotation. The paper has been titled both The Ottawa Citizen and The Citizen. I have identified
it as The Citizen in the text of the article.
Return to article
2. I had two taped interviews with Audrey Ashley, on October 26, 1990 and October 18, 1991.
All quotations from these interviews are identified after the quotation by "Interview" followed
by the date.
Return to article
3. Udo Kareda, "Introduction." Leaving Home by David French (Don Mills, Ont.: General,
1972) v.
Return to article
4. Ashley, Audrey. Quoted in letter to the author dated November 1, 1991.
Return to article
5. I am grateful to David Wylynko, a graduate student, who did much research for me on
newspaper reviews and articles by Audrey Ashley.
Return to article
Appendix
Reviews by Audrey Ashley in The Ottawa Citizen, October 17, 1961-October 2, 1985
in alphabetical order by author and company including some of her general articles on theatre
The following playlist contains most of Audrey Ashley's drama reviews during the 25 years she was drama critic at the Ottawa Citizen. Each entry contains the basic information on the day, date, and page of the review, the author (except in the case of most musicals) and title of the play, the place where it was performed, and Ashley's evaluation of the production. The names of the producing company, the director and one or more of the actors are given when these are of special interest. Many plays are crosslisted under both author and company. Accordingly, plays of Shakespeare may be found under both the author and the Stratford Festival. The same goes for Shaw and the Shaw Festival, and so forth. In each entry the reviews are listed in chronological order.
The list is thus a mini-history of English (and some French) adult theatre in Ottawa from 1961 to 1985, as well as a record of plays and their reception at the Stratford Festival, the Shaw Festival, New York City and several other locations in Canada during Ashley's tenure at the Citizen.
Abbreviations used in this list:
C = Company or city or venue, in the margin at the beginning of
entry to distinguish it from most entries under the author
Co = Company, within an entry for an author
Dir = Director
GCTC = Great Canadian Theatre Company
HS = High School
NAC = National Arts Centre
NYC = New York City
OLT = Ottawa Little Theatre
qv = see entry under author for more details
RA = Recreational Association
Shak= Shakespeare
Shaw= Shaw Festival
Stfd= Stratford Festival
Tech= Ottawa Technical High School
Ashley's evaluation of each production is given as follows:
poor; fair; good; or xt (excellent)
Aeschylus:
1) Mon, Nov 7'83, p. 49 - Oresteia (Pt. 1) - at NAC - good
Albee, Edward:
1) Thur, Oct 15'64, p. 30 - Who's Afraid of Virginia Woolf? - Dir: Alan Schneider -
at Capitol Theatre - xt
2) Fri, Nov 11'66, p. 48 - Delicate Balance - at Martin Beck Theatre, NYC - fair
3) Tues, May 10'83, p. 66 - Who's Afraid of Virginia Woolf - at NAC - xt
Anouilh, Jean:
1) Mon, Nov 16'64, p. 25 - Poor Bitos - at Cort Theatre, NYC - Actor: D. Pleasance
- xt
2) Fri, Feb 10'67, p. 43 - Beckett - at OLT - good
3) Tues, Feb 13'68, p. 5 - Antigone - at Lasalle HS - Co: Town Theatre - poor
4) Mon, June 2'80, p. 48 - The Lark - at St. Lawrence Centre, Toronto - Dir: M.
Andre - good
5) Sat, Sept 21'85, p. C4 - Ring Round the Moon - at Grand Theatre, London, Ont. -
good
Behan, Brendan:
1) Sat, Feb 6'65, p. 23 - Hostage - at Lakeside Gardens - fair
2) Thur, Oct 26'67, p. 53 - Quare Fellow - at Algonquin College - poor
3) Tues, Feb 3'70, p. 18 - Hostage - at NAC - fair
Betti, Ugo:
1) Fri, Mar 26'65, p. 5 - Corruption in the Palace of Justice - Dir: J. Shaver - at
University of Ottawa - good
C - Blyth Festival:
1) Sat, June 22'85, p. C8 - Polderland by B. Wade - fair
2) Mon, July 22'85, p. A15 - Beaux-Gestes & Beautiful Deeds (musical) written and
performed by M.L. Hammond - fair
3) Wed, Aug 28'85, p. F20 - Garrison's Garage by T. Johns - good
Bolt, Carol:
1) Thur, Feb 17'77, p. 71 - Buffalo Jump - at Old Fireball - Co: GCTC - poor to fair
Bolt, Robert:
1) Wed, Feb. 26'64, p. 30 - Man for All Seasons - at Capitol Theatre - fair to good
2) Sat, Jan 5'74, p. 57 - Vivat! Vivat! Regina! - OLT - good to xt
Brecht, Bertholt:
1) Fri, Jan 11'74, p. 48 - Resistible Rise of Arturo Ui - at NAC - fair
2) Wed, Feb 10'82, p. 78 - Threepenny Opera - at University of Ottawa - fair
Buchner, George:
1) Thur, Nov 18'65, p. 19 - Danton's Death - at Vivian Beaumont Theatre, NYC -
poor
C - Canadian Players:
1) Fri, Jan 25'63, p. 26 - Arms and the Man by Shaw - Dir: T. Van Bridge - at Tech -
xt
2) Sat, Jan 26'63, p. 14 - Taming of the Shrew by Shak - Dir: T. Van Bridge - at
Tech - fair
3) Mon, Dec 16'63, p. 16 - Private Lives by N. Coward - Dir: Eric Christmas - at
Tech - xt
4) Sat, Nov 28'64, p. 4 - Passion and Destiny (excerpts from Shakespeare) - Dir: T.
Van Bridge - at Glebe HS - fair
Carrier, Roch:
1) Tues, Nov 29'77, p. 61 - Floralie, Where Are You? - at NAC - Dir: J. Gascon -
fair
C - Cathedral Players: Director: Michael Meiklejohn
1) Fri, Dec 29'61, p. 18 - Christmas in the Market Place by Henri Gheon - at Christ
Church Cathedral Hall - good
2) Fri, Dec 6'63, p. 17 - 3 Advent plays - at Christ Church Cathedral Hall - fair-good
good
C - Centaur Theatre, Montreal:
1) Mon, Jan 29'79, p. 48 - Balconville by D. Fennario - good
2) Fri, Feb 4'83, p. 51 - Moving by D. Fennario - good
3) Mon, Jan 7'85, p. D9 - Love Is Strange: A Courtroom Romance by P. Ledoux &
D. Young - good
4) Mon, Feb 4'85, p. A12 - Master Harold and the Boys by A. Fugard - xt
Chekhov:
1) Tues, July 27'65, p. 22 - Cherry Orchard - Dir: J. Hirsch - at Stfd - good
2) Wed, Aug 31'66, p. 14 - Seagull - at Le Hibou - good
3) Wed, Feb 27'83, p. 80 - Wood Demon - at NAC - fair to good
Christie, Agatha:
1) Tues, Feb 13'62, p.12 - The Unexpected Guest - at OLT - poor
2) Thur, July 5'84, p. 74 - Murder on the Nile - at OLT - fair
Congreve, William:
1) Tues, June 8'76, p. 76 - Way of the World - at Stfd - fair
Cook, Michael:
1) Thur, Oct 17'72, p. 44 - Colour the Flesh the Colour of Dust - at NAC - poor
Coulter, John:
1) Tues, Jan 14'74, p. 22 - Riel - at NAC - Dir: J. Gascon - xt
Coward, Noel:
1) Mon, Dec 16'63, p. 16 - Private Lives - by Canadian Players - Dir: E. Christmas -
xt
2) Fri, Nov 5'65, p. 51 - Present Laughter - at OLT - good
3) Tues, Sept 15'70, p. 15 - Hay Fever - at NAC - by OLT - good to xt
4) Thur, Oct 27'83, p. 89 - Hay Fever - at Kanata Theatre - xt
Dowsett, Geoffrey (Ottawa):
1) Tues, April 2'63, p. 35 - The Betrayal - Rideau HS - good
Dubé, Marcel:
1) Wed, Mar 20'63, p. 15 - Temps des lilas - Dir: G. Provost - at Lasalle HS - fair to
good
Eliot, T.S.:
1) Sat, Jan 22'66, p. 10 - Murder in the Cathedral - at Tech - good
2) Thur, Nov 7'68, p. 48 - Elder Statesman - at OLT - fair
Farquhar, George:
1) Thur, June 20'85, p. D17 - Beaux' Stratagem - at Stfd - by Young Co. - xt
Fennario, David:
1) Wed, May 21'75, p. 90 - On the Job - at NAC - fair
2) Mon, Jan 29'79, p. 48 - Balconville at Centaur - good
3) Tues, Nov 6'79, p. 59 - Balconville at NAC - Co: Centaur - good
4) Fri, Oct 24'80, p. 35 - Changes - at Fernando's Restaurant - Co: GCTC good
5) Fri, Feb 4'83, p. 51 - Moving - at Centaur, Montreal - good
Finnigan, Joan:
1) Wed, Nov 16'77, p. 103 - Up the Vallee - at University of Ottawa - fair
Freeman, David:
1) Wed, May 9'73, p. 91 - Battering Ram - at NAC - Dir: B. Glassco - xt
French, David:
1) Thur, Oct 21'82, p. 31 - Jitters - at Kanata Theatre - poor
Friel, Brian:
1) Wed, Sept 29'82, p. 46 - Translations - at NAC - xt
2) Thur, Jan 24'85, p. D21 - Lovers - at Lakeside Gardens - good
3) Fri, Apr 26'85, p. D16 - Philadelphia, Here I Come - at St. Patrick's Hall - Co:
Tara Players - fair
Fugard, Athol:
1) Mon, Feb 4'85, p. A12 - Master Harold and the Boys - at Centaur, Montreal - xt
GCTC - Great Canadian Theatre Company:
1) Thur, Feb 17'77, p. 71 - Buffalo Jump by C. Bolt - at Old Firehall - poor to fair
2) Thur, Sept 25'80, p. 75 - Red Tape, Running Shoes and Razzmatazz (revue) by
