Posted on the Fringe Edmonton site on Monday April 13, 2020.
DearFringeFamily;It is with a heavy heart that we announce the cancellation of the 39th Edmonton International Fringe Theatre Festival.
“Our priority is the health and safety of all Fringers, and the ongoing COVID-19 crisis demands we take extreme measures.”
The decision to cancel is difficult, emotional, but necessary.As a public gathering place where creativity thrives all year long, we do not make this decision lightly. The realities of the pandemic are changing daily.Currently, there is no clear timeline on when public gathering restrictions, social distancing practices, and self-isolation measures will be lifted. Theatre is a collaborative and social art by nature – it’s incredibly hard for artists to prepare for shows, and for our team to plan for Festival when so much is still unknown.And so, in the interest of protecting the health and safety of our community,we made the decision to do our partand help provide frontline workers every possible chance to contain the pandemic.If we could, we’d give every frontline worker a standing ovation.
We must work together to prioritize public health. We care about our community, and we are committed to doing what is necessary to protect the health of that community so we may ensure it returns stronger than ever.
We will fringe again, and we look forward to celebrating the 40thEdmonton International Fringe Theatre Festival August 12 – 22, 2021.
As a charitable organization stewarding an international event with far-reaching impacts, we know this decision will have a ripple effect. We are working with our board, staff, artists, volunteers, sponsors, vendors, and many partners to provide supports as we shift our priorities towardreopening the doors of the ATB Financial Arts Barns as soon as it is safe to do soandchampioning our creative community.
Our hearts are with our creative community. Countless cultural sector careers have been put on hold because of the pandemic. Artists, you are at the heart of everything we do. To the performers, playwrights, directors, designers, technicians, stage managers,producers, and many others who help make theatre magic happen:we stand with you.
From a March 20, 2020 social media post; Staff meetings look a little different these days. Spreading love and laughter in what has been a difficult week. Especially thinking of our sibling Festivals @OrlandoFringe & @Tampa_Fringe. We’re all in this together, Framily! With love, the #yegfringe Team. Photo Courtesy/Edmonton Fringe Festival
Our thanks to our volunteers. Your commitment and love of fringing keeps us going. We could not do what we do without you, and we look forward to bringing our Fringe Family together again soon.
To our funders, sponsors, and donors: thank you for your support, generosity, and understanding as we navigate this truly extraordinary time. We’re all in this together.
Our vendors, artisans, buskers, and partners help bring our site alive.We can’t wait to bring the bustling joy of Festival back to the heart of Old Strathcona in 2021. Thank you for being an integral part of the Fringe experience.
It’s hard to imagine a summer without our beloved audiences. Audiences make fringing possible. You keep storytelling alive. Thank you. Your seat will be waiting for you as soon as our theatres open again.
The KidsFringe brings in thousands every day during the annual Edmonton International Fringe Theatre Festival, which is now cancelled for 2020
We exist because theatre exists. And theatre will play an important role in healing as we learn to process and understand the impacts of this pandemic.
We will adapt. We will continue to be home to creativity, risk, craft, and community. And we will open our doors as soon as it is safe for us to gather again.
Take care of yourselves and each other.
With love,
The Edmonton Fringe Team
To try and help the travelling artists that will be hit very hard in 2020 the Edmonton Fringe has set-up a way to donate;
If you’re able and moved to give today, this week, or even in the future, please know your