Latest news with #AnneofGreenGables
Calgary Herald
21-05-2025
- Entertainment
- Calgary Herald
Preview: Actress finds inspiration in fearlessness of young female characters Elle and Dorothy
Article content Kelsey Verzotti is legally brunette. Article content To play the heroines of Anne of Green Gables and Legally Blonde, Verzotti has had to rely on wigs. Article content For the Maritime orphan in Anne of Green Gables, which she played last summer, Verzotti donned the girl's trademark red pigtails, and for Elle Woods, the heroine of Legally Blonde, whom she plays for Theatre Calgary until June 15, Verzotti goes blond. Article content Article content 'The wigs and costumes help me drop into the characters. It's always a big transformation, but they are what make me feel like Anne and Elle,' says Verzotti. Article content Article content 'I've learned so much from playing Elle. She doesn't think badly about herself. I'm inspired by that. I've seen a mindset coach to help me do what Elle does naturally. My coach helps me understand why I am so hard on myself. There is none of that in Elle. She believes in herself. That's something I have to learn to do. Article content 'When Elle decides to go to Harvard, she has no negative feelings. She just takes her dog, and away they go. She knows she can do it. That's what's so great about her. That was the great thing about Anne in Anne of Green Gables, also. She was completely unafraid to speak her mind. She was so different than the rest of the uptight town.' Article content Verzotti says the character of Elle teaches her arch rival, Vivienne, an important lesson: Do not try to make yourself look better by making someone else look bad. Article content Article content 'Nobody benefits. It's a beautiful truth. At first, Vivienne tries to undermine Elle, but eventually they become the best of allies. They end up fighting for each other, not against each other.' Article content Article content Verzotti remembers having some of Elle and Anne's fearlessness when she was in Grade 12 at William Aberhart High School in 2012. CBC was running a contest called Over the Rainbow to find a girl who would play Dorothy in the Toronto version of Andrew Lloyd Webber's The Wizard of Oz. Verzotti was one of 20 finalists who went to the Dorothy Boot Camp, as it was called. Article content 'I was 17 years old. Very bright-eyed and inexperienced. But I had parents who believed in me. Article content 'That 20 was whittled down to 10, and I was one of them. I got eliminated, but not before I got to meet Andrew Lloyd Webber in his house in Barbados. One of the other girls was studying at Sheridan College in Toronto. She told me about the program and said that I should apply. I had already been accepted at the University of Calgary to study psychology, but after the experience with Over the Rainbow, I knew that what I really wanted to do.'
Calgary Herald
21-05-2025
- Entertainment
- Calgary Herald
Preview: Actress finds inspiration in fearlessness of young female characters Ellie and Dorothy
Article content Kelsey Verzotti is legally brunette. Article content To play the heroines of Anne of Green Gables and Legally Blonde, Verzotti has had to rely on wigs. Article content For the Maritime orphan in Anne of Green Gables, which she played last summer, Verzotti donned the girl's trademark red pigtails, and for Elle Woods, the heroine of Legally Blonde, whom she plays for Theatre Calgary until June 15, Verzotti goes blond. Article content Article content 'The wigs and costumes help me drop into the characters. It's always a big transformation, but they are what make me feel like Anne and Elle,' says Verzotti. Article content Article content 'I've learned so much from playing Elle. She doesn't think badly about herself. I'm inspired by that. I've seen a mindset coach to help me do what Elle does naturally. My coach helps me understand why I am so hard on myself. There is none of that in Elle. She believes in herself. That's something I have to learn to do. Article content 'When Elle decides to go to Harvard, she has no negative feelings. She just takes her dog, and away they go. She knows she can do it. That's what's so great about her. That was the great thing about Anne in Anne of Green Gables, also. She was completely unafraid to speak her mind. She was so different than the rest of the uptight town.' Article content Verzotti says the character of Elle teaches her arch rival, Vivienne, an important lesson: Do not try to make yourself look better by making someone else look bad. Article content Article content 'Nobody benefits. It's a beautiful truth. At first, Vivienne tries to undermine Elle, but eventually they become the best of allies. They end up fighting for each other, not against each other.' Article content Article content Verzotti remembers having some of Elle and Anne's fearlessness when she was in Grade 12 at William Aberhart High School in 2012. CBC was running a contest called Over the Rainbow to find a girl who would play Dorothy in the Toronto version of Andrew Lloyd Webber's The Wizard of Oz. Verzotti was one of 20 finalists who went to the Dorothy Boot Camp, as it was called. Article content 'I was 17 years old. Very bright-eyed and inexperienced. But I had parents who believed in me. Article content 'That 20 was whittled down to 10, and I was one of them. I got eliminated, but not before I got to meet Andrew Lloyd Webber in his house in Barbados. One of the other girls was studying at Sheridan College in Toronto. She told me about the program and said that I should apply. I had already been accepted at the University of Calgary to study psychology, but after the experience with Over the Rainbow, I knew that what I really wanted to do.'