GCTC & Ottawa Tenants'Council - at Blue Gardenia Restaurant- good
3) Thur, Oct 27'82, p. 70 - Last Call by M. Panych - poor
4) Thur, Feb 3'83, p. 54 - Filthy Rich by G. Walker - fair
5) Thur, Sept. 27'84, p. D13 - Art of War by G. Walker - fair
6) Thur, Feb 21'85, p. C18 - This Is For You Anna by The Anna Project - good
7) Thur, Apr 11'85, p. D19 - Cheap Thrill by A. Milner - fair
Gelinas, Gratien:
1) Sat, Jan 11'64, p. 23 - Bousille and the Just - Dir: G. Provost - at OLT - good
2) Fri, June 15'83, p. 91 - Tit-Coq - at University of Ottawa - good
Gibson, William:
1) Sat, Nov. 7'64, p. 2 - Miracle Worker - at OLT - good to xt
Gilbert & Sullivan:
1) Thur, Apr 14'63, p. 31 - Pirates of Penzance - Dir: I. Milne - at Tech - xt
2) Thur, Feb 17'66, p. 23 - HMS Pinafore - at Tech - Co: RA group - at Tech - fair
3) Thur, Oct 27'66, p. 49 - Pirates of Penzance at Capitol Theatre - poor
4) Thur, Apr 29'76, p. 76 - Pirates of Penzance at Lasalle HS - Co: Savoy Society
(first production) - good
5) Sat, Mar 27'82, p. 29 - Ruddigore - at Lasalle HS - Co: Savoy Society - good to xt
6) Tues, June 12'84, p. 51 - Iolanthe - at Stfd - good
7) Fri, Mar 22'85, p. D26 - Pirates of Penzance - at Lasalle HS - Co: Savoy Society -
fair
8) Tues, May 28'85, p. D 15 - Pirates of Penzance - at Stfd - poor
Gilroy, Frank:
1) Thur, Nov 12'64, p. 5 - The Subject Was Roses - at Winthrop Ames Theatre, NYC
- fair to good
2) Tues, Nov 8'66, p. 11 - The Subject was Roses - Dir: F. Daley - Actor: K. Reid -
good
Giraudoux, Jean:
1) Fri, Dec 10'82, p. 70 - Ondine - at Theatre 2000 - poor
2) Fri, May 24'85, p. D12 - Madwoman of Chaillot - at Shaw - Dir: W. Toye - good
Gogol:
1) Fri, May 6'66, p. 38 - Inspector General - at OLT - poor
2) Wed, Mar 22'67, p. 37 - Inspector General - at Capitol Theatre - Dir: M. Langharn
- pre-Stfd production - xt
3) Wed, June 14'67, p. 45 - Government Inspector - at Stfd - Dir: M. Langham - good
Goldman, James:
1) Fri, Nov 15'68, p. 29 - Lion in Winter - at Glebe HS - Dir: F. Daley - poor
2) Fri, Jan 7'77, p. 46 - Lion in Winter - at OLT - good
Goldoni, Carlo:
1) Tues, Oct 19'71, p. 50 - Servant of Two Masters at NAC - xt
2) Thur, June 12'80, p. 72 - Servant of Two Masters at Stratford - fair
Goldsmith, William:
1) Wed, June 6'73, p. 94 - She Stoops to Conquer - at Stfd - Dir: M. Bawtree - xt
Gray, John:
1) Tues, July 22'80, p. 27 - 18 Wheels - at Theatre 2000 - good
2) Tues, Mar 17'81, p. 54 - Rock & Roll - at NAC - xt
3) Fri, Aug 28'81, p. 38 - Billy Bishop Goes to War - at NAC - xt
4) Thur, Aug 5'82, p. 39 - 18 Wheels - at Roxy Theatre - fair
Gray, Simon:
1) Thur, Jan 20'82, p. 63 - Otherwise Engaged - at Kanata Theatre - fair
Harron, Don:
1) Sat, Oct 11'67, p. 5 - Anne of Green Gables (musical) by D. Harron & N.
Campbell - at Capitol Theatre -xt
2) Wed, June 18'69, p. 37 - Anne of Green Gables (musical) - at official opening of
National Arts Centre -good
Hellman, Lillian:
1) Fri, Apr 16'62, p. 69 - Little Foxes - at Fisher Park HS - Dir: T. Feheregyhazi -
good
2) Fri, Nov 4'82, p. 72 - Little Foxes - at OLT - Dir: P. Cochrane - good
Herbert, John:
1) Fri, Nov 24'67, p. 25 - Fortune & Men's Eyes - at Cultural Centre, Montreal -
author and director evicted - good
2) Thur, Dec 11'69, p. 54 - Fortune and Men's Eyes - at NAC - good
Hochhuth, Rolf:
1) Fri, Feb 26'65, p. 15 - The Deputy - Dir: M. Davis - at Capitol Theatre - good to
xt
Ibsen, Henrik:
1) Mon, Jan 27'64, p. 2 - Enemy of the People - at Tech - good
2) Fri, May 27'66, p. 12 - Enemy of the People - at Fisher Park HS - poor
3) Thur, June 11'70, p. 14 - Hedda Gabler - at Stfd - Dir: P. Gill - fair
4) Tues, Jan 19'71, p. 14 - Enemy of the People - at NAC - Dir: L. White -
Adaptation: B.J. Wylie - good
5) Thur, June 9'77, p. 78 - Ghosts - at Stfd - xt
6) Fri, Feb 27'81, p. 22 - Ghosts - at NAC - poor
7) Thur, Dec 6'84, p. D18 - Doll's House - at Carleton University - good
Inge, William:
1) Tues, Mar 20'62, p. 35 - The Dark at the Top of the Stairs - OLT - fair to good
2) Wed, July 15'64, p. 38 - Come Back, Little Sheba - at Lakeside Gardens - good
lonesco, Eugene:
1) Thur, Sept 16'62, p. 29 - The Lesson - at Le Hibou - good
Japanese Theatre:
1) Fri, Aug 4'67, p. 20 - 2 Kabuki plays - at Theatre Maisonneuve, Montreal - xt
2) Fri, Mar 12'71, p. 25 - 2 Noh plays by National Theatre of Japan - at NAC - good
3) Tues, Apr 1'75, p. 51 - 3 Kyogen comedies - at NAC - xt
Jelicoe, Ann:
1) Wed, Feb 1'67, p. 30 - The Knack - at Le Hibou - fair
Jonson, Ben:
1) Fri, Nov 18'66, p. 28 - Alchemist - at Lincoln Centre, NYC - poor
2) Thur, Apr 10'69, p. 36 - Alchemist - at Theatre Maisonneuve, Montreal - Co:
Stratford - Dir: J. Gascon - fair
3) Wed, Oct 22'69, p. 61 - Alchemist - at NAC - qv - xt
Keane, John B.:
1) Mon, May 10'82, p. 26 - Highest House on the Mountain - at St. Patrick's Hall -
Co: Tara Players - good
Kerr, Jean:
1) Tues, Mar 12'63, p. 11 - Mary, Mary - at Capitol Theatre - good
2) Thur, Feb 5'8 1, p. 63 - King of Hearts by J. Kerr & E. Brooks - at OLT - fair
3) Fri, Oct 21'83, p. 87 - Lunch Hour - at Robert Borden HS - poor
King, Philip:
1) Fri, Dec 13'68, p. 30 - See How They Run - at Glebe HS - fair
Kopit, Arthur:
1) Thur, May 14'64, p. 36 - Oh Dad, Poor Dad.. - at Le Hibou - good
2) Tues, Nov 18'80, p. 60 - Wings - at NAC - good
Lazarus, John:
1) Tues, Feb 10'81, p. 65 - Dreaming & Duelling - at Theatre 2000 - good
Leonard, Hugh:
1) Sat, Mar 2'74, p. 63 - Patrick Pearse Motel - at OLT - poor to fair
2) Thur, Oct 8'81, p. 92 - Da - at OLT - good
Littlewood, Joan:
1) Wed, Nov 11'64, p. 20 - Oh, What a Lovely War - Dir: J. Littlewood - at
Broadhurst Theatre, NYC - xt
Lorca, Federico:
1) Fri, Mar 2'62, p. 25 - The House of Bernarda Alba - at University of Ottawa - Co:
Theatre de la Colline - good to xt
Machiavelli:
1) Wed, Nov 17'71, p. 47 - Mandrake - at NAC - good to xt
Madden, Peter:
1) Sat, Oct 12'74, p. 84 - Night No One Yelled - at Tarragon Theatre, Toronto - fair
Mamet, David:
1) Thur, Nov 20'80, p. 90 - Life in the Theatre - at Blue Gardenia Restaurant - poor
2) Mon, Apr 27'81, p. 50 - Sexual Perversity in Chicago - at NAC Atelier - poor
Marivaux:
1) Mon, Oct 30'67, p. 5 - L'Heureux Stratageme - at Capitol Theatre - xt
McClure, James:
1) Mon, Apr 27'81, p. 50 - Lone Star - at NAC - xt
Middleton & Rowley:
1) Sat, Mar 27'76, p. 85 - The Changeling - at University of Ottawa - good
Miller, Arthur:
1) Fri, Jan 17'69, p. 12 - Death of a Salesman - at Tech - Dir: F.Daley - fair
2) Fri, Nov 6'70, p. 28 - The Price - at Lasalle HS - by OLT - xt
3) Thur, Mar 15'84, p. 85 - All My Sons - at OLT - xt
Mitchell, W.O.:
1) Wed, Oct 14'81, p. 51 - For Those in Peril on the Sea - at Theatre 2000 - poor
Moliere:
1) Wed, June 17'64, p. 19 - Bourgeois Gentilhomme - Dir: J. Gascon - at Stfd - fair
2) Mon, Oct 5'64, p. 31 - Bourgeois Gentilhomme - at Tech festival - Co: Theatre du
Pont Neuf - poor
3) Sat, Feb 19'66, p. 17 - Georges Dandin - University of Ottawa - xt
4) Fri, Nov 25'66, p. 31 - Femmes Savantes - at Glebe HS - good
5) Wed, June 12'68, p. 47 - Tartuffe - at Stfd - Dir: J. Gascon - good
6) Tues, June 4'74, p. 65 - Imaginary Invalid - at Stfd - Dir: J. Gascon - good
7) Tues, Feb 26'80, p. 68 - Don Juan - at NAC - Dir: J. Gascon - good
Moore, Mavor:
1) Fri, Apr 6'62, p. 27 - Spring Thaw '62 - 15th annual revue - at Tech - xt
2) Fri, Mar 29'63, p. 12 - Spring Thaw - at Capitol Theatre - fair
3) Thur, Mar 19'64, p. 15 - The Best of Spring Thaw - at Tech - xt
4) Thur, Mar 4'65, p. 24 - Spring Thaw - at Tech - good
5) Fri, Mar 18'66, p. 17 - Spring Thaw - at Tech - fair
6) Thur, May 11'67, p. 21 - Spring Thaw - at Tech - fair
7) Wed, Apr 10'68, p. 38 - Spring Thaw - at Commerce HS - poor
8) Wed, Apr 2'69, p. 29 - Spring Thaw - at Tech - poor
Murrell, John:
1) Fri, Nov 30'84, p. D7 - New World - at NAC - fair to good
2) Tues, May 15'79, p. 62 - Waiting for the Parade - at NAC - xt
C - National Arts Centre:
1) Tues, June 10'69, p. 34 - Ecstasy of Rita Joe by G. Ryga - qv - good
2) Wed, June 18'69, p. 37 - Anne of Green Gables by D. Harron (qv) and N.
