Led Zeppelin! - Brampton · light on canvas. janet resides in ... led zeppelin january 20, 8pm on the main stage rose theatre presents january in the studio simon b. cotter january

odeumJanuary 2012

LATE NITE CATECHISM

CAL: Led Zeppelin!

STAPLESMAVIS

A No-Nonsense, Hilarious Tribute to Love

Ramble On!

The Magazine of the Rose Theatre Brampton

SEND IN THE CLOWNS!

A Soulful Serenade

AGA-BOOM

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Rose Theatre Box Offices1 Theatre Lane, Brampton

Mon. to Sat.: 10:00 AM - 6:00 PM Sun.: Closed if no event

905.874.2800www.rosetheatre.ca

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Main Floor, Civic CentreHours are subject to change, please call

ahead or check the times online.

In gratitude for the purchaseof specialized equipment

o·de·um 1. A small building of ancient Greece

and Rome used for public performances of music and poetry.

2. A contemporary theatre or concert hall.

Odeum is the monthly magazine of the Rose Theatre Brampton

EditorGenevieve DeMerchant

[email protected]

Art Direction & DesignTina Mulliss

[email protected]

ContributorsCostin Manu

Theatre [email protected]

Alison Broverman, Catherine Cubitt,Ashley Goodfellow, Jon Eben Field,

Nick Krewen, Sylvia Eng,Michelle Summers (graphic design)

To advertisewith The Rose contact:

Gaye Storozuk Supervisor of Sales and Development

[email protected]

January 2012

Manager’s MonthlyScene at The Rose Services & PoliciesCommunity VitalitySponsor & Donor Recognition

every month569

1026

on stagecontents

1618

Simon B. CotterStudio Two Comedy

CAL: Led ZeppelinCraig Martin Takes Audiences In Through The Out Door

Late Nite CatechismA Hilarious Tribute to the Sacrament of Marriage

Aga-BoomA Crazy Fun Show That Will Thrill the Entire Family

Mavis StaplesA Look at Her Incredible Career

Feature ArticleBallet Today and Contemporary Dance Tomorrow

Brampton Performing Arts CompaniesSpring 2012 Calendar of Events

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IN THE GALLERY

JANET SIMMONS SWEETDecember 7, 2011 -March 3, 2012

2 odeum january 2012

Artist StatementIn this fast paced world, constantly being bombarded by “thought provoking” images, I search for those moments where light and colour provides respite, and translate it to a canvas. In direct combat to this era, the intention of my work is to evoke, rather than to provoke.

Artist BiographyJanet Simmons Sweet studied art under the Bill Davis experimental educational program in the late 1960’s in Clarkson High School. Finished Artworks are oil, acrylic, or a combination of both, presented with dramatic light on canvas. Janet resides in Brampton, is a full-time Artist with a Studio in the Historical Alton Mill, and is very active in the local art community, serving as a Board Member and Juror in multiple Art Organizations. Her work has been accepted into numerous Artistic Juried Exhibits, and been awarded Juror’s Best of Show, Artist Choice and People’s Choice honours. Janet’s work is displayed locally in multiple public venues and hangs in private collections across Canada, the United States and the United Kingdom.

Tel: 905-840-4140 [email protected] www.altonmill.ca


MANAGER’S MONTHLY

As I write this, the Rose Theatre is entering its sixth year of operation and we have just passed the halfway point in our sixth season. Already 23 shows have come and gone, and as you read this, you are probably attending one of our great performances in the month of January of 2012. Thinking about our Rose Theatre motto of Experience It Live, reminded me that live performance is the most ephemeral of art forms, and those twenty-three October to December shows are now just memories in the minds of those patrons lucky enough to have seen them. We’ll never forget those wonderful moments when we enjoyed the comedy of Colin Mochrie and Brad Sherwood, the unbelievable imitations of André-Philippe Gagnon or the hilarious Andrea Martin. The musical The Last Resort made us laugh again in November and Quartetto Gelato astounded us with their talent and artistry. BJ Thomas took us back in time with his still-strong, beautiful, velvety voice and the blues master John Mayall celebrated his birthday playing for his fans here in Brampton. The amazing Yamato drummers from Japan and the jazz star Emilie-Claire Barlow introduced December and the festive season to us, just in time for the two holiday classics like the perennial Nutcracker ballet and the wonderful Broadway musical classic A Christmas Carol. But unlike a painting or a movie or a TV show, there is no way of revisiting those magical moments. Like life, theatre has to be enjoyed in the moment, because there really is no going back. I’m enormously pleased that audiences have responded so enthusiastically to the first half of our 11-12 Season. Several of our shows were sold out to subscribers before they went on sale to the general public, while others sold out weeks in advance of their performance date. Hopefully you’ll like the second half of our season just as much. If so, buying a subscription and buying your single tickets early may be the only way to guarantee that you’ll get a chance to see our shows. I’m excited about each and every one of the next 22 shows. Programming a season is a ruthless process. We gather ideas and suggestions from dozens of the artists, companies and agents from around the world and then begin the painful process of whittling down that list to fit into the time and space that we have on our busy calendar. Some beautiful ideas end up, disappointingly, in the dust bin, as it were, as we struggle with reduced budgets and schedule. What remains however, the shows we present to you in our season brochure and in this magazine, are the most thrilling, the most original, and the most exciting we could find. I can’t wait for Aga-Boom! You and your family, and especially the children will love this one, as they will love

Costin ManuTheatre Manager Rose Theatre Brampton

by Costin Manu


LATE NITE CATECHISMJANUARY 21, 8PM

CLASSIC ALBUMS LIVELED ZEPPELIN

JANUARY 20, 8PM

ON THE MAIN STAGE

R O S E T H E A T R E P R E S E N T SJANUARY

IN THE STUDIO

SIMON B. COTTERJANUARY 19, 8PM

MAVIS STAPLESJANUARY 27, 8PM

AGA-BOOMJANUARY 24, 7PM

www.rosetheatre.ca

LET USENTERTAIN YOU! CONTACT THE BOX OFFICE AT

905.874.2800

FAMILY FUN!

