Film.Ca Presents: The Signature Series
Film.Ca Cinemas is proud to announce The Signature Series, a series of exclusive onscreen performances of Shakespearean drama from London’s famous Globe Theatre, and ballet and opera from the Royal Opera House.
All performances, provided by Arts Alliance and More2Screen, are filmed live in London and presented onscreen unabridged. These performances are exclusive in the Oakville-Burlington-Milton area to Film.Ca Cinemas!
Next show: THE IMPORTANCE OF BEING EARNEST
The full series schedule is as follows:
May 15/18 – The Importance of Being Earnest – Play
May 29/June 1 – Giselle – Ballet
June 12/15 – Lucia di Lammermoor – Opera
June 29 – The Car Man – Ballet
July 10/13 – Frankenstein – Ballet
Single tickets are $16.99 for adults, $14.99 for seniors over 65, and $10.99 for children 3-13. Tickets purchased in packages for multiple performances are discounted at the following rates:
|Single show||3 or 4||5-7||8-10|
|THE IMPORTANCE OF BEING EARNEST|
|Length: 148 minutes|
Synopsis: Celebrated actor and Poirot star David Suchet plays the formidable Lady Bracknell in Oscar Wilde’s much loved masterpiece The Importance of Being Earnest, which was broadcast live to cinemas from London’s Vaudeville Theatre on 8 October 2015. Directed by Adrian Noble, (Amadeus, The King’s Speech, Chitty Chitty Bang Bang) Wilde’s superb satire on Victorian manners is one of the funniest plays in the English language – the delightful repartee and hilarious piercing of hypocrisy and pomposity will make you laugh out loud! Two bachelor friends, the adorable dandy Algernon Moncrieff (Philip Cumbus – regular player at Shakespeare’s Globe) and the utterly reliable John Worthing J.P., (Downton Abbey’s Michael Benz) lead double lives to court the attentions of the exquisitely desirable Gwendolyn Fairfax (Emily Barber) and Cecily Cardew (Imogen Doel). The gallants must then grapple with the riotous consequences of their deceptions – and with the formidable Lady Bracknell.
|Length: 140 minutes|
Synopsis: Giselle, a peasant girl, has fallen in love with Count Albrecht, who has told her he is a villager named Loys. Her discovery of his true identity has devastating consequences.
Giselle kills herself. Distraught, Albrecht wanders the forests – and discovers that Giselle has become one of the Wilis, shades of young women who died before their wedding day. The Wilis dance all men that come across their path to death; but Giselle intercedes on Albrecht’s behalf. Her forgiveness saves Albrecht and releases her from the Wilis, so that she may finally rest in peace.
Giselle is the quintessential Romantic ballet. It transformed the dance world when it was first performed in Paris in 1841 and remains at the centre of the classical repertory. Although the choreography and designs have undergone many changes over the years, the essence of Giselle remains the same. Peter Wright’s production for The Royal Ballet is based on Marius Petipa’s classic version (after original choreography by Jules Perrot and Jean Coralli), which was first staged in St Petersburg in 1884.
The role of Giselle provides a dancer with many technical and dramatic challenges, from the character’s early love to her poignant descent into madness and her final gesture of forgiveness from beyond the grave. The first act of the ballet is filled with historical detail and rustic colour. By contrast, the second act (known as the White Act) plunges the audience into an eerie moonlit forest haunted by the ethereal Wilis – vengeful spirits of young brides who died before their wedding day. With its combination of memorable story and exquisite choreography, Giselle is the perfect way to discover classical ballet.
|Sunday, May 29||1:00pm|
|Wednesday, June 1||7:00pm|
|LUCIA DI LAMMERMOOR|
|Length: 185 minutes|
Rating: (Sexual Content, Violence)
Synopsis: The Lammermoor fortune is in danger unless Lucia makes a good marriage. Her brother Enrico is horrified to learn she has fallen in love with his sworn enemy Edgardo. Edgardo leaves to fight in France; before leaving he and Lucia privately exchange rings. Meanwhile, Enrico hastily arranges Lucia’s marriage to Arturo.
Using a forged letter, Enrico tricks Lucia into believing that Edgardo has been unfaithful. Longing for death, she signs the contract with Arturo – moments before Edgardo returns. Appalled at her infidelity, he vows eternal hatred. Lucia, driven mad, murders Arturo in their wedding bed and dies shortly after. On hearing the news Edgardo kills himself.