Campbell - good
3) Thur, Oct 9'69, p. 37 - Your Own Thing (musical based on Shak's Twelfth Night) -
by D. Driver - good
4) Tues, Oct 21'69, p. 29 - Hamlet - Dir: K. Tumbull - poor
5) Wed, Oct 22'69, p. 61 - Alchemist by B. Jonson - Dir: J. Gascon - Co: Stfd - xt
6) Thur, Dec 11'69, p. 54 - Fortune and Men's Eyes by J. Herbert - good
7) Tues, Dec 30'69, p. 5 - I Do! I Do! (musical) - good
8) Tues, Feb 3'70, p. 18 - Hostage by B. Behan - fair
9) Tues, Mar 31'70, p. 14 - Merchant of Venice - qv - fair
10) Wed, Apr 1'70, p. 5 - School for Scandal by Sheridan - qv - xt
11) Fri, Apr 24'70, p. 28 - Easter Egg by J. Reaney - xt
12) Fri, May 22'70, p. 21 - You Two Stay Here, The Rest Go Home (musical) by C.
Newton - xt
13) Tues, June 16'70, p. 48 - The Amorous Flea (musical based on Moliere's School
for Wives) - poor
14) Tues, Oct 20'70, p. 32 - Cymbeline - qv - fair
15) Fri, Nov 27'70, p. 26 - How the Company (collective) - Dir: M. Bawtree - poor
16) Fri, Dec 11'70, p. 30 - Zorba (musical) - poor to fair
17) Tues, Jan 19'71, p. 14 - Enemy of the People by Ibsen - qv - good
18) Fri, Jan 22'71, p. 12 - George M! (musical) - fair
19) Fri, Mar 12'71, p. 25 - 2 Noh plays - Co: National Theatre of Japan - good
20) Tues, Mar 23'71, p. 23 - Much Ado About Nothing - Dir: W. Hutt - fair to good
2 1) Mon, Apr 5'7 1, p. 12 - Matters, Manners and Mauve Tea by Stfd actors - good
22) Fri, Apr 30'71, p. 25 - Lamplighter by A. Nagy - mime play - good to xt
23) Tues, June 1'71, p. 25 - Summer Days by R. Weingarten - Dir: M. Bawtree - fair
24) Fri, Sept 24'71, p. 24 - Skits in mime - Co: Black Theatre of Prague - good
25) Tues, Oct 17'71, p. 50 - Servant of Two Masters by C, Goldoni - xt
26) Wed, Nov 17'71, p. 47 - Mandrake by Machiavelli - good to xt
27) Tues, Nov 23'71, p. 22 - What the Butler Saw - by J. Orton - Dir: J. Hirsch - fair
28) Tues, Jan 18'72, p. 26 - Treasure Island - good
29) Tues, Mar 21'72, p. 27 - As You Like It - at NAC - Dir: W. Hutt - poor
30) Fri, Apr 28'72, p. 31 - Company (musical) - good
31) Wed, May 3'72, p. 68 - Tango by S. Mrozek - good to xt
32) Tues, May 23'72, p. 52 - Misalliance by Shaw - Dir: P. Whitehead - good
33) Wed, June 7'72, p. 41 - Oh, Coward! by R. Cook - good
34) Thur, Oct 17'72, p. 44 - Colour the Flesh the Colour of Dust by M. Cook - poor
35) Wed, Nov 1'72, p. 23 - The Dybbuk by S. Ansky - good
36) Wed, Nov 29'72, p. 67 - Rivals by Sheridan - qv - xt
37) Wed, Dec 27'72, p. 58 - Applause (musical) - fair
38) Wed, Jan 10'73, p. 46 - Mime by M. Marceau - xt
39) Tues, Jan 16'73, p. 33 - Oh, What a Lovely War (musical) - good
40) Tues, Feb 20'73, p. 32 - Pillar of Sand by E. Nicol - fair
41) Wed, Feb 28'73, p. 41 - Tempest - poor
42) Thur, Feb 15'73, p. 36 - Two by Two (musical) - good to xt
43) Tues, Apr 3'73, p. 28 - Touch of the Poet by E. O'Neill - fair
44) Thur, Apr 12'73, p. 78 - Godspell (musical) - poor
45) Wed, May 9'73, p. 91 - Battering Ram by D. Freeman - qv - xt
46) Wed, May 23'73, p. 82 - Ballade (musical) - Co: Charlottetown Festival - poor
47) Fri, Sept 28'73, p. 32 - You Never Can Tell by Shaw - xt
48) Wed, Nov 14'73, p. 86 - Letters from the Earth by J. Winter adapted from M.
Twain - Dir: G. Luscombe - poor
49) Fri, Nov 23'73, p. 60 - Twelfth Night - fair
50) Fri, Jan 11'74, p. 48 - Resistible Rise of Arturo Ui by B. Brecht - fair
51) Thur, Jan 14'74, p. 3 8 - Grease (musical) - good
52) Wed, Jan 30'74, p. 60 - Skits by Black Theatre of Prague - good
53) Fri, Mar 15'74, p. 28 - Hollow Crown - by Royal Shakespeare Co. - xt
54) Tues, Sept 17'74, p. 74 - As You Like It - xt
55) Tues, Sept 24'74, p. 63 - Ten Lost Years (collective based on B. Broadfoot's
book) - Dir: G. Luscombe - xt
56) Tues, Oct 29'74, p. 29 - Dybbuk by S. Ansky - Dir: J. Hirsch - good
57) Tues, Jan 14'74, p. 22 - Riel by J. Coulter - qv - xt
58) Fri, Feb 7'75, p. 52 - Mime by M. Marceau - xt
59) Tues, Mar 18'75, p. 61 - Comedy of Errors - qv - poor to fair
60) Tues, Apr 1'75, p. 51 - 3 Kyogen comedies - xt
61) Tues, Apr 22'75, p. 51 - Killdeer by J. Reaney - good to xt
62) Wed, May 21'75, p. 90 - On the Job by D. Fermario - fair
63) Tues, May 27'75, p. 80 - Trelawny of the Wells by A.W. Pinero - xt
64) Wed, May 28'75, p. 77 - Kronberg: 1582 (musical) - fair
65) Tues, Sept 9'75, p. 60 - Ten Lost Years (collective) - Dir: G. Luscombe - good
66) Tues, Oct 7'75, p. 57 - Caesar & Cleopatra by Shaw - Co: Shaw Festival - poor
67) Tues, Dec 2'75, p. 68 - Ride Across Lake Constance by P. Handke - poor
68) Thur, Dec 11'75, p. 75 - Irene (musical) - fair
69) Tues, Jan 6'76, p. 47 - Collected Works of Billy the Kid by M. Ondaatje - good to
xt
70) Tues, Jan 27'76, p. 53 - Hatching Eggs by C. Doucet, and Have You Any Dirty
Washing? by C. Exton - poor-poor
71) Wed, Mar 24'76, p. 76 - Mime by Mummenschanz Co. - xt
72) Tues, Mar 30'76, p. 60 - Hamlet - poor
73) Tues, Apr 20'76, p. 33 - One-Way Pendulum by N.F. Simpson - good
74) Tues, May 4'76, p. 27 - The Donnellys by P. Colley - poor
75) Tues, Sept 21'76, p. 71 - Laugh Your Guts Out by Codco - poor to fair
76) Tues, Oct 19'76, p. 65 - Stitch in Time by G. Feydeau - fair
77) Mon, Oct 25'76, p. 62 - Shakespeare's People - Actor: M. Redgrave - good
78) Tues, Nov 9'76, p. 71 - 1837: The Farmers' Revolt by R. Salutin - qv - fair
79) Tues, Nov. 30'76, p. 36 - Fantasticks (musical) - good
80) Thur, Dec 9'76, p. 95 - Little Night Music (musical) - fair
81) Tues, Dec 14'76, p. 75 - Hosanna by M. Tremblay - qv - good to xt
82) Tues, Jan 11'77, p. 48 - Sainte Marie Among the Hurons by J.W. Nichol - fair to
good
83) Tues, Feb. 1'77, p. 23 - Man and Superman by Shaw - qv - good
84) Wed, Feb 23'77, p. 86 - Ideal Husband by Wilde - xt
85) Tues, Mar 22'77, p. 33 - Don Juan in Hell by Shaw - good
86) Tues, Apr 19'77, p. 35 - When We Are Married by J.B. Priestley - xt
87) Tues, May 24'77, p. 67 - Let's Get a Divorce by Sardou-De Najac - Dir: A.