ZaninessMayhem,AN INTERACTIVE SHOW OF

OUTRAGEOUS

AND PURE

Richard Scarry Busytown during March Break, I guarantee it! I can’t wait to see the legendary Dan Hill live on stage again after so many years and I am anticipating a sold-out performance of Rhythm of The Dance directly from Ireland. My plans for Valentine’s Day, and Valentine’s week, were easy to make by knowing that the wonderful Broadway musical She Loves Me is playing then. Just think, we’ll all get to see The Beatles again in March in an amazing tribute show by John, Paul, George and Ringo – Replay The Beatles and, my personal favourite, the internationally renowned Angèle Dubeau et La Pietà Ensemble will delight and astound you with music from beloved movies of the 20th century. Funny man Gerry Dee is back riding his new sitcom success on CBC and I am overwhelmed by a wave of nostalgia again when I think about the concert by Sheena Easton in April or the hilarious Broadway musical Young Frankenstein - direct from New York! - in May.

Welcome back to the theatre!

6 odeum january 2012 7rosetheatre.caBOX OFFICE: 905.874.2800

Join us at the 5th Annual

Make Your Valentine A Special One

Reception 6pm • Performances 8pm $30 Performance only

$50 Performance & Reception

Saturday • February 11 • 2012Artwork by John Cutruzzola

and a Cast of Tenors & Sopranos

call 905.874.2800 or buy online anytime at rosetheatre.ca

Valentine Gala & Concert

Art for the Arts

SAVEthe date

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Gabriella Currie interviews Robi Botos in an artist talk-back following his performance in the Studio Jazz Series.

Justice Nancy Kastner & Bob Pesant pose with André-Philippe Gagnon (centre) following his performance on November 30th.

A few little patrons pose with principal dancers from The State Ballet Theatre of Russia’s Nutcracker.

George Canyon meets with a young fan, Halle who also lives with diabetes. Here they are showing off their sugar counters.

Canyon gave an unforgettable performance. The Canadian Country superstar was funny, down-to-earth and brilliantly entertaining.

Fans of George Canyon were glowing with his praises at intermission. It really was a fantastic show!

SCENE AT THE ROSE SCENE AT THE ROSE

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SERVICES AND POLICIES

Hearing AssistanceDevices may be attained from the Box Office, free of charge.

Coat Check There is a complimentary coat check located

next to the entrance for the Secondary Hall.

Free ParkingThe following operation of the Market Square parking garage will now be in effect for allscheduled Rose Theatre shows. During the week, the gates lift at 6:30 pm and remain up until 7 am the next day.

On weekends, the gates will remain up from Friday @ 6:30 pm to Monday @ 7:00 am.

Bar Service - Most events at The Rose will include bar service. When this is the case, the

bar will be open one hour before show time and during intermission.

Pre-Order Service - Avoid long lineups at the bar by taking advantage of our pre-order drink service. Purchase drinks before

the show starts and they’ll be ready and waiting for you at intermission.

Cell phones/pagers Please keep electronic devices turned off during the performance. The light from texting is also distracting for other patrons and performers.

FragrancesDue to allergies and sensitivities, please refrain from wearing perfumes, colognes, or other scented products.

Cameras/RecordingCameras and recording devices are not allowed in the theatre unless otherwise specified in the pre-show announcement by the presenter.

Food & DrinkOnly bottled water is allowed inside the theatre. Try to unwrap candies or lozenges prior to the performance as the crinkling paper can be distracting.

Arriving LateLatecomers will be seated at the discretion of Front of House during an appropriate break in the performance.

Babes in ArmsAre not permitted in the theatre, except for certain age-appropriate shows indicated; however each person –including children – requires a ticket.

For the Benefit of All Patrons, Please Take Note..

WE LOVE HEARING FROM YOU

Our Service CommitmentIf there is anything we can do to make your experience more enjoyable, please do not hesitate to ask one of our volunteer ushers or staff members for assistance.

Visit www.rosetheatre.ca

While you’re online, sign up to receive our e-newsletter or subscribe to our blog (find it on the homepage). You’ll enjoy insightful commentary, interviews with artists, photos and videos.

Enjoy and feel free to comment. Your opinion is important to us.

Follow us on Twitter @RoseTheatreBramBecome a fan facebook.com/RoseTheatreBrampton

P lan an UNFORGETTABLE EXPERIENCE

for your group!Celebrate a special event

at the Rose Theatrewith Family, Friends,

Colleagues or Customers!

GROUPS SAVE UP TO

DISCOUNTEDGROUP TICKETS

ON ALL RTP SHOWS!

25%

We offer personal service.Let us help you plan

a pre-or post-show reception,dinner and a show

or we can suggest one of ourexcellent local restaurants.

Contact our Group Sales Coordinator

Gabriella CurrieT: 905.793.7073 C: 416.806.0440

[email protected]

T: 647.438.5559 Toll Free: 1.866.447.7849www.thegrouptixcompany.com

or


Community VitalityCommitted to contributing to the cultural fabric of Brampton

Every year the Rose Theatre presents SHAKE it Up! Student Shakespeare Festival. With this unique opportunity, local schools, with the support of Rose Theatre staff, create a team of actors, stage managers, crew and designers, and then rehearse a play using workshops. The play is then performed for the public on the Rose Theatre Main Stage. Through experiential learning Shakespeare becomes demystified. Students discover they can find a relation between the classical text and their own lives in the world today. Cheryl Cowtan, a teacher at Peel Alternative School North who has participated with her students in SHAKE it Up!, noticed such an improvement in her students that she has since signed her class up for four consecutive years and even created drama and production courses to offer creative learning year round. The impact of these programs has been remarkable. In the first year alone credit accumulation rose to 96%. The benefit of this type of learning has created a ripple effect, developing better overall students, not just improved theatre students. Cowtan notes “We have consistently witnessed a minimum 20% increase in class attendance and performance once the workshops begin and the Festival performances have generated 100% attendance!”

Teachers have also recognized that the benefits go beyond grades in school. “The Festival offers an opportunity for our students to escape from real-world problems, to recreate themselves in a new role and to step out of their comfort zone. This lesson, once experienced, is seldom forgotten. Performance can become a positive coping mechanism that helps our students weather the more difficult challenges of mental illness or personal crisis. The Festival experience also teaches our “at-risk” students to trust their own judgment and to trust others, as they must depend on others to succeed.” Most notably Cowtan witnessed a dramatic improvement in student morale and teamwork. “I witnessed inspiring changes in our students. Some of our students had rarely experienced positive social bonds, and some had never managed teamwork without conflict. These same students were high-fiving each other in the hall and supporting each other with compliments and words of encouragement.”

The Rose Theatre’s mandate is to serve and entertain. SHAKE it Up! is just one of the ways that we help students and educators. We continue to reach many more students through our educational programming both in the theatre as well as in the classroom. Thanks to increased donor support we plan to reach more students this year than ever before. The Rose Theatre as well as Brampton students and educators would like to extend our warmest thanks for this incredible support; we hope you can see how valuable your commitment truly is to our community.