Lucia di Lammermoor is Donizetti's tragic masterpiece. The opera marked the beginning of his partnership with regular collaborator librettist Salvadore Cammarano – who, as was the fashion of the day, looked to Walter Scott. Cammarano’s adaptation of Scott’s novel The Bride of Lammermoor moved Donizetti greatly, and in the subsequent score he produced not only some of his most beautiful but also his most dramatically potent music. Within a few years of its premiere in Naples on 26 September 1835 Lucia had entered the international repertory. Here it has remained, despite a practice in the 19th and 20th centuries to make cuts that obscured Donizetti’s deft handling of his ensemble cast, with a consequent impact on the opera’s brilliant dramatic pacing.
Lucia’s ‘Mad Scene’ is the opera’s most famous moment – but it is Donizetti’s recollection of previous motifs, such as Lucia’s Act I aria ‘Regnava nel silenzio’ and her duet with Edgardo ‘Verranno a te sull’aure’ that poignantly make manifest her distracted mind. Other highlights include the acclaimed sextet ‘Chi mi frena in tal momento’, where Edgardo interrupts the wedding party, the furious duet between Enrico and Edgardo at the start of Act III and the opera’s closing Tomb Scene, with its heartfelt and sombre depiction of Edgardo’s loss. Director Katie Mitchell (Written on Skin) sets The Royal Opera’s new production in the 1840s and focusses on how an intelligent woman, failed by the men in her life, experiences a horrifying mental breakdown.
|Sunday, June 12||1:00pm|
|Wednesday, June 15||7:00pm|
|THE CAR MAN|
|Length: 98 minutes|
Synopsis: Filmed live at the Sadler’s Wells Theatre, UK in August 2015
A sensational new dance event for cinemas from the internationally acclaimed choreographer Matthew Bourne and his Dance Company New Adventures, The Car Man is loosely based on Bizet’s popular opera (CARMEN) and has one of the most thrilling and instantly recognisable scores in classical music, brilliantly arranged by Terry Davies. The familiar 19th Century Spanish cigarette factory becomes a greasy garage-diner in 1960’s America where the dreams and passions of a small-town are shattered by the arrival of a handsome stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge. Lez Brotherston’s epic design, Chris Davey’s evocative lighting and Matthew Bourne’s vivid storytelling take in a wealth of cinematic references, creating a powerful and uncompromising vision of small-town America.
|Wednesday, June 29||7:00pm|
|Length: 180 minutes|
Rating: PG (Not Suitable for Children Under the Age of 12)
Synopsis: Victor Frankenstein is sent away to university, away from his family and his closest friend Elizabeth. Just before he leaves, his mother dies in childbirth. Distraught, Victor throws himself into his studies, learning obsessively all that he can from his Professor. Fuelled by his experiments and in a desperate hope to find a way to bring his mother back, Victor works furiously, and eventually succeeds in giving life to non-living matter – but, horrified at what he has done, Victor abandons his Creation.
Six years later, Victor returns home. The Creature follows him and, watching Victor with his family from afar, longs to be accepted and loved as one of them. On the day of Victor’s wedding to Elizabeth, the Creature draws closer, enraptured by Elizabeth’s beauty. Victor discovers the Creature, who, in his panic, kills Elizabeth. In his grief, Victor takes his own life, leaving the Creature once again alone and abandoned, cradling his creator.
The Royal Ballet’s Artist in Residence Liam Scarlett has become known for ballets that marry highly expressive movement, sophisticated musical response and dark psychological depth – in such works for The Royal Ballet as Asphodel Meadows, Sweet Violets and The Age of Anxiety on the main stage and Hansel and Gretel in the Linbury Studio Theatre. Now he creates his first full-length work for the main stage with Frankenstein, a period adaptation of Mary Shelley’s Gothic tale of morality and our craving for love, companionship and understanding.
For this new work Scarlett has assembled a number of regular collaborators. American composer Lowell Liebermann, whose First Piano Concerto provides the music for Scarlett’s Viscera, composes a new score. John Macfarlane (Asphodel Meadows, Sweet Violets, The Age of Anxiety) creates the designs, while David Finn provides lighting design.
|Sunday, July 10||1:00pm|
|Wednesday, July 13||7:00pm|