Millaire - good
88) Tues, Oct 11'77, p. 33 - Same Time Next Year by B. Slade - good
89) Tues, Nov 29'77, p. 61 - Floralie, Where Are You? by R. Carrier - qv - fair
90) Tues, Apr 3'79, p. 34 - Hamlet - Actor: N. Munro - xt
91) Tues, May 5'79, p. 62 - Waiting for the Parade by J. Murrell - xt
92) Tues, Oct 16'79, p. 64 - Caretaker by H. Pinter - fair
93) Tues, Nov 6'79, p. 59 - Balconville by D. Fennario - good
94) Tues, Feb 26'80, p. 68 - Don Juan by Moliere - qv - good
95) Tues, Oct 7'80, p. 40 - Grand Hunt by G. Hernady - Dir: J. Hirsch - fair
96) Tues, Oct 28'80, p. 59 - Wonderful World of Sara Binks by P. Hiebert - good to
xt
97) Tues, Feb 24'81, p. 54 - Blood Relations by S. Pollock - fair to good
98) Fri, Feb 27'81, p. 22 - Ghosts by Ibsen - poor
99) Tues, Mar 17'81, p. 54 - Rock & Roll by J. Gray - xt
100) Mon, Mar 30'81, p. 69 - Julius Caesar - at Atelier - poor to fair
101) Thur, Apr 23'81, p. 77 - Winter & Rough Weather by N. Munro - at Atelier -
good
102) Mon, Apr 27'81, p. 50 - Lone Star by J. McLure - at Atelier - good
103) Mon, Apr 27'81, p. 50 - Sexual Perversity in Chicago by D. Mamet - at Atelier -
poor
104) Tues, May 26'81, p. 60 - Tempest - fair
105) Fri, Aug 28'81, p. 38 - Billy Bishop Goes to War by J. Gray - xt
106) Wed, Nov 4'81, p. 54 - Wild Oats by J. O'Keefe - Co: Stfd - good
107) Wed, Jan 20'82, p. 56 - Journey's End by R.C. Sherriff - fair
108) Tues, Apr 6'82, p. 63 - Richard Third - fair
109) Mon, Apr 12'82, p. 31 - Torchbearers by G. Kelly - xt
110) Thur, May 13'82, p. 51 - They're Playing Our Song by N. Simon (musical) -
fair
111) Wed, Sept 29'82, p. 46 - Translations by B. Friel - xt
112) Tues, Oct 19'82, p. 64 - Altman's Last Stand by C. Dennis - good
113) Wed, Nov 3'82, p. 60 - Joey by R. Salutin & Rising Tide Co - fair
114) Wed, Feb 23'83, p. 80 - Wood Demon by Chekhov - fair to good
115) Fri, May 6'83, p. 60 - How I Got That Story by A. Gray - at NAC Atelier -
good
116) Tues, May 10'83, p. 66 - Who's Aftaid of Virginia Woolf by E. Albee - xt
117) Wed, May 11'83, p. 78 - Walsh by S. Pollock - fair to good
118) Wed, June 1'83, p. 69 - Evita (musical) - good to xt
119) Mon, Nov 7'83, p. 49 - Oresteia (Pt. 1) by Aeschylus - good
120) Mon, Dec 19'83 p. 55 - Life & Times of Al Capone by G. Frow - at Atelier -
good to xt
121) Wed, Feb 1'84, p. 69 - Joseph and His Amazing Technicolor Dreamcoat
(musical) - good
122) Wed, Apr 25'84, p. 79 - Cat on a Hot Tin Roof by T. Williams - good
123) Wed, May 16'84, p. 79 - North Shore Live (collective) - poor to fair
124) Wed, Aug 1'84, p. 75 - Oedipus Rex by Sophocles - good
125) Wed, Nov 14'84, p. F13 - Doc by S. Pollock - fair
126) Fri, Nov 30'84, p. D7 - New World by J. Murrell - fair to good
127) Fri, Jan 18'85, p. D7 - Talking Dirty by S. Snukal - Co: Vancouver Arts Club -
fair
128) Wed, Feb 6'85, p. F11 - The Go-Go Boys by H. Lester & A. Alty - at Atelier -
by Theatre Passe-Muraille, Toronto - good
129) Fri, Feb 22'85, p. D7 - Terminal Blues, English translation of La Deprime, by
Theatre du Klaxon, Montreal - good
130) Wed, Mar 20'85, p. F11 - Fighting Days by W. Lill - Co: Prairie Theatre
Exchange, Winnipeg - fair
131) Fri, Apr 12'85, p. D20 - Country Hearts by T. John & J. Roby - by Theatre
New Brunswick - good
132) Fri, May 3'85, p. D26 - You Can't Take It With You by Kaufman & Hart - xt
133) Thur, July 4'85, p. D8 - Same Time Next Year by B. Slade - fair
C - New York City:
1) Wed, Nov 11'64, p. 20 - Oh, What a Lovely War by J. Littlewood - Dir: J.
Littlewood - at Broadhurst Theatre - xt
2) Thur, Nov 12'64, p. 5 - The Subject Was Roses by F. Gilroy - qv - fair to good
3) Fri, Nov 13'64, p. 26 - I Was Dancing by E. O'Connor - at Lyceum Theatre - fair
to good
4) Mon, Nov 16'64, p. 25 - Poor Bitos by J. Anouilh - at Cort Theatre - Actor: D.
Pleasance - xt
5) Tues, Nov 17'64, p. 18 - Luv by M. Schisgal - at Booth Theatre - xt
6) Wed, Nov 18'64, p. 17 - Golden Boy (musical based on C. Odets play) - Actor:
Sammy Davis - good
7) Wed, Nov 18'64, p. 18 - Ben Franklin in Paris (musical) - fair
8) Fri, Nov 12'65, p. 36 - On a Clear Day You Can See Forever by Lerner & Lane -
at Mark Hellinger Theatre - Actor: Barbara Harris - fair
9) Sat, Nov 13'65, p. 19 - Royal Hunt of the Sun by P. Shaffer - at ANTA Tht -
Actors: C. Plummer & D. Carradine - xt
10) Mon, Nov 15'65, p. 25 - Skyscraper (musical based on E. Rice play Dream Girl)
- at Lunt-Fontanne Theatre - poor
11) Wed, Nov 17'65, p. 5 - The Devils by J. Whiting - at Broadway Theatre - Actors:
J. Robards & A. Bancroft - good
12) Thur, Nov 18'65, p. 19 - Danton's Death by G. Buechner - at Vivian Beaumont
Theatre - Dir: H. Blau - poor
13) Thur, Nov 10'66, p. 56 - Killing of Sister George by F. Marcus - at Belasco
Theatre - xt
14) Fri, Nov 11'66, p. 48 - Delicate Balance by E. Albee - at Martin Beck Theatre -
fair
15) Sat, Nov 12'66, p. 2 - The Apple Tree (musical) - Actor: Barbara Harris - at
Shubert Theatre - fair
16) Mon, Nov 14'66, p. 21 - How's the World Treating You? by R. Milner - at Music
Box - fair
17) Wed, Nov 16'66, p. 29 - The Investigation by P. Weiss - at Ambassador Theatre -
xt
18) Thur, Nov 17'66, p. 21 - Mame (musical) - at Winter Garden - xt
19) Fri, Nov 18'66, p. 28 - Alchemist by B. Jonson - at Lincoln Center - poor
20) Mon, Dec 18'67, p. 29 - Halfway Up the Tree by P. Ustinov - at Brook Atkinson
Theatre - good
21) Tues, Dec 19'67, p. 21 - More Stately Mansions by E. O'Neill - Actor: I.