Vancouver Sun
09-05-2025
- Entertainment
- Vancouver Sun
Review: Little Women at the Citadel Theatre full of engaging characters
Adaptations of classic works are tricky. In taking another crack at The Adventures of Huckleberry Finn, Jane Eyre or Anne of Green Gables, writers must convince an audience that the tale has contemporary relevance, while retaining enough connection to the original text to engage fans drawn to see the familiar story. In Jordi Mand's adaptation of Little Women, at the Citadel until May 25, the beloved characters of the Louisa May Alcott novel appear in all their comforting charm. Marmee (Nadine Chu) is wise and loving, though honest enough to avoid being Smarmee. Jo (Hayley Moorhouse) is rebellious and awkward, Amy (a captivating Christina Nguyen, who does double duty as the tittering Annie Moffatt) is fiery, though sometimes selfish… you know the drill. The challenge for this production, directed by Jenna Rodgers, is to bring forward the parts of the novel that still resonate with the audience 157 years after it was first published. The production opens with the performance of a play in which the March sisters struggle to realize the vision of its director and writer, the budding talent Jo. Soon, the character reveals the essence of this adaptation, as true today as it was in the beginning: What does it mean to be a woman? Throughout the play, an excruciatingly long three hours (with intermission), Jo tackles this topic in direct addresses to the audience. The other characters also reflect the issue. Meg (Donna Leny Hansen) wonders how to choose a partner after being pressured to marry into money to help her poverty-stricken family. What is a woman's purpose? How will we know when we have found our heart's desire, and will it be through love or vocation? Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. The first act is stuffed full of familiar trials and antics. Father March (Steven Greenfield, who also plays professor Friedrich Bhaer) is a pastor and has gone away to serve in the American Civil War, leaving his wife to manage the girls. There is no money for Christmas presents, and the family gives away its Christmas morning breakfast to those in need. Meg and Jo go to a ball, where Jo and Laurie (Gabriel Richardson, who also plays Edward) feel a spark that might be friendship, or perhaps love. Amy takes pickled limes to school and is severely punished. The shy and sickly Beth (Erin Pettifor, who also plays Sallie Gardiner) connects over music with the grouchy Mr. Laurence (Troy O'Donnell, who also serves as Mr. Dashwood and Dr. Bangs). Hair is burnt, hair is sold. Amy nearly dies after falling through the ice. The numerous vignettes serve to stitch together the warm fabric of family life and emphasize the bonds of sisterly love. In the second act, the seeds of the story come to fruition, and the audience is fully drawn in, with marriage and career in sharp focus. While it's hard to imagine, it comes as a surprise (surely many folks have seen the Greta Gerwig-directed version released in 2019 if they didn't read the book in Gr. 4), there is a tragic death and a period of healing. Father comes back from the war as a different man, and yet, the family endures. While much has changed since 1868, it's fair to say that women still struggle with societal expectations (although now women are expected to do everything as opposed to nothing). Though marriage as an economic decision was obviously more common back in the day, couples still wonder how much emphasis to place on money in a relationship. Jordi Mand was commissioned to write the adaptation for a world premiere at the Stratford Festival in 2022. At least two respected critics said that the show was far too long, and yet, the Citadel production trudges in at a similarly interminable length. It's true that the story, loosely based on Alcott's own family and published in two parts as Little Women/Good Wives, is a challenge to adapt. There is a lot of ground to cover. But theatres are in service to their audience, and this production has not learned that lesson. Despite the bum-numbing duration of the show, which I saw on the last night of previews, the characters were engaging. Patricia Darbasie as the dreaded Aunt March was a hoot, while Steven Greenfield charms as Prof. Bhaer. Haley Moorhouse embodies Jo's restless soul, and the ending (with its giant heart-shaped spotlight on the final curtain) is a tonic for the world-weary among us. The question of how to be a woman is never quite resolved, but audiences will know where to look for their own answers. Adapted by Jordi Mand from the books Little Women and Good Wives, by Louisa May Alcott Director: Jenna Rodgers Where: The Citadel, 9828 101A Ave. When: Through May 25 Tickets: From $40 through the Citadel's box office at 780-425-1820, or online at Bookmark our website and support our journalism: Don't miss the news you need to know — add and to your bookmarks and sign up for our newsletters here. You can also support our journalism by becoming a digital subscriber. Subscribers gain unlimited access to The Edmonton Journal, Edmonton Sun, National Post and 13 other Canadian news sites. Support us by subscribing today: The Edmonton Journal | The Edmonton Sun.