Thank You!Preet Chohan is a former student of Peel Alternative School North. She performed as Juliet in Romeo and Juliet at the 2008 festival. She is currently attending Sheridan College in the Performing Arts Preparatory Program. Recently she wrote to the Rose:

Dear Rose Theatre Education Staff, Before Rose Theatre became a part of my life in high school, I was not nearly as inspired to act as I was when I started to work on my first real production as Juliet in Romeo and Juliet. Working and rehearsing with the directors and actors from the Rose Theatre built my confidence as a person and actress and taught me the importance and power of teamwork. My passion for acting grew through the experiences of working with the Rose Theatre for three years.

I have OCD and anxiety, which are my battles and obstacles in life. Through my experiences with working with the Rose Theatre, I have been able to feel free from all that, when I am on stage performing. I was taught to use simple, yet incredibly empowering and relaxing skills to calm my anxiety. Although getting ready to perform on stage in front of a live audience was extremely nerve racking, it taught me to fight my fears and to be strong, confident in myself and brave. I got so much help and support from teachers, students in the productions, and Danny Harvey (Rose Production Coordinator), who I had the pleasure to have as a director for three years and am so grateful to have worked with. During those moments on stage during rehearsals directed by Harvey, I felt free from my chaotic brain and wasn’t a prisoner of my mind. When I perform, I am free from untruthful OCD thoughts and my anxiety.

The journey to work with Rose staff and perform on the Rose stage, guided me to where I am now. I am learning so much about the path I want to take in acting, and find myself having a better understanding of performing skills. I plan to continue acting in my future and feel I have been given the support and guidance from everyone who I’ve been so lucky to work with, in my high school theatre years. I give my gratitude and love to the Rose Theatre and my teachers who created these life changing experiences for so many students and myself. They helped me really discover my passion for acting, and made me a better and more fulfilled human being.

Sincerely,Preet Chohan

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Teacher Cheryl Cowtan and her students pose in front of the Rose Theatre.Romeo (John Shapovalov) and Juliet (Preet Chohan) perform the balcony scene.PAS North students performing Twelfth Night. From left, Ian MacDonald, Caleb White and Tim Murphy.PAS North students in the Rose Theatre dressing room preparing Preet Chohan to perform as Juliet.

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“I just enjoy how you get to be someone else. You can

forget all your problems. You can make yourself into the

character.” Jason Dulac, Student

Friar in Romeo and Juliet, 2008

“Working in a group is great because you always have more

than one idea or opinion … and people help you out. The thing I look forward to most is to start the auditions and

rehearsals (for Shake it Up!) in March. I love auditioning for a role … and I like rehearsals

because that’s when everyone is together and practicing….”

JCaleb Grant, Student Malvolio in Twelfth Night, 2009


he tried some material out at a few open mic nights, where he eventually got noticed and was offered regular gigs. He quickly started drawing crowds and performing at corporate events, and he hasn’t looked back since. “I’ve been a goof my whole life,” he says. “I’m lucky that I got to turn that into a career.” Cotter has been performing stand-up comedy for 20 years now, which adds up to almost half a lifetime of material. So how does he decide what bits he’s going to perform? “I try to tailor the material to the audience,” he says. He has performed all over the world, and for a wide variety of audiences (corporate types, baby boomers and university students, to name just a few), so he knows that what makes one crowd laugh hysterically could leave another staring blankly with crickets chirping. “I always try to adjust to other cultures,” he says.

This is even more important in the Middle East, where Cotter has also been touring lately. Any jokes about religion won’t just get you thrown off the stage, they’re likely to get you thrown right out of the country! So how does Cotter manage it? “I stick to universal themes there,” he says. “I mean, kids are kids anywhere, as are relationships.” He also localizes his act as much as possible, and the more he travels, the more jokes he comes up with about different countries and cultures. Cotter, who lives in Toronto when he’s not on tour, is excited to be performing in Brampton again – the first time in ten years. He’s working on updating his Brampton jokes, he says. Cotter has opened for Russell Peters on numerous occasions, so for years jokes about Brampton were “redundant”, he says. He’s also happy to be performing in the 120-seat studio space, whose intimate size reminds him of his early days performing in little clubs. “It’ll be nice after performing in huge stadiums and theatres,” he says. In a small space, Cotter can have more fun with the audience, interacting with them and ribbing them a bit, which he often finds will enhance his act. “There’s a different rhythm and timing performing in a smaller space,” he explains. “In a big stadium, it takes a certain amount of time for a joke to carry all the way to the back of the audience. The studio space is more immediate – you have to be 100% on.”

SIMON B. COTTERby Alison Broverman

DR. LAUGHSJust Call Him

IN STUDIO TWO JANUARY 19 AT 8PM

ost interviews for this magazine don’t come with

the risk of being turned into fodder for mockery. But one had better be careful while speaking with stand-up comic Simon B. Cotter, who will be performing in the Rose Studio Theatre on January 19th, because any encounter with the comedian is a potential goldmine of humourous material. “I’m constantly writing,” he says. His style of comedy is very anecdotal, which means that every day of his life presents new opportunities for material. “Things happen in your life, with the kids, wife, etc.” And any funny happening gets incorporated into the act. His kids are a particularly ripe topic for comedy, says Cotter, who seems to have passed on his comical genes to his three children, who are now 14, 12 and 9. “My kids are much funnier than me,” he says. “They reduce me to tears on a regular basis. They’re all very funny, and often at my expense.” And how do they feel about being fodder for Dad’s act? “They think I’m a doctor,” quips Cotter. Cotter got his start performing for fun while he was a student at the University of Toronto, where he participated in the school’s annual Blue and White Nights. “After I graduated, I missed it so much I went back and participated as an alumni,’ he says. He was working a corporate job, but the Blue and White Nights represented the best week out of his year. Finally,

Simon B. Cotter January 19 at 8PM in Studio Two

I’ve been a goofmy whole life,” he says.

“I’m lucky that I got to turn that into a career.