Bergman - fair
22) Wed, Dec 20'67, p. 47 - Something Different by C. Reiner - A
23) Thur, Dec 5'68, p. 68 - Hair (musical) - at Biltmore Theatre - good to xt
24) Fri, Dec 6'68, p. 40 - Zorba (musical) - xt
25) Sat, Dec 7'68, p. 11 - A Cry of Players by W. Gibson - xt
26) Mon, Dec 9'68, p. 26 - Man in the Glass Booth by R. Shaw - at Royale Theatre -
Dir: H. Pinter - Actor: D. Pleasance
27) Tues, Dec 10'68, p. 13 - Great While Hope by H. Sackler - xt
28) Wed, Dec 11'68, p. 35 - Boys in the Band by M. Crowley - at Theatre Four - xt
29) Thur, Dec 12'68, p. 52 - Jimmy Shine by M. Schisgal - poor
30) Fri, Nov 18'77, p. 37 - Gin Game by D.L. Coburn - at John Golden Theatre - xt
31) Fri, Nov 18'77, p. 37 - The Merchant by A. Wesker - at The Plymouth - xt
Nichol, James W.:
1) Tues, Jan 11'77, p. 48 - Sainte Marie Among the Hurons - at NAC - fair to good
Nicol, Eric:
1) Tues, Feb. 20'73, p. 32 - Pillar of Sand - at NAC - fair
O'Casey, Sean:
1) Fri, Mar 9'62, p. 32 - Juno and the Paycock - Dir: James Flannery - University of
Ottawa - fair to good
O'Neill, Eugene:
1) Fri, Jan 14'66, p. 47 - Long Day's Journey into Night - at OLT - good
2) Tues, Dec 19'67, p. 21 - More Stately Mansions - NYC - Actor: I. Bergman - fair
3) Tues, Apr 3'73, p. 28 - Touch of the Poet - at NAC - fair
4) Mon, Feb 7'77, p. 46 - Long Day's Journey into Night - at Theatre London, Ont. -
Dir: R. Phillips - good
5) Wed, July 14'82, p. 74 - Long Day's Journey into Night - at 2nd Space - good
C - Orpheus Society (presents all musicals) :
1) Wed, Apr 27'62, p. 44 -New Girl in Town - at Tech - xt
2) Sat, Nov 30'63, p. 42 - Music Man by M. Wilson - at Tech - good
3) Tues, Apr 16'63, p. 2 - Can Can by A. Burrows - at Tech - poor to fair
4) Sat, Apr 4'64, p. 42 - Brigadoon by Lerner & Lowe - at Tech - good
5) Mon, Nov 30'64, p. 25 - Song of Norway (operetta) - at Tech - fair
6) Sat, Nov 27'65, p. 4 - Fiorello! - at Tech - good
7) Sat, Nov 26'66, p. 4 - My Fair Lady - at Tech - fair
8) Sat, Mar 30'68, p. 19 - The Sound of Music - at Commerce HS - good
9) Sat, Nov 25'72, p. 33 - Oliver! - at Commerce HS - good
10) Sat, Apr 7'73, p. 69 - Maine - at Commerce HS - good
It) Sat, Dec 8'73, p. 76 - Glengarry Days - at Commerce HS - good
12) Sat, Nov 22'80, p. 39 - Guys & Dolls - at Commerce HS - good
13) Mon, Mar 25'85, p. D7 - Barnum - at Commerce HS - good
14) Sat, June 1'85, p. C11 - Fiddler on the Roof - Commerce HS - fair
Orton, Joe:
1) Tues, Nov 23'71, p. 22 - What the Butler Saw - at NAC - Dir: J. Hirsch - fair
Osborne, John:
1) Fri, Mar 11'66, p. 5 - Epitaph for George Dillon - at OLT - poor
2) Thur, Apr 11'68, p. 27 - Luther - at OLT - poor
3) Tues, Dec 7'82, p. 64 - Entertainer - York St. Theatre - fair
C - Ottawa Little Theatre (OLT):
1) Tues, Oct 16'61, p. 23 - Wonderful Town (musical) - fair
2) Fri, Nov 17'61, p. 50 - OLT 23rd annual one-act playwriting competition - 3
winners - good-fair-good
3) Tues, Jan 16'62, p. 14 - Five Finger Exercise by P. Shaffer - fair to good
4) Tues, Feb 13'62, p. 12 - Unexpected Guest by A. Christie - poor
5) Tues, Feb 27'62, p. 62 - Caesar & Cleopatra by Shaw - workshop production -
poor
6) Tues, Mar 20'62, p. 35 - Dark at the Top of the Stairsby W. Inge - fair to good
7) Tues, Oct 16'62, p. 36 - Take Me Along (musical based on Ah, Wilderness by E.
O'Neill) - good
8) Fri, Nov 16'62, p. 32 - OLT 24th annual one-act playwriting competition - 3
winners - poor-good-poor
9) Tues, Feb 12'63, p. 34 - A Button Missing by G. Blackburn (Ottawa) - good
10) Wed, Mar 20'63, p. 15 - Of Mice and Men by J. Steinbeck - good to xt
11) Tues, May 14'63, p. 4 - JB by A. MacLeish - fair to good
12) Sat, Nov 2'63, p. 36 - A Taste of Honey by S. Delaney - Actor: M. Pyper - good
13) Fri, Nov 15'63, p. 22 - OLT annual one-act playwriting competition - 3 winners -
fair-fair-fair
14) Sat, Jan 11'64, p. 23 - Bousille and the Just by G. Gelinas - qv - good
15) Sat, Feb 8'64, p. 2 - The Marriage-Go-Round - fair to good
16) Sat, Mar 14'64, p. 4 - Rashomon - poor
17) Sat, May 9'64, p. 41 - Ideal Husband by O. Wilde - qv - good to xt
18) Sat, Oct 10'64, p. 5 - Irma La Douce (musical) - poor
19) Sat, Nov 7'64, p. 2 - Miracle Worker by W. Gibson - qv - good to xt
20) Sat, Dec 12'64, p. 20 - The Sound of Murder by W. Fairchild - good
21) Sat, Jan 9'65, p. 3 - Tobacco Road by E. Caldwell - good
22) Sat, Feb 6'65, p. 23 - La Ronde by A. Schnitzler - poor
23) Sat, May 8'65, p. 15 - Lady Windermere's Fan by O. Wilde - fair
24) Fri, Oct 8'65, p. 14 - Kiss Me Kate by C. Porter - good
25) Fri, Nov 6'65, p. 51 - Present Laughter by N. Coward - good
26) Fri, Dec 3'65, p. 15 - Never Too Late by S.A. Long - good
27) Fri, Jan 14'66, p. 47 - Long Day's Journey into Night by E. O'Neill - good
28) Fri, Feb 11'66, p. 42 - Gaslight by P. Hamilton - good
29) Fri, Mar 11'66, p. 5 - Epitaph for George Dillon - xt
30) Fri, May 6'66, p. 38 - Inspector General by N. Gogol - poor
31) Fri, Oct 14'66, p. 32 - Annie Get Your Gun (musical) - good
32) Fri, Dec 9'66, p. 45 - You Can't Take It With Youby Hart & Kaufman - fair
33) Thur, Jan 12'67, p. 51 - Centennial Playby R. Davies & al. - poor
34) Fri, Feb 10'67, p. 43 - Beckett by J. Anouilh - good
35) Sat, Apr 8'67, p. 20 - Dylan by S. Michaels - Actor: C. Haines - xt
36) Fri, Nov 10'67, p. 25 - Hostile Witness by J. Roffey - fair
37) Thur, Jan 11'68, p. 32 - Dance of Death by A. Strindberg - poor
38) Thur, Feb 8'68, p. 28 - Generation by W. Goodhart - poor
39) Thur, Mar 7'68, p. 26 - Right Honourable Gentleman by M. Dyne - good
40) Thur, Apr 11'68, p. 27 - Luther by J. Osborne - poor
41) Thur, Oct 10'68, p. 47 - Camelot (musical) - good
42) Thur, Nov 7'68, p. 48 - Elder Statesman by T.S. Eliot - fair
43) Thur, Jan 9'69, p. 34 - Caretakerby H. Pinter - good to xt
44) Thur, Feb 6'69, p. 15 - Say Who You Are - by K. Waterhouse & W. Hall - fair
45) Thur, May 8'69, p. 58 - Fantasticks (musical) - good
46) Thur, Nov 6'69, p. 32 - A Case of Libel by H. Denker - fair
47) Thur, Dec 4'69, p. 53 - Charley's Aunt by B. Thomas - fair
48) Thur, Jan 8'70, p. 26 - Wait Until Dark by F. Knott - good
49) Thur, Feb 5'70, p. 25 - The Promise by A. Arbuzov - xt
50) Thur, Mar 5'70, p. 28 - The Loud Red Patrick by J. Boruff - fair
51) Thur, Apr 2'70, p. 57 - The Paisley Convertible by H. Cavley - fair
52) Thur, May 7'70, p. 53 - Stop the World I Want to Get Off by A. Newley & al. -
fair
53) Tues, Sept 15'70, p. 15 - Hay Fever by N. Coward - at NAC (because of fire at
OLT) - good to xt
54) Fri, Oct 9'70, p. 42 - Don't Drink the Water by W. Allen - at Lasalle HS - good
55) Fri, Nov 6'70, p. 28 - The Price by A. Miller - at Lasalle HS - xt
56) Fri, Dec 4'70, p. 31 - Barefoot in the Park by N. Simon - at Lasalle HS - good
57) Fri, Feb 5'71, p. 21 - Man in the Glass Booth by R. Shaw - at Lasalle HS - poor
58) Fri, Mar 5'71, p. 23 - Exit the Body by F. Carmichael - at Lasalle HS - fair to
good
59) Fri, May 7'71, p. 27 - Half a Sixpence (musical) - at Lasalle HS - fair
60) Fri, Dec 10'71, p. 25 - On Monday Next by P. King - poor
61) Fri, Feb 11'72, p. 22 - Hadrian VII by P. Luke - good
62) Fri, Mar 10'72, p. 21 - Life with Father - good
63) Fri, Apr 7'71, p. 23 - Middle of the Night by P. Chayevsky - good
64) Fri, May 5'72, p. 17 - Star-Spangled Girl by N. Simon - good
65) Sat, Nov 4'72, p. 40 - In the Matter of J. Robert Oppenheimer by H. Kipphardt -
good
66) Sat, Dec 2'72, p. 46 - Forty Carats adapted by J. Allen - fair
67) Sat, Feb 10'73, p. 41 - Barretts of Wimpole Street by R. Besier - xt
68) Sat, Mar 10'73, p. 33 - Relatively Speaking by A. Ayckbourn - fair