Calgary Herald
09-05-2025
- Entertainment
- Calgary Herald
Review: Little Women at the Citadel Theatre full of engaging characters
Adaptations of classic works are tricky. In taking another crack at The Adventures of Huckleberry Finn, Jane Eyre or Anne of Green Gables, writers must convince an audience that the tale has contemporary relevance, while retaining enough connection to the original text to engage fans drawn to see the familiar story. Article content In Jordi Mand's adaptation of Little Women, at the Citadel until May 25, the beloved characters of the Louisa May Alcott novel appear in all their comforting charm. Marmee (Nadine Chu) is wise and loving, though honest enough to avoid being Smarmee. Jo (Hayley Moorhouse) is rebellious and awkward, Amy (a captivating Christina Nguyen, who does double duty as the tittering Annie Moffatt) is fiery, though sometimes selfish… you know the drill. The challenge for this production, directed by Jenna Rodgers, is to bring forward the parts of the novel that still resonate with the audience 157 years after it was first published. Article content Article content The production opens with the performance of a play in which the March sisters struggle to realize the vision of its director and writer, the budding talent Jo. Soon, the character reveals the essence of this adaptation, as true today as it was in the beginning: What does it mean to be a woman? Throughout the play, an excruciatingly long three hours (with intermission), Jo tackles this topic in direct addresses to the audience. The other characters also reflect the issue. Meg (Donna Leny Hansen) wonders how to choose a partner after being pressured to marry into money to help her poverty-stricken family. What is a woman's purpose? How will we know when we have found our heart's desire, and will it be through love or vocation? Article content Article content The first act is stuffed full of familiar trials and antics. Father March (Steven Greenfield, who also plays professor Friedrich Bhaer) is a pastor and has gone away to serve in the American Civil War, leaving his wife to manage the girls. There is no money for Christmas presents, and the family gives away its Christmas morning breakfast to those in need. Meg and Jo go to a ball, where Jo and Laurie (Gabriel Richardson, who also plays Edward) feel a spark that might be friendship, or perhaps love. Amy takes pickled limes to school and is severely punished. The shy and sickly Beth (Erin Pettifor, who also plays Sallie Gardiner) connects over music with the grouchy Mr. Laurence (Troy O'Donnell, who also serves as Mr. Dashwood and Dr. Bangs). Hair is burnt, hair is sold. Amy nearly dies after falling through the ice. The numerous vignettes serve to stitch together the warm fabric of family life and emphasize the bonds of sisterly love. Article content Article content In the second act, the seeds of the story come to fruition, and the audience is fully drawn in, with marriage and career in sharp focus. While it's hard to imagine, it comes as a surprise (surely many folks have seen the Greta Gerwig-directed version released in 2019 if they didn't read the book in Gr. 4), there is a tragic death and a period of healing. Father comes back from the war as a different man, and yet, the family endures. Article content Article content While much has changed since 1868, it's fair to say that women still struggle with societal expectations (although now women are expected to do everything as opposed to nothing). Though marriage as an economic decision was obviously more common back in the day, couples still wonder how much emphasis to place on money in a relationship. Article content Jordi Mand was commissioned to write the adaptation for a world premiere at the Stratford Festival in 2022. At least two respected critics said that the show was far too long, and yet, the Citadel production trudges in at a similarly interminable length. It's true that the story, loosely based on Alcott's own family and published in two parts as Little Women/Good Wives, is a challenge to adapt. There is a lot of ground to cover. But theatres are in service to their audience, and this production has not learned that lesson.