M


ut the classic In Through The Out Door was just that – an unwitting finale – for on September 25, 1980, while the band was preparing for its first U.S. tour since 1977,

drummer John Bonham was found dead in his bed of alcohol poisoning. After a dozen years, eight studio albums, classic hits like “Stairway To Heaven,” “Whole Lotta Love” and “Rock ‘N Roll,” and one live album that doubled as a concert movie, Led Zeppelin called it quits, convinced they couldn’t continue without the meaty presence of Bonham pounding on the drum kit. In Through The Out Door, released on the band’s own Swan Song label in 1979, was different than the rest, relying heavily on synthesizer and also venturing into stylistic territories that

by Nick Krewen

ON THE MAIN STAGE JANUARY 20 AT 8PM

B

CAL: Led Zeppelin January 20 at 8PM on the Main Stage

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retained the supergroup’s characteristic, rhythmic stomp. It spawned a couple of big radio hits in “All My Love” and “Fool In The Rain,” and served as a statement to Led Zep fans everywhere that the experimentation had begun. Now, 33 years later, Toronto musician Craig Martin and his band will recreate In Through The Out Door cut-by-cut, note-by-note through their Classic Albums Live series. “It’s such a beautiful album,” says Martin, who has previously presented full performances of Led Zeppelin LPS I, II, IV and Houses Of The Holy. “A lot of people know the hits like ‘In The Evening’ and ‘All My Love’ and ‘Fool In The Rain,’ but they forget the other amazing songs like ‘South Bound Saurez’ or ‘Hot Dog.’ “It’s just a classic.”

Recreating the album live has also allowed Martin to create his own niche when it comes to concerts: he and his band of musicians – Martin estimates 60 in all – have been covering the unforgettable platters of such ‘60s, ‘70s, ‘80s and ‘90s rock ‘n roll icons as Pink Floyd, Supertramp, Michael Jackson, Prince, Bruce Springsteen, The Beatles, David Bowie, Radiohead, The Rolling Stones and many, many more. Currently, they’re averaging 100 dates a year, and playing venues as large as 3000 soft-seaters throughout North America. Martin, 50, says he got the idea to launch his own series back in 2003 when he and his musical pals performed Pink Floyd’s 1973 masterpiece Dark Side Of The Moon. “I got tired of tribute bands desecrating the music,” he admits. “Too many of them were focused on everything outside of the music – wigs, costumes, characters. And then I’d hear them botch the performance.” When you go to a Classic Albums Live performance, however, Martin says that the musical performance is front and center. “The first thing that happens when the musicians walk on stage, is that they tune their instruments,” Martin explains. “And when we perform, we play the album straight. We don’t talk to the audience. People are shocked, but once they hear it, they’re really into it.” Martin also reveals that he refuses to compromise when it comes to the show and the musicians who perform it. “I demand perfection,” he states. “I defy you to find a better group of musicians anywhere. That’s the great thing

When the immortal combination of singer Robert Plant, guitarist Jimmy Page, bass player and keyboardist John Paul Jones and drummer John Bonham entered ABBA’s Polar Studios late in November 1978, few thought that the transpiring recording sessions would comprise

British hard rockers Led Zeppelin’s last studio album.

about Toronto – we have the best.” And although he acknowledges that most of the albums his outfit plays – with the exception of masterpieces like The Last Waltz – average 40-50 minutes in length, the remainder of the show is spent exploring samples of the featured artist’s catalogue in considerable depth. “For the Led Zeppelin show, we’ll probably pull out something more obscure like ‘Achille’s Last Stand,’” Martin promises. “But the second half of the program is usually a greatest hits of sorts.” Ironically, Martin himself plays the role of overseer rather than featured performer, although he admits he’ll be occasionally “dragged out of retirement on stage” when Rolling Stone or the occasional Bob Dylan numbers require his vocals. There are also some albums that he’d like to cover, but refuses because the artists still enjoy vibrant careers. “I’d love to do Elton John’s Goodbye Yellow Brick Road,” Martin admits. “But bless him, Elton’s still touring and knocking out audiences. And I’m still searching for the proper Bob Dylan album, but I’m not sure if people would line up to hear Dylan.” Whether he decides to recreate In Through The Out Door, or U2’s The Joshua Tree or Queen’s Night At The Opera, Craig Martin says his Classic Albums Live performances all share a common trait – dignity. “We treat this music with the respect it deserves,” says Martin.” These are all brilliant works that have lasted a lifetime, and will continue to do so.”


Interview by Ashley Goodfellow


AG: So I understand you are coming to Brampton to perform in Late Nite Catechism 3, can you tell us a bit about the show?KR: Sure. Late Nite Catechism 3 focuses on the sacraments, particularly marriage and the Blessing of the Sick. The premise of all LNC shows is that you are attending a “class” which is taught by a “Sister,” and in this class the audience members are the students. If you answer a question correctly, you’ll win a prize. Sister’s lessons are really fun to learn. Laughter is the best medicine. But beware, because Sister sees everything. If you’re chewing gum, it will be confiscated. If you’re late, you have to pay a fine. If you’re talking to your neighbour, you may need to be separated. This is the game we play, and everybody loves the game.

AG: What’s your role in the show? Is it your first time performing in LNC? KR: It’s a one-woman show, and I’m the nun. I’ve been performing all of the LNC shows across the U.S. and Canada for over a decade now.

AG: What’s it like to play a nun...a funny nun at that? How would you describe her personality? How does she relate to/connect with the audience?KR: Playing a nun is like playing a cop in a different outfit. The show is a game, and in this game Sister is the boss. The “pupils” should do whatever Sister says, and all Catholics know this. Everybody knows that every pupil is not a model student. Sister is strict, but fair. Yet as Sister always says, “Girls are good, and boys are bad.”

AG: Is it a Catholic show? Are non-Catholics going to enjoy it? What about viewers who aren’t married, what will they enjoy about the show?KR: The show is a respectful tribute to the nuns and to the Catholic Church, but anyone who has ever had a no-nonsense teacher will certainly get it, and enjoy it. You don’t need to be married to understand love.

AG: What is it about the LNC series that appeals to so many?KR: It’s funny. It’s a cathartic walk through everyone’s past. We all enjoyed a pat on the back at school. We all enjoyed seeing other kids get in trouble. We all endured that disingenuous teacher’s pet. And remember, subjects like love and death are pertinent to us all, and indeed, they sometimes call for humorous treatment.

AG: How would you describe the style of humour?KR: It’s a cross between stand-up comedy, improvisation, and a homily.

AG: I’ve heard LNC 3 incorporates some interactive aspects, can you tell us a little more about that?KR: All LNC shows are interactive, but in this particular one there is a game show, and all game shows require contestants.

AG: Who is this show for?KR: Let’s have Sister respond: “Whom is this show for? Canadians! The young, the old, and everyone in between—Catholics and Non-, agnostics, atheists, and even space aliens.”