69) Sat, Oct 6'73, p. 72 - Last of the Red Hot Lovers by N. Simon - fair
70) Sat, Nov 3'73, p. 37 - The Heiress by R.&A. Goetz - good
71) Sat, Jan 5'74, p. 57 - Vivat! Vivat! Regina! by R. Bolt - good to xt
72) Sat, Feb 2'74, p. 71 - Night Watch by L. Fletcher - fair
73) Sat, Mar 2'74, p. 69 - Patrick Pearse Motel by H. Leonard - poor to fair
74) Sat, Apr 5'75, p. 80 - Late Christopher Bean by S. Howard - fair
75) Fri, Oct 8'76, p. 56 - Man of La Mancha (musical) - fair
76) Fri, Nov 5'76, p. 57 - Dial M for Murder by F. Knott - good
77) Fri, Dec 3'76, p. 70 - Desk Set by W. Marchant - good
78) Fri, Jan 7'77, p. 46 - Lion in Winter by J. Goldman - good
79) Fri, Feb. 4'77, p. 59 - My Daughter, Your Son by P.&H. Ephron - fair
80) Fri, Oct 7'77, p. 40 - Roar of the Greasepaint Smell of the Crowd (musical)
good
81) Fri, Dec 2'77, p. 38 - Late George Apley by J.P. Marquand and G.S. Kaufman
good
82) Thur, Oct 30'80, p. 59 - Roots by A. Wesker - good
83) Thur, Nov 27'80, p. 51 - Roar Like a Dove by L. Storm - poor
84) Thur, Feb 5'8 1, p. 63 - King of Hearts by J. Kerr & E. Brooks - fair
85) Thor, Mar 12'81, p. 70 - Elizabeth the Queen by M. Anderson - fair
86) Thur, Oct 8'81, p. 92 - Do by H. Leonard - good
87) Thur, Apr 8'82, p. TGIF,6 - 13 Rue de l'amour by G. Feydeau - fair
88) Thur, May 6'82, p. 57 - Stories by de Maupassant adaped by R. Hayden-Hinsley -
fair
89) Thur, July 8'82, p. 54 - Born Yesterday by G. Kanin - good to xt
90) Thur, Oct 7'82, p. 51 - I Ought To Be in Pictures by N. Simon - poor
91) Thur, Nov 4'82, p. 72 - Little Foxes by L. Hellman - good
92) Thur, Feb 10'83, p. 64 - Ten Times Table by A. Ayckbourn - good
93) Thur, Mar 10'83, p. 67 - Whose Life Is It Anyway? by B. Clark - good to xt
94) Thur, Jan 12'84, p. 68 - Talley's Folly by L. Wilson - fair
95) Thur, Mar 15'84, p. 85 - All My Sons by A. Miller - xt
96) Thur, Apr 12'84, p. 88 - Pajama Tops by J. de Letraz - poor
97) Thur, July 5'84, p. 74 - Murder on the Nile by A. Christie - fair
98) Wed, Oct 31'84, p. D15 - The Dresser by R. Harwood - fair
99) Wed, Jan 16'85, p. F18 - Major Barbara by Shaw - fair
100) Wed, Feb 13'85, p. F15 - High Ground by C. Hastings - good
101) Wed, Mar 13'85, p. F14 - Streetcar Named Desire by T. Williams - good
102) Wed, Apr 10'85, p. F15 - Who's Who by K. Waterhouse & W. Hall - fair
103) Thur, May 9'85, p. F14 - Dry Rot by J. Chapman - good
C - Patrician Players:
1) Tues, Dec 6'62, p. 53 - The Bridge by C. Gorostiza - at St. Patrick's College - Dir:
K. Conlon - good
Peterson, Len:
1) Sat, Jan 16'65, p. 3 - All About Us by L. Peterson - at Tech - good
Pinero, A.W.:
1) Tues, May 27'75, p. 80 - Trelawney at the Wells - at NAC - xt
Pinter, Harold:
1) Fri, July 31'64, p. 26 - The Room - at Le Hibou - poor to fair
2) Thur, Jan 9'69, p. 34 - Caretaker - at OLT - good to xt
3) Tues, Oct 16'79, p. 64 - Caretaker - at NAC - fair
Pollock, Sharon:
1) Tues, Feb 24'81, p. 54 - Blood Relations - at NAC - fair to good
2) Wed, May 11'83, p. 78 - Walsh - at NAC - fair to good
3) Wed, Nov 14'84, p. F 13 - Doc - at NAC - fair
Priestley, J.B.:
1) Mon, Mar 15'62, p. 35 - An Inspector Calls - at Jewish Community Centre - poor
to fair
2) Tues, Apr 19'77, p. 35 - When We Are Married - at NAC - xt
3) Sat, Apr 13'85, p. C8 - An Inspector Calls - at Grand Theatre, London, Ont. - xt
C - RA Drama Group:
1) Tues, Nov 12'61, p. 19 - 3 one-act plays by 3 different authors - poor-poor-poor
2) Thur, Feb 17'66, p. 23 - HMS Pinafore by Gilbert & Sullivan - at Tech - fair
3) Sat, Nov 25'67, p. 14 - Vaudeville - at Clarke Memorial Centre - xt
Reaney, James:
1) Fri, Apr 24'70, p. 28 - Easter Egg - at NAC - xt
2) Thur, Nov 26'70, p. 62 - Colors in the Dark - at Carleton University - good
3) Tues, Apr 22'75, p. 51 - Killdeer - at NAC - good to xt
4) Wed, Nov 5'75, p. 84 - Sticks and Stones - at Carleton University - fair to good
5) Thur, Nov 6'75, p. 78 - St. Nicholas Hotel - at Carleton University - good to xt
6) Fri, Nov 7'75, p. 59 - Handcuffs - at Carleton University - good
7) Fri, Feb 18'77, p. 55 - Baldboon by J. Reaney & M. Gervais - at Carleton
University - fair to good
8) Thur, Mar 19'81, p. 71 - King Whistle - at Carleton University - poor
Ritter, Erica:
1) Thur, June 13'85, p. E2 - The Splits - at York St. Theatre - fair
Rostand, Edmund:
1) Wed, June 19'63, p. 5 - Cyrano de Bergerac - Dir: M. Langham - at Stfd - xt
Ryga, George:
1) Tues, June 10'69, p. 34 - Ecstasy of Rita Joe - at NAC - Dir: D. Gardner - opening
production of NAC Theatre - good
Salutin, Rick:
1) Tues, Nov 9'76, p. 71 - 1837: The Farmers' Revolt - at NAC - Dir: J. Gray - fair
2) Fri, Aug 8'80, p. 18 - 1837: The Farmers' Revolt - at Astrolabe Theatre - poor to
fair
3) Wed, Nov 3'82, p. 60 - Joey by Rick Salutin & Rising Tide Co. - at NAC - fair
Sartre, Jean-Paul:
1) Fri, Apr 9'65, p. 13 - No Exit - at Le Hibou - good
Savard, Felix-Antoine:
1) Sat, Apr 23'66, p. 5 - La Dalle des morts - in Ottawa - Dir: J. Gascon - good
Schiller, Frederik:
1) Mon, Oct 5'64, p. 31 - Mary Stuart (excerpt) - at Tech festival - Co: OLT - poor
Schisgal, Murray:
1) Tues, Nov 17'64, p. 18 - Luv - at Booth Theatre, NYC - xt
2) Tues, Jan 16'68, p. 19 - Luv - Dir: F. Daley - at Lasalle HS - Co: Town Theatre's
inaugural production - good
3) Thur, Dec 12'68, p. 52 - Jimmy Shine - in NYC - poor
Schnitzler, Arthur:
1) Sat, Feb 6'65, p. 23 - La Ronde - at OLT - poor
Shaffer, Peter:
1) Sat, Nov 13'65, p. 19 - Royal Hunt of the Sun - at ANTA Theatre, NYC - Actors:
C. Plummer & D. Carradine - xt
Shakespeare:
1) Sat, Jan 27'62, p. 24 - King Lear - at Tech - Actor: W. Huff - fair to good
2) Tues, June 19'62, p. 4 - Macbeth - at Stfd -Dir: P. Coe - fair to good
3) Wed, June 20'62, p. 12 - Taming of the Shrew - Dir: M. Langharn - at Stfd - good
4) Thur, June 21'62, p. 42 - Tempest - Dir: G. McCowan - at Stfd - fair
5) Thur, July 26'62, p. 22 - Midsummer Night's Dream -Dir: M. Meiklejohn - at
Lakeside - fair
6) Fri, Nov 30'62, p. 18 - Romeo & Juliet - Dir: J. Flannery - at University of Ottawa
- fair
7) Sat, Jan 25'63, p. 26 - Twelfth Night - Dir: T. Van Bridge - Co: Canadian Players -
at Tech - fair
8) Tues, June 18'63, p. 4 - Troilus & Cressida - at Stfd - Din M. Langharn + photo
of Audrey Ashley - good to xt
9) Thus, June 20'63, p. 31 - Comedy of Errors - at Stfd - Dir: J. Gascon - fair to good
10) Mon, Oct 28'63, p. 47 - Taming of the Shrew - Dir: L. Brady - at Glebe HS -
good
It) Sat, Jan 25'64, p. 38 - Henry IV - Dir: D. Scott - at Tech - poor
12) Thur, Feb. 27'64, p. 13 - Hamlet - Dir: J. Gielgud - Actor: R. Burton - at
O'Keefe Centre, Toronto + photos of Audrey Ashley, Richard Burton, Elizabeth
Taylor - poor
13) Tues, June 16'64, p. 23 - Richard II - at Stfd - Dir: S. Burge - poor
14) Mon, Apr 12'65, p. 37 - Twelfth Night - at Glebe HS - good
15) Tues, June 15'65, p. 49 - Henry IV, Pt. 1 - Dir: S. Burge - at Stfd - fair
16) Wed, June 16'65, p. 17 - Henry IV, Pt. 2 - at Stfd - good
17) Thur, June 17'65, p. 17 - Julius Caesar - Dir: D. Campbell - at Stfd - good
18) Tues, June 7'66, p. 37 - Henry V - at Stfd - Dir: M. Langharn - poor
19) Wed, June 8'66, p. 46 - Henry VI - at Stfd - Dir: J. Hirsch - xt
20) Thur, June 9'66, p. 30 - Twelfth Night - at Stfd - Dir: D. William - fair
21) Tues, Mar 21'67, p. 46 - Twelfth Night - at Capitol Theatre - Dir: D. William -
good
22) Tues, June 13'67, p. 32 - Richard III - at Stfd - Dir: J. Hirsch - fair
23) Thur, June 15'67, p. 41 - Merry Wives of Windsor - at Stfd - Dir: D. William -
fair
24) Wed, Mar 27'68, p. 65 - Midsummer Night's Dream - at Capitol Theatre- Dir: J.