Edmonton Journal
09-05-2025
- Entertainment
- Edmonton Journal
Review: Little Women at the Citadel Theatre full of engaging characters
Article content Adaptations of classic works are tricky. In taking another crack at The Adventures of Huckleberry Finn, Jane Eyre or Anne of Green Gables, writers must convince an audience that the tale has contemporary relevance, while retaining enough connection to the original text to engage fans drawn to see the familiar story. Article content In Jordi Mand's adaptation of Little Women, at the Citadel until May 25, the beloved characters of the Louisa May Alcott novel appear in all their comforting charm. Marmee (Nadine Chu) is wise and loving, though honest enough to avoid being Smarmee. Jo (Hayley Moorhouse) is rebellious and awkward, Amy (a captivating Christina Nguyen, who does double duty as the tittering Annie Moffatt) is fiery, though sometimes selfish… you know the drill. The challenge for this production, directed by Jenna Rodgers, is to bring forward the parts of the novel that still resonate with the audience 157 years after it was first published. Article content The production opens with the performance of a play in which the March sisters struggle to realize the vision of its director and writer, the budding talent Jo. Soon, the character reveals the essence of this adaptation, as true today as it was in the beginning: What does it mean to be a woman? Throughout the play, an excruciatingly long three hours (with intermission), Jo tackles this topic in direct addresses to the audience. The other characters also reflect the issue. Meg (Donna Leny Hansen) wonders how to choose a partner after being pressured to marry into money to help her poverty-stricken family. What is a woman's purpose? How will we know when we have found our heart's desire, and will it be through love or vocation? Article content The first act is stuffed full of familiar trials and antics. Father March (Steven Greenfield, who also plays professor Friedrich Bhaer) is a pastor and has gone away to serve in the American Civil War, leaving his wife to manage the girls. There is no money for Christmas presents, and the family gives away its Christmas morning breakfast to those in need. Meg and Jo go to a ball, where Jo and Laurie (Gabriel Richardson, who also plays Edward) feel a spark that might be friendship, or perhaps love. Amy takes pickled limes to school and is severely punished. The shy and sickly Beth (Erin Pettifor, who also plays Sallie Gardiner) connects over music with the grouchy Mr. Laurence (Troy O'Donnell, who also serves as Mr. Dashwood and Dr. Bangs). Hair is burnt, hair is sold. Amy nearly dies after falling through the ice. The numerous vignettes serve to stitch together the warm fabric of family life and emphasize the bonds of sisterly love. Article content Article content In the second act, the seeds of the story come to fruition, and the audience is fully drawn in, with marriage and career in sharp focus. While it's hard to imagine, it comes as a surprise (surely many folks have seen the Greta Gerwig-directed version released in 2019 if they didn't read the book in Gr. 4), there is a tragic death and a period of healing. Father comes back from the war as a different man, and yet, the family endures. While much has changed since 1868, it's fair to say that women still struggle with societal expectations (although now women are expected to do everything as opposed to nothing). Though marriage as an economic decision was obviously more common back in the day, couples still wonder how much emphasis to place on money in a relationship. Jordi Mand was commissioned to write the adaptation for a world premiere at the Stratford Festival in 2022. At least two respected critics said that the show was far too long, and yet, the Citadel production trudges in at a similarly interminable length. It's true that the story, loosely based on Alcott's own family and published in two parts as Little Women/Good Wives, is a challenge to adapt. There is a lot of ground to cover. But theatres are in service to their audience, and this production has not learned that lesson. Latest National Stories