AG: Would patrons have to have seen LNC 1 and 2 to appreciate this, or does it stand on its own?KR: Are LNC 1 or 2 required before seeing LNC 3? Absolutely not. Jump right in. As a matter of fact, even if you’d seen LNC 3 before, the next LNC 3 would be different because no two shows are ever alike. The improvisational aspects of each show guarantee a different experience every time.

AG: Why should we come and see LNC 3?KR: Because everyone needs a good laugh.

The show is a

respectful tribute

to the nuns and

to the Catholic

Church, but

anyone who has

ever had a

no-nonsense

teacher will

certainly get it,

and enjoy it.

You don’t need

to be married to

understand love.

“

“Late Nite Catechism January 21 at 8PM on the Main Stage

KIMBERLY RICHARDS

in conversation withKIMBERLY RICHARDS

STARRING

18 19rosetheatre.caBOX OFFICE: 905.874.2800

television shows geared toward young audiences and has performed with Teresa Dourova’s renowned Moscow Clown Theatre. In addition to her many previous accomplishments, Ivanystka is perhaps best known for her work with Cirque du Soliel. The third member of this clown-ing trio is Valery Slemzin, born in Ser-puhov, Russia. Fascinated by acrobat-ics and gymnastics since childhood, at 16, Slemzin achieved “Master of Sport USSR” status and took his studies to the Moscow State University of Culture and Art. He utilized his proficient skills

in magic, juggling comedy and acrobatics when he joined the Russian State Company “Rosgoscrik” and later toured with the famous Moscow State Circus. He was eventually cast as the principal performer in the well known Ak-ishin Show which toured through-out the western world. In 2003 he joined the cast of Aga-Boom where he has con-tinued to develop his talent for p h y s i c a l

comedy theatre. This show promises to

be unlike anything you have ever seen before at the Rose Theatre. You’ll expe-rience amazing clowning talent, interac-tive mayhem, creative characters… and giant wads of paper?! It’s guaranteed to be smyeshno (ridiculously) funny from beginning to end.

Young, old,

or somewherein between,

this side splitting adventure

is a must see for the whole family.

INFE

CTIO

USLY

odeum


january 2012

he word “Aga-Boom” itself is a humorous spin on the Russian word for paper, boomaga. (Trust

me; this makes perfect sense once you experience the show’s finale.) Another great title would have been smyeh, which means laughter, because that is what will have your entire family feeling good during this performance. You will be kept on the edge of your seat with surprisingly sophisticated clowning, wild chases, and a frenzy of scenes filled with non-stop zaniness. It will be difficult to restrain your giggles as the antics build like a mere prelude

to the over the top chaotic finale. Aga-Boom is full of audience involvement and the seats, perhaps to the chagrin of the maintenance team, will be full of boomaga.

Let me introduce you to the Aga-Boom troupe, comprised of Director

Dimitri Bogatirev, Iryna Ivanystka

and Valery Slemzin. Dimitri Bogatirev was born in the Ukraine and studied in the former

T Soviet Union. His skills in professional clowning and pantomime have allowed him to perform all over the globe. The incomparable Cirque du Soliel invited Bogatirev to join them in 1992 for their Alegria production, which toured the United States, Asia and Europe for five years. Following the success of that tour Bogatirev and his wife Iryna Ivanystka were invited to create a new clowning act for Cirque du Soliel’s O. Together, they created two unforgettable characters that critics claim have taken clowning in an entirely new direction. This new artistic style

Aga-Boom January 24 at 7PM on the Main Stage

of clowning is rooted in Bogatirev’s distinctive style, and encompasses the universal language of clowning. He has been credited with cutting through barriers of language and culture with the humour of physical comedy. Iryna Ivanystka graduated from Kiev’s College of Variety and Circus Acts, where she studied singing, dancing, acrobatics, juggling and clowning. After meeting Bogatirev (who would later become her husband), Ivanystka co-created a children’s television show with him. Ivanystka has appeared on various Russian

AGA-BOOM!You might be asking yourself what Aga-Boom is all about.

Truth be told, there is no one-word answer to capture the hilarity that is Aga-Boom. If you’re looking to start the New Year with something exciting and entertaining for

the whole family, then the Rose Theatre is the place to be on January 24th.

Not Your Regular, Everyday, Wacky Group From Russia.

-LA Critics “

“FUN

by Catherine Cubitt

silly

20 21rosetheatre.caBOX OFFICE: 905.874.2800

t was a long time coming,” said an emotional Staples as she accepted the award for Best Americana Album for You Are Not Alone. “Pops, you laid the foundation, and I am still working on

the building.” Pops, of course, is Roebuck “Pops” Staples, the Mississippi bluesman who eventually relocated to Chicago, raised his brood and birthed The Staple Singers, the First Family of gospel, soul and R&B that became the musical voices - and faces – of the 1960s civil rights movement. Although her husky tones initially found her singing bass in the group that included her sisters Cleo and Yvonne, and, until 1970, her brother Pervis, Mavis quickly became the lynchpin of the group, taking over the lead with her powerful, soulful vocals. They started off singing in churches and appearing on a weekly radio show, signing with the legendary Vee-Jay label and enjoying a regional hit with ‘Uncloudy Day’ in 1956. In the early ‘60s, however, they became aligned with Dr. Martin Luther King, and began perfecting their unique brand of “message” music. “When we started our family group, The Staple Singers, we started out mostly singing in churches in the south,” Mavis wrote in a 2007 biography. “Pops saw Dr. Martin Luther King speak in 1963 and from there we started to broaden our musical vision beyond just gospel songs. Pops told us, ‘I like this man. I like his message. And if he can preach it, we can sing it.’ So we started to write “freedom songs,” like ‘Why Am I Treated So Bad,’ ‘When Will We Be Paid for the Work We’ve Done,’ ‘Long Walk to D.C.,’ and many others. “Like many in the civil rights movement, we drew on the spirituality and the strength from the church to help gain social justice and to try to achieve equal rights. We became a major voice for the civil rights movement and hopefully helped to make a difference in this (U.S.) country. “It was a difficult and dangerous time (in 1965 we spent a night in jail in West Memphis, Arkansas and I wondered if we’d ever make it out alive) but we felt we needed to stand up and be heard. So for us, and for many in the civil rights movement, we looked to the church for inner strength and to help make positive changes.” The versatile Staple Singers also enjoyed mainstream success, their popularity peaking in the ‘70s with their chart-topping singles ‘I’ll Take You There’ and the theme of the 1975 Sidney Poitier movie ‘Let’s Do It Again.’ The group ended when Pops died suddenly following a fall at his home on December 19, 2000, and Mavis was so devastated by the loss that she quit singing for awhile before sister Yvonne convinced her to resume her career. Mavis released the first of her 11 solo albums in the late ‘60s, but it’s been the later titles that have seen her work with some intriguing producers: Prince, with whom she recorded 1989’s Time Waits For No One and 1993’s The Voice after appearing in his film Graffiti Bridge; and more recently, 2010’s Grammy-winning You Are Not Alone, with Wilco’s Jeff Tweedy. “We had quite a bit in common,” she said of Tweedy. “He is totally family—he let me into his life, and I let him into mine. It was a perfect blend. And the songs he had chosen were great.

The Uplifting MessageOf Her Music

MAVISSTAPLES

by Nick Krewen

ON THE MAIN STAGE JANUARY 27 AT 8PMMavis Staples January 27 at 8PM on the Main Stage

She’s been inducted into theRock ‘N Roll Hall Of Fame,

received a National Heritage Fellowship Award and

Rolling Stone has called herone of the “100 Greatest

Singers Of All Time.” But even though she was

awarded a Grammy Lifetime Achievement Award,

one accolade eluded heruntil earlier this year -

February 13, 2011, to beprecise – when the legendaryMavis Staples finally won her

very first Grammy Award.

They let me know that he knew me, my background, what was good for me.” Now 72, the legendary icon – who can slide into the blues and pop as easily as she can serenade in soul, R&B and gospel, and to whom Bob Dylan once proposed – is still passionately dedicated to her artistry. “I still feel that all of the songs I sing are relevant, all of the songs I sing are needed,” the recent recipient of an honorary doctorate from Boston’s prestigious Berklee College of Music told Arts Hub Australia. “I want to try to do all I can through my songs to make it better for someone, for some soul, you know. I feel like God is using me, He’s using me, and I won’t retire because I don’t feel that He’s through with me yet. I’ve got a lot more work to do.”

“I


Contemporary Dance

Ballet Today

Tomorrow

and

allet is dance expression where form and content

coincide in an aesthetic of lyric beauty, poetic grace, and exquisite technique. For centuries the combination of classical music, dramatic narrative, and formal beauty occurring in ballet has provided choreographers and dance artists with a broad palette of creative possibility. As Alexander Pushkin, famed Russian author of Eugene Onegin, put it, “Ballet is a dance executed by the human soul.” And when ballet is good, it encompasses the joy and sadness, humour and drama, and love and grief that are essential to being human. In expressing these qualities of life, a deep chord is strummed within us by an art form that makes our humanity resonate within us. When the Rose Theatre hosts the State Ballet Theatre of Russia’s production of Romeo and Juliet, your heart, mind, and spirit will sing with their expression of exquisite beauty and emotional depth. At the same time, though, ballet has its limits of expression. The aesthetics of ballet, for example, are designed to make extremely difficult choreography seem simple. As well, ballet requires that dancers who are performing these complex steps as simple cannot portray the extreme effort expended to do so.

B

O

by Jon Eben Field

movement and required no dramatic cast of characters or topics or themes. One of his most controversial ideas, developed with Cage, was that music and dance performances were singular events occurring at the same time, but sharing no other associations. In this sense, they believed in both music and dance being created separately. The performance would bring two arts together as an event. They saw an opportunity for serendipitous moments of artistic beauty. But they also had a high aesthetic standard. If something did not work aesthetically, it was not performed again. Recognized as a world leader in dance, Cunningham was awarded a MacArthur Fellowship (the genius award), the National Medal of the Arts, and some of the highest caliber international awards possible. Cunningham’s legacy as a dancer, choreographer, and visual artist t r a n s f o r m e d dance by allowing the performance to refer simply to itself. Paul Taylor was a swimmer who turned to dance in his twenties and although he started late, his performing presence was intense. In 1955, he began performing as a soloist with the Martha Graham Company. At the same time, he was choreographing and staging his own works with the then small Paul Taylor Company. Taylor was an iconoclast who eschewed tradition and whose early choreography often led audiences to exit the theatre mid-performance baffled and confused. When others performed modern choreography to contemporary music, Taylor would set his strong movement language to music from several hundred years prior. He was also one of the first choreographers to put truly controversial topics and themes on stage. He has dealt with

r perhaps we could say that a ballet performance where we are aware of the work of the dancers is not a very good ballet at all. The Rose Theatre is going to be programming some works by

contemporary choreographers in the upcoming season. In what follows, I will give you some background about modern and contemporary dance. Modern dance is willing to show dancers sweating, exhausted, and at the edge of their abilities. This is not to say that modern dance is better than ballet, but simply to point out that the possibilities for movement in modern dance offer a different palette with which to paint. But an important question to ask is: “How did modern dance arrive on the world stage?” More than any other dance artist, Martha Graham is responsible for modern dance finding a language to express its ideas. Born in 1894, Graham started training in the mid-1910s and formed her own company in 1926. Her first major piece of modern dance choreography, Chronicles, appeared in 1936 and it stunned audiences. First, this piece dealt with the Great Depression and the Spanish Civil War, both of which were highly politicized events at the time. Second, it contained a depth of emotional content ranging from sadness to loneliness cast in a tragic tone. Third, the movements were unlike anything audiences had seen before. Imagine what audiences who were accustomed to ballet would have felt when presented with a choreography that was sharp and angular with dancers falling to the stage. Staccato movements, politics, anger, frustration, and sadness did not coincide with what audiences expected from dance. And, initially, audiences did not like what they saw. But over the years, modern dance gained a strong foothold in the dance world with universal acknowledgement that Graham defined the form. She went on to become the first dancer to perform at the White House, was given the Presidential Medal of Freedom, and redefined not only what dancers could do on the stage, but also how they could look. Graham continued to dance and choreograph until very late in life and is seen in relation to the dance world as Picasso is to visual art. Merce Cunningham was 20 years old and dancing in Seattle when Martha Graham saw him perform. She immediately invited him to join her company, and in 1939 he moved to NYC and performed as a soloist with the Martha Graham Company for six years. Graham’s influence on Cunningham would shape his choreographic expression, but his distinctive choreographic skill was in the refinement of the movement language of modern dance. Cunningham collaborated with his life partner John Cage, the famous minimalist and abstract composer, throughout his lifetime. Each of these artists had a profound effect on the development of the other’s art. Cunningham incorporated chance through consulting the I Ching, the Chinese oracular book of changes, to develop a piece of choreography or determine the order of performances on a given night. By moving away from narrative and focusing on movement as an expressive possibility in itself, Cunningham made choreography its own subject. His dances were simply about


incest, war, marital rape, male intimacy, and all while using his choreography to ask: “Why?” Taylor has likened himself to a journalist as a choreographer. He feels he simply responds to and reports on what he sees in the world. This frankness has shocked audiences, but it has also opened a space of dialogue in the dance world for taboo topics. Taylor celebrated his 80th birthday last year and he remains a tremendously prolific and important force in the contemporary dance world. [You may recall the Paul Taylor Dance Company from their appearance at the Rose in the 10/11 Season.] Contemporary dance is a wide-ranging artistic form that is frequently debated. Like all emergent art forms, the parameters of what constitutes contemporary dance will only be determined in hindsight. For now, though, contemporary dance seems to contain elements of fusion. The boundaries between ballet, modern, hip hop, jazz, and improvisational theatre are blurred. Choreographers and dancers fluent in these dance lexicons are using them to express new forms of movement that are dramatic, physical, lyrical, and meaningful. Not all contemporary dance achieves its intent, but the vanguard of this art form contains a fluid possibility that is distinctly new, powerful, and engaging. Contemporary dance can be abstract and gesture towards complex meaning. And it can be realistic and use everyday human gestures to reveal truths. Canada is a hotbed for contemporary dance that fuses artistic questions of real significance and movements that are defining the vocabulary of contemporary dance. Look for more exciting masters of contemporary dance in the coming year. For this season, on February 7th and 8th, the State Ballet Theatre of Russia will bring their extraordinarily talented group of ballet dancers to the main stage for a performance of Sergei Prokofiev’s Romeo and Juliet. Taking its narrative from Shakespeare’s famous play, this ballet is considered one of the most profound and astounding expressions of the beauty and grace of ballet. Although Prokofiev completed this commission for the Kirov Ballet in 1935, it was originally considered “undanceable.” The original composition had a happy conclusion to the story of star-crossed lovers, but ultimately it was the political context of mid-1930s Russia that prevented the ballet’s premiere. The ballet received its true premiere in the form closest to what is known today with its tragic ending in 1940, receiving a significantly revised choreography by Leonid Lavrovsky. The ballet was performed in 1962 by Stuttgart Ballet and received its American premiere in 1969. One of the most famous performances was designed by choreographer Sir Kenneth MacMillan and had Margot Fonteyn and Rudolf Nureyev in lead roles with the Royal Ballet in London in 1965. Nureyev would later choreograph his own version of the ballet, which was performed in 1977 by the English National Ballet. A frequently performed ballet, the story of Romeo and Juliet’s love, the feuds that strive to keep them

Subscriber Price From $46.25

Passion and drama abound in this tale of two young, star-crossed lovers who, amid a bitter family feud, will stop at nothing to be together.

The State Ballet Theatreof Russia

FEB 7&8 at 8PM& JulietRomeo Up Next from

apart, and the tragedy of their ill-timed deaths is perfectly matched to Prokofiev’s exquisite score. The State Ballet Theatre of Russia is based in Voronezh and was established in 1961. Having toured extensively throughout the world, the company’s 54 dancers have a deep understanding of the classical ballet repertoire and have won numerous awards both in Russia and around the world. This company is perfectly suited to perform Prokofiev’s masterpiece under the joint directorship of Igor Nepomnyaschchiy and Lyudmila Sycheva. If you are interested in seeing the soul of this Russian ballet, then this company will present its beauty and grace in a truly satisfying and engaging manner. Mikhail Baryshnikov, Russia’s most famous living dancer, once said, “The essence of all art is to have pleasure in giving pleasure.” This performance of Romeo and Juliet by the State Ballet Theatre of Russia will give you pleasure because of how these great dance artists express the full potential of their bodies in the transcendent work of one of Russia’s greatest composers. Prokofiev’s score will flood the room as these dancers take on the greatest tragic love story of all time and you will be transported to what ballet does best: poetic beauty and lyric grace.

FEATURE ARTICLE BALLET TODAY AND CONTEMPORARY DANCE TOMORROW


Rose Theatre Donations

Rose Theatre’s presentations and programs provide a great opportunity for sponsorships that contain strong value-added benefits for corporate partners of various levels.

The greatest value of the arts is the ability to build bridges across generations and cultures. You have the opportunity to enrich your life, both personally and professionally, by contributing to the impact of arts in your community.

Photo credit: Bill Stodolny

Help Us Keep Raising The Curtain. Call us today to discuss your Sponsorship or Donation Opportunities.

Gaye StorozukSupervisor of Sales & [email protected]

Please consider making a tax deductible gift to the Rose Theatre Brampton. Your donation brings world class entertainment to our stage and it also enriches the whole community. We need your support to remain the vibrant community resource so many have come to depend on.

There is no Business like Show Business for Your Business‘‘ ‘‘

The Rose is pleased to welcome our new Official Vehicle Sponsor Policaro Automotive Family

L-R, From Policaro: Anthony Poole and Francesco Policaro with Costin Manu

when you give to The Rose,WE GIVE BACK!

Official tax receipt for the maximum allowable amount

under Canada Revenue Agency guidelines

Home Delivery of Odeum Magazine

Name Recognition in Odeum Magazine

Permanent recognition on a Sponsor/Donor Anniversary Plaque

Invitation to attendour annual

Partners Recognition Reception

Rosebud$50-$99

Benefits of Donating to the Rose Theatre

Friends ofThe Rose

$100-$499

AssociateLevel

$500-$999

*Call for more information on the benefits of gifts above $500

A contribution that will honour the theatre loverin your life for years to come.

Reserve your seat now.

Premium Seats: $1000Orchestra & Mezzanine Seats: $800

Balcony Seats: $500

Every seat dedication includes a tax receipt, commemorative pin, and brass plaque

on the seat of your choice.

CALL THE BOX OFFICE ANY TIMETO MAKE YOUR DONATION:

905-874-2800

save a seatFOR SOMEONE YOU LOVE

FRIENDS OF THE ROSEEva Andrews • Charles Bull • Amanda Cavan • Brian & Yvonne Commons • Trent & Joanne Cosgrove Nancy Coste • Robert K. Dunn • Carole Edgar & Harry Mays • Barbara East • Carolyn & Rick Evans Gail Fielder • Gerard & Betty Fitzhenry • Richard Grabowski • Heather & Gary Gunter • Mary Hall

K.A. Henderson • John Kirkham • Bill & Jean Lawrence • Jean MacCorquodale Ian A. Macdonald • Donald & Anne Marion • Sheila Martin • Laura Maselli & Carl Blacquiere

Grete McQuaid • Margaret O’Donoghue • Larry Pope • Antonio Rosa • Audrey RossCouncillor John Sanderson • Karin Schenk-Galdenzi • Joan Shaw • Rick & Eileen Soo

Doug and Janet Stockton • Peter and Barbara Waisanen • Florence Wilkinson Bev and Jim Wilkinson • Don & Heidi Wilker • Dr. & Mrs. D.H. Vair

THaNk yOu!

LEGaCy DONORHer Worship Mayor Susan Fennell

OFFICIaL VEHICLE SPONSORPolicaro Automotive Family

aRTS aDVENTuRES EDuCaTION SPONSORLowe’s Home Improvement Warehouse

OFFICIaL DESIGN SPONSORDr. C. Sterling-Case, Sterling Dentistry

STuDENT OuTREaCH DONORSCIBC • Berry & Chong Psychologists • Eastwood Psychologists

Justice Nancy Kastner & Bob Pesant

SPONSORSAcco Brands Canada Inc. • Brampton Downtown Development Corporation

Brampton Guardian • Langlois Financial Services Inc. • Prouse Dash & Crouch LLP The New AM 740 and The New Classical 96.3 FM • TransCanada Corporation

Yellow Pages Group

DONORSIn Loving Memory of Dr. Reginald Allman • Charles & Lenore Armstrong • Gerry & Anne Bell

Brampton Golf Club • Comfort Inn Brampton • Jan De Grijs • Gregory & Jean De ReskeCarol & David Dickson • Gordon Edgar • EVANSMARTIN LLP

Councillors Grant Gibson & Elaine Moore • Barb & Bryan Held • George Elmer Henry Ursula Hopkins • Frances Lucks • Martin & Barbara McCreath

Klaus & Ingrid Sander • Gottfried & Brigitte Schwarzer • Antonietta & Anelio SincovichDiljat Singh • Kevin and Catharine Sterritt • The Stephens Family • Ward Funeral Home

ROSE THEATRE APPLAUDS OUR5TH aNNIVERSaRy SPONSORS & DONORS


COME SEE WHAT’S

ON!

COMMUNITYPerformingArtsHereos and Villians

by Brampton Concert Band February 25, 2012

Family of Brampton Festivalby Brampton Festival Singers

February 26, 2012

Charlie and the Chocolate Factory by Peel Panto Players

March 15-18, 2012 at Lester B. Pearson Theatre

Oliver! by Theatre Alive

March 22-23, 2012

Movie Night (Earth Hour)by Brampton Symphony Orchestra

March 31, 2012

Arsenic and Old Lace by Peel Panto Players

April 5-7 and April 12-14, 2012 at Lester B. Pearson Theatre

Guys and Dolls by Brampton Music Theatre

April 12-14, 2012

Bon Voyage by Brampton Symphony Orchestra

May 5, 2012

All Events Held at Rose Theatre Brampton unless otherwise indicated.

rosetheatre.caBOX OFFICE: 905.874.2800

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BramptonEcoDev

ACCESS SUCCESSIN BRAMPTON

City of Brampton Honoured by IT Magazine as one of the Top 100 Innovators

The City of Brampton has been recognized as a technology innovator as part of CIO magazine’s Top 100. The City was identified primarily for its efforts with the Citizen Services Platform, which provides a high-level of customer service to both citizens and businesses, while providing a channel for collaboration for internal departments. Brampton was the only Canadian municipality to receive this honour in 2011.

The 24th annual award program recognized organizations around the world that exemplify the highest level of operational and strategic excellence in information technology.

“I’m proud of our efforts to ensure our web portal offers residents, businesses and corporate partners a positive and valuable customer focused online experience,” says Mayor Susan Fennell. “The City of Brampton is a leader in the provision of e-government services at the municipal level not only in Canada but internationally as well.”

The recipients of this year's CIO 100 award were selected by the editors of CIO magazine, following recommendations of a panel of judges who were looking for unique practices and substantial results.

Brampton will continue to lay the foundation for customer service enhancements through the use of technology as a key business enabler.

2012 Brampton Business Directory Now Available The 2012 Brampton Business Directory, featuring over 8,000 businesses, is now available to you.A fully interactive database that allows you to search, sort, print or export company data to MS Access, Excel or ASCII formats. Researched and produced by the City of Brampton Economic Development Office, this directory is user-friendly, offers multiple functions and a wealth of current and relevant information. Search by • full or partial company name or address • geographic area • business description • industry classification (NAICS) • key contact • employment

Locate the exact goods or services you require. Other advanced features include access to a mapping system that enables the user to pinpoint the precise location of businesses with direct links to company websites and email addresses, and single page business profiles.

The cost of the 2012 Brampton Business Directory is $75, taxes included.Purchase your copy today by visiting the Brampton Economic Development Office website at www.brampton.ca/economic-development, by contacting the Economic Development Office directly at 905.874.2650 or via email at [email protected]. Call toll free 1.888.381.BRAM (2726). All orders will be verified by phone before shipping.

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HOW MUCH QUALITY CAN YOU FIT IN ONE AD?

LEXUS RX: “MOST DEPENDABLE MIDSIZE PREMIUM

CROSSOVER/SUV IN THE US.”

2011 J.D. POWER AND ASSOCIATES

U.S. VEHICLE DEPENDABILITYAWARD RECIPIENT

CAMBRIDGE, ONTARIO (RX), KYUSHU 2 (ES,IS, RX) “PLATINUM PLANT QUALITY AWARD,

WORLDWIDE (IN A TIE)”

2011 J.D. POWER AND ASSOCIATES

PLATINUM WORLDWIDE PLANT QUALITY AWARD RECIPIENT

LEXUS ES: “HIGHEST RANKED ENTRY PREMIUM CAR IN THE U.S.”

2011 J.D. POWER AND ASSOCIATES U.S. INITIAL QUALITY AWARD RECIPIENT

LEXUS RX, KYUSHU 1, JAPAN “SILVER PLANT QUALITY AWARD,

ASIA PACIFIC (TIE)”

2011 J.D. POWER AND ASSOCIATES ASIA PACIFIC SILVER PLANT

QUALITY AWARD RECIPIENT



CT $338 *DOWN PAYMENT $6,487*



MTH

LEASE FOR

2012 CT 200h

The New 2012 Lexus CT 200h

Documents

Led Zeppelin! - Brampton · light on canvas. janet resides in ... led zeppelin january 20, 8pm on the main stage rose theatre presents january in the studio simon b. cotter january