Hirsch - fair
25) Thur, June 11'68, p. 12 - Romeo & Juliet - at Stfd - Dir: D. Campbell - poor
26) Thur, June 12'69, p. 59 - Measure for Measure - at Stfd - Dir: D. Giles - good
27) Tues, Mar 3 1'70, p. 14 - Merchant of Venice - at NAC - Dir: J. Gascon - fair
28) Tues, Oct 20'70, p. 32 - Cymbeline - at NAC - Dir: J. Gascon - fair
29) Tues, Mar 23'71, p. 23 - Much Ado About Nothing - at NAC - Dir: W. Huff - fair
to good
30) Tues, Mar 21'72, p. 27 - As You Like It - at NAC - Dir: W. Hutt - poor
31) Wed, Feb 28'73, p. 41 - Tempest - at NAC - poor
32) Tues, June 5'73, p. 70 - Tempest - at Stfd - Dir: J. Gascon - xt
33) Thur, June 7'73, p. 75 - Othello - Dir: D. William - poor
34) Fri, Nov 23'73, p. 60 - Twelfth Night - at NAC - fair
35) Wed, Apr 3'74, p. 80 - Tempest - at University of Ottawa - poor
36) Wed, June 5'74, p. 84 - Pericles - at Stfd - Dir: J. Gascon - fair
37) Thur, June 6'74, p. 82 - Love's Labour's Lost - at Stfd - Dir: M. Bawtree - fair to
good
38) Tues, Sept 17'74, p. 74 - As You Like It - at NAC - xt
39) Tues, Mar 18'75, p. 61 - Comedy of Errors - at NAC - Dir: R. Phillips (new
director at Stfd) - poor to fair
40) Wed, June 11'75, p. 78 - Twelfth Night - at Stfd - Dir: D. Jones - fair
41) Thur, June 12'75, p. 76 - Measure for Measure - at Stfd - Dir: R. Phillips - good
42) Sat, Nov 8'75, p. 85 - Hamlet - at Carleton University - Co: NDWT - good
43) Tues, Mar 30'76, p. 60 - Hamlet - at NAC - poor
44) Wed, June 9'76, p. 76 - Merchant of Venice - at Stfd - Dir: B. Glassco - fair
45) Thur, June 10'76, p.69 - Antony & Cleopatra - at Stfd - Dir: R. Phillips - poor
46) Tues, June 7'77, p. 61 - Midsummer Night's Dream - at Stfd - Dir: R. Phillips -
fair
47) Wed, June 8'77, p. 76 - All's Well That Ends Well - at Stfd - Dir: D. Jones - xt
48) Mon, Aug 28'78, p. 53 -Titus Andronicus - at Stfd - Dir: B. Bedford - xt
49) Sat, Sept 2'78, p. 35 - Julius Caesar - Dir: J. Wood - good
50) Tues, Apr 3'79, p. 34 - Hamlet - at NAC - Actor: N. Munro - xt
51) Tues, June 10'80, p. 62 - Twelfth Night - at Stfd - good
52) Wed, June 11'80, p. 76 - Henry V (1st review of this production) - at Stfd - fair
53) Thur, June 12'80, p. 72 - Titus Andronicus - at Stfd - xt
54) Fri, June 13'80, p. TGIF, 13 - Henry V (2nd review of this production) - at Stfd -
fair
55) Mon, Mar 30'81, p. 69 - Julius Caesar - at NAC Atelier - poor to fair
56) Tues, May 26'81, p. 60 - Tempest - at NAC - fair
57) Tues, Apr 7'82, p. 63 - Richard III - at NAC - fair
58) Wed, June 8'83, p. 80 - As You Like It - at Stfd - Dir: J. Hirsch - poor
59) Thur, June 9'83, p. 79 - Richard II - at Stfd - Actor: B. Bedford - fair to good
60) Thur, Jan 19'84, p. 68 - Twelfth Night - at Kanata Theatre - good
61) Mon, June 11'84, p. 53 - Midsummer Night's Dream - at Stfd - Dir: J. Hirsch -
fair
62) Wed, June 13'84, p. 87 - Romeo & Juliet - at Stfd - good to xt
63) Thur, June 14'84, p. 85 - Love's Labour's Lost - Dir: M. Langharn - xt
64) Mon, June 18'84, p. 57 - Two Gentlemen of Verona - at Stfd - poor
65) Mon, May 27'85, p. A15 - King Lear - at Stfd - Dir: J. Hirsch - good
66) Wed, May 29'85, p. F15 - Twelfth Night - at Stfd - fair
67) Thur, May 30'85, p. D13 - Measure for Measure - at Stfd - poor
Shaw, G.B.:
1) Tues, Feb 27'62, p. 25 - Caesar & Cleopatra - at OLT - poor
2) Fri, Jan 25'63, p. 26 - Arms and the Man - Dir: T. Van Bridge - at Tech - Co:
Canadian Players - xt
3) Mon, Nov 22'65, p. 11 - Saint Joan - at Christ Church Cathedral - good
4) Fri, Feb 18'66, p. 31 - Pygmalion - at Fisher Park HS - good
5) Tues, May 23'72, p. 52 - Misalliance - at NAC - good
6) Fri, Sept 28'73, p. 32 - You Never Can Tell - at NAC - xt
7) Sat, June 1'74, p. 80 - Devil's Disciple - at Shaw - fair
8) Tues, June 10'75, p. 71 - Saint Joan - at Stfd - Dir: W. Hutt - fair
9) Tues, Oct 7'75, p. 57 - Caesar & Cleopatra - at NAC - Co: Shaw Festival - poor
10) Tues, Feb. 1'77, p. 23 - Man and Superman - at NAC - good
11) Tues, Mar 22'77, p. 33 - Don Juan in Hell - at NAC - good
12) Thur, May 26'83, p. 75 - Caesar & Cleopatra - at Shaw - fair
13) Thur, May 24'84, p. 83 - Devil's Disciple - at Shaw - good
14) Wed, Jan 16'85, p. F18 - Major Barbara - at OLT - fair
15) Thur, May 23'85, p. D17 - Heartbreak House - at Shaw - Dir: C. Newton - xt
C - Shaw Festival:
1) Sat, June 1'74, p. 80 - Devil's Disciple - fair
2) Mon, June 3'74, p. 23 - Charley's Aunt by B. Thomas - good
3) Wed, June 2'76, p. 75 - Mime by Canadian Mime Theatre - xt
4) Sat, May 28'77, p. 46 - Thark by B. Travers - xt
5) Thur, May 24'84, p. 83 - Devil's Disciple - good
6) Mon, Aug 20'84, p. 50 - Lost Letter by I. Caragiale - fair
7) Mon, Aug 20'84, p. 49 - Celimare by E. Labiche - good
8) Wed, Sept 19'84, p. F15 - 1984 based on G. Orwell - good
9) Thur, May 23'85, p. D17 - Heartbreak House - qv - xt
10) Fri, May 24'85, p. D12 - Madwoman of Chaillot by J. Giraudoux - Dir: W. Toye
- good
11) Sat, May 25'85, p. C1 - One for the Pot by R. Cooney & T. Hilton - xt
12) Sat, May 25'85, p. C8 - Naughty Marietta (musical) - poor
Shepard, Sam:
1) Wed, Mar 11'8 1, p. 88 - Buried Child - at Theatre 2000 - good
Sheridan, R.B.:
1) Wed, Apr 1'70, p. 5 - School for Scandal - at NAC - Co: Stfd - Dir: M. Langham
xt
2) Wed, Nov 29'72, p. 67 - Rivals - at NAC - Dir: J. Neville - xt
Simon, Neil:
1) Tues, Nov 19'66, p. 45 - Barefoot in the Park - at Capitol Theatre - good
2) Fri, Dec 4'70, p. 31 - Barefoot in the Park - at Lasalle HS - Co: OLT - good
3) Fri, May 5'72, p. 17 - Star-Spangled Girl - at OLT - good
4) Sat, Oct 6'73, p. 72 - Last of the Red Hot Lovers - at OLT - fair
5) Thur, May 13'82, p. 51 - They're Playing Our Song (musical) - at NAC - fair
6) Thur, Oct 7'82, p. 51 - I Ought To Be in Pictures - at OLT - poor
Simpson, N.F.:
1) Fri, July 31'64, p. 26 - The Hole - at Le Hibou - good
Slade, Bernard:
1) Thur, July 4'85, p. D8 - Same Time Next Year - at NAC - fair
Sophocles:
1) Mon, Oct 28'63, p. 47 - Oedipus Rex - Dir: L. Brady - at Glebe HS - fair
2) Wed, Aug V84, p. 75 - Oedipus Rex - at NAC - good
3) Wed, June 19'85, p. F15 - Antigone - at Stfd, by Young Co. - poor
Stoppard, Tom:
1) Wed, Oct 27'82, p. 86 - Real Inspector Hound - at Carleton University - fair
C - Stratford Festival
1) Tues, June 19'62, p. 4 - Macbeth - Dir: P. Coe - Actors: C. Plummer, K. Reid, W.
Hutt, B. Gerussi - fair to good
2) Wed, June 20'62, p. 12 - Taming of the Shrew - Dir: M. Langharn - good
3) Thur, June 21'62, p. 42 - Tempest - Dir: G. McCowan - fair
4) Tues, June 18'63, p. 4 - Troilus & Cressida - qv - good to xt
5) Wed, June 19'63, p. 5 - Cyrano de Bergerac by E. Rostand - qv - xt
6) Thur, June 20'63, p. 31 - Comedy of Errors - qv - fair to good
7) Tues, June 16'64, p. 23 - Richard II - qv - poor
8) Wed, June 1764, p. 19 - Bourgeois Gentilhomme by Moliere - qv - fair
9) Tues, July 28'64, p. 17 - Country Wife by Wycherley - qv - good
10) Tues, June 15'65, p. 49 - Henry IV, Pt. 1 - qv - fair
11) Wed, June 16'65, p. 17 - Henry IV, Pt. 2 - good
12) Thur, June 17'65, p. 17 - Julius Caesar - qv - good
13) Tues, July 27'65, p. 22 - Cherry Orchard by Chekhov - qv - good
14) Tues, June 7'66, p. 37 - Henry V - qv - poor
15) Wed, June 8'66, p. 46 - Henry VI - qv - xt
16) Thur, June 9'66, p. 30 - Twelfth Night - qv - fair
17) Tues, June 13'67, p. 32 - Richard III - qv - fair
18) Wed, June 14'67, p. 45 - Government Inspector by Gogol - Dir: M. Langham
good
19) Thur, June 15'67, p. 41 - Merry Wives of Windsor - qv - fair
20) Tues, Aug 1'67, p. 18 - Antony & Cleopatra - Dir: M. Langham - Actor: C.
Plummer - xt
21) Thur, June 11'68, p. 12 - Romeo & Juliet - qv - poor
22) Wed, June 12'68, p. 47 - Tartuffe-qv- good
23) Thur, June 12'69, p. 59 - Measure for Measure - qv - good
24) Thur, June 11'70, p. 14 - Hedda Gabler by Ibsen - qv - fair
25) Tues, June 5'73, p. 70 - Taming of the Shrew - qv - xt
26) Wed, June 6'73, p. 94 - She Stoops to Conquer by W. Goldsmith - qv - xt
27) Thur, June 7'73, p. 75 - Othello - qv - poor
28) Tues, June 4'74, p. 65 - Imaginary Invalidby Moliere - qv - good
29) Wed, June 5'74, p. 84 - Pericles - Dir: J. Gascon - fair
30) Thur, June 6'74, p. 82 - Love's Labour's Lost - qv - fair to good
31) Tues, June 10'75, p. 71 - Saint Joan by Shaw - qv - fair
32) Wed, June 11'75, p. 78 - Twelfth Night - qv - fair
33) Thur, June 12'75, p. 76 - Measure for Measure - qv - good
34) Tues, June 8'76, p. 76 - Way of the World by Congreve - qv - fair
35) Wed, June 9'76, p. 76 - Merchant of Venice - qv - fair
36) Thur, June 10'76, p. 69 - Antony & Cleopatra - qv - poor
37) Tues, June 7'77, p. 61 - Midsummer Night's Dream - qv- fair
38) Wed, June 8'77, p. 76 - All's Well That Ends Well - qv - xt
39) Thur, June 9'77, p. 78 - Ghosts by Ibsen - xt
40) Tues, Aug 28'78, p. 53 - Titus Andronicus - Dir: B. Bedford - xt
41) Sat, Sept 2'78, p. 35 - Julius Caesar - Dir: J. Wood - good
42) Tues, June 10'80, p. 62 - Beggar's Opera by J. Gay - good
43) Tues, June 10'80, p. 62 - Twelfth Night - good
43) Wed, June 11'80, p. 76 - Virginia by E. O'Brien - fair
44) Wed, June 11'80, p. 76 - Henry V - fair
45) Thur, June 12'80, p. 72 - Titus Andronicus - xt
46) Thur, June 12'80, p. 72 - Servant of Two Masters by C. Goldoni - fair
47) Fri, June 13'80, p. TGIF, 13 - Henry V - fair
48) Fri, June 13'80, p. 11 - Gin Game by D.L. Coburn - good
49) Wed, June 8'83, p. 80 - As You Like It - Dir: J. Hirsch - poor
50) Thur, June 9'83, p. 79 - Richard II- fair to good
51) Mon, June 11'84, p. 53 - Midsummer Night's Dream - qv - fair
52) Tues, June 12'84, p. 51 - Iolanthe by Gilbert & Sullivan -good
53) Wed, June 13'84, p. 87 - Romeo & Juliet - good to xt
54) Thur, June 14'84, p. 85 - Love's Labour's Lost - qv - xt
55) Mon, June 18'84, p. 57 - Two Gentlemen of Verona - poor
56) Mon, May 27'85, p. A15 - King Lear - qv - good
57) Tues, May 28'85, p. D 15 - Pirates of Penzance by Gilbert & Sullivan - poor
58) Wed, May 29'85, p. F15 - Twelfh Night - fair
59) Thur, May 30'85, p. D 15 - Measure for Measure - poor
60) Wed, June 19,85, p. F15 - Antigone by Sophocles - qv - poor
61) Thur, June 20'85, p. D17 - Beaux' Stratagem by G. Farquhar - by Young Co - xt
62) Sat, Aug 31'85, p. C6 - Glass Menagerie by T. Williams - qv - good
Strindberg, August:
1) Thur, Jan 11'68, p. 32 - Dance of Death - at OLT - poor
C - Tara Players:
1) Mon, May 10'82, p. 26 - Highest House on the Mountain by J.B. Keane - at St.
Patrick's Hall - good
2) Fri, Feb 15'85, p. D12 - Anyone Could Rob a Bank by T. Coffey - fair
3) Fri, Apr 26'85, p. D16 - Philadelphia, Here I Come by B. Friel - at St. Patrick's
Hall - fair
Theatre in General (by or about A. Ashley):
1) Sat, Dec 23'61, p. 9 - on history of pantomime
2) Mon, July 8'68, p. 6 - 'Double life of a lady drama critic' by C. King - a tribute to
A. Ashley
3) Mon, Nov 3'75, p. 56 - 'Director raps performance of major theatres' - Interview
with Keith Turnbull
4) Sat, Dec 3'77, p. 38 - 'Drama critics given food for thought' - on seminar on
criticism at University of Ottawa
5) Sat, Dec 4'77, p. 30 - 'Soap the mirror--and beware of Macbeth: Taboos, curses
and ghouls--the theatre's full of them'
6) Wed, July 10'85, p. D 11 - 'Critic brings down curtain after 25 years Ashley's
farewell article as critic
7) Wed, Oct 2'85, p. A2 - Death of Citizen critic Betty Swimmings and Ashley's
tribute to her
Thomas, Dylan:
1) Sat, Oct 13'62, p. 2 - Under Milk Wood - atGlebe HS - good
2) Fri, Aug 28'64, p. 21 - Under Milk Wood - at Le Hibou - good
Tremblay, Michel:
1) Tues, Dec 14'76, p. 75 - Hosanna - at NAC - Dir: B. Glassco - good to xt
2) Wed, Oct 8'80, p. 102 - Belles Soeurs - at Theatre 2000 - good
Walker, George:
1) Thur, Feb 3'83, p. 54 - Filthy Rich - at GCTC - fair
2) Thur, Sept 27'84, p. D13 - Art of War - at GCTC - fair
Webster, John:
1) Wed, Mar 24'71, p. 63 - Duchess of Matri - at NAC - Co: Stfd - Dir: J. Gascon -
fair
Wesker, Arnold:
1) Thur, Oct 30'80, p. 86 - Roots - at OLT - good
2) Wed, Dec 3'80, p. 78 - The Kitchen - at University of Ottawa - fair
Whiting, John:
1) Wed, Nov 17'65, p. 5 - The Devils - at Broadway Theatre, NYC - Actors: J.
Robards & A. Bancroft - good
Wilde, Oscar:
1) Sat, May 9'64, p. 41 - Ideal Husband - at OLT - good to xt
2) Sat, May 8'65, p. 15 - Lady Windermere's Fan - at OLT - fair
3) Tues, Oct 12'65, p. 15 - Importance of Being Earnest - at Glebe HS - xt
4) Wed, Feb 23'77, p. 86 - Ideal Husband - at NAC - xt
Williams, T:
1) Wed, July 7'65, p. 49 - Streetcar Named Desire - at Le Hibou - good
2) Thur, Jan 27'66, p. 11 - Glass Menagerie at Central Library, Toronto - fair
3) Wed, Mar 16'66, p. 44 - Glass Menagerie at Lakeside Gardens - poor
4) Tues, July 5'66, p. 14 - Cat on a Hot Tin Roof - at University of Ottawa - good
5) Thur, June 5'80, p. 67 - Outcry - at Glebe Community Centre - poor
5a) Fri, Sept 17'82, p. 65 - Streetcar Named Desire - at Theatre 2000 - poor
6) Wed, Apr 25'84, p. 79 - Cat on a Hot Tin Roof - at NAC - good
7) Wed, Mar 13'85, p. F14 - Streetcar Named Desire - at OLT - good
8) Sat, Aug 31'85, p. C6 - Glass Menagerie - at Stfd - Dir: J. Hirsch - good
Wilson, Lanford:
1) Thur, Jan 12'84, p. 68 - Talley's Folly - at OLT - fair
Wycherley, William:
1) Tues, July 28'64, p. 17 - Country Wife - Dir: M. Langham - at Stfd - good