Hansel and Gretel—I mean Peter and Tina—enter the woods and end up at a house made entirely of waffles and white sauce, where they are led by their evil stepmother to pick rhubarb. And when they need to find their way home, they follow Peter’s trail of knaczot (sunflower seeds).
“Light up the church.”
That’s what members of Calgary Inter-Mennonite decided they wanted to do when asked about ways to engage with their local community.
What that meant for the congregation of about 40 households was making their building, located in the northeast part of the city, available for use by others during the week—not only on Sunday mornings by congregants.
Chris Steingart, as Joseph, shows off his amazing Technicolor dreamcoat while his brothers look on with disgust from the background. (Photo by Christine Saunders)
Narrator and musical director Stacey VanderMeer, far right, takes a selfie with the whole family of Jacob in Breslau Mennonite Church’s production of Joseph and the Amazing Technicolor Dreamcoat. (Photo by Christine Saunders)
Joseph, played by Chris Steingart, accuses Benjamin, played by Jonathan Klassen, of stealing his cup. Narrator Stacey VanderMeer, in red, registers shock while the chorus joins in the blame. (Photo by Christine Saunders)
Matthew Rappolt, left, Karl Braun, Brent Schmidt and Nick Martin, as some of Joseph’s brothers facing famine, long for ‘Those Canaan Days’ when they had plenty to eat. (Photo by Christine Saunders)
Janice Klassen, left, Amanda Snyder and Karl Braun dance and sing, ‘Go, Go, Go Joseph,’ to assure him that he’s not beaten yet, and his fortunes will change. (Photo by Christine Saunders)
Justin Martin, right, who played Issachar and served as production manager, explains to his father Jacob, played by Phil Martin, left, what happened to Joseph, and why there will be ‘one less place at the table, while one of the brothers look on. (Photo by Christine Saunders)
Driving to the cottage while listening to a recording of Joseph and the Amazing Technicolor Dreamcoat, Justin Martin had an idea. Could Breslau Mennonite Church stage it? More than a year-and-a-half later, that dream came true.
The cast and crew of #ChurchToo, from left to right: Johnny Wideman, dramaturg; Chad Dembski, stage manager; Robert Murphy, Meghan Fowler, Lindsey Middleton and Brendan Kinnon, actors; and Matt White, director. (Theatre of the Beat photo)
What does “turn the other cheek” mean when you’re abused by your pastor? What does “the spirit is willing but the flesh is weak” mean when you’re dealing with gendered power imbalances within your group of friends? What does “made in the image of God” mean when you’re an LGBTQ member of a church experiencing alienation?
Ted Swartz receives back the keys from Michelle Milne for her car, taken from her in a deal she didn’t understand. The vignette in the play Discovery: A Comic Lament parallels the taking of Indigenous lands in North America, where the original inhabitants do not control the land. The play was seen by four full houses in Waterloo Region, Ont., from May 31 to June 3, 2018. (Ted & Co. photo by Josh Kraybill/Ted & Co)
The Doctrine of Discovery is based on the Roman Catholic papal bull “Inter caetera.” Issued by Pope Alexander VI on May 4, 1493, it gave all the lands along a meridian west of the Cape Verde Islands, off the west coast of Africa, to the Spanish crown.
Performing before hundreds of Mennonites and passersby at a park in downtown Buenos Aires, a drama troupe from the Mennonite church in Villa Adelina, Argentina, mimed challenges and struggles facing youth: violence, drugs, promiscuity, greed, and death itself.
Although the conscientious objectors were pacifists, they organized boxing matches at the alternative service camps. Here Alvin Bender (played by Johnny Wideman) spars with Rudy Enns (played by Ben Wert), while member of the band Jim Bender (far left) fills in as a bystander. (Photo by Barb Draper)
Glenn Martin’s voice was deep with emotion as he expressed appreciation for Yellow Bellies, a drama that describes the experiences of Mennonite conscientious objectors (COs) during the Second World War.
Johnny Wideman co-wrote Yellow Bellies with his fellow Theatre of the Beat member, Rebecca Steiner. (Photo courtesy of Johnny Wideman)
Rebecca Steiner was happy to have CMU students do research in the Mennonite Heritage Centre Archives. (Photo by Aaron Epp)
After exploring lesbian/gay/bisexual/transgender/queer inclusion in the Mennonite church in This Will Lead to Dancing, the Stouffville, Ont.-based theatre company Theatre of the Beat is setting its sights on the experience of conscientious objectors (COs) for its new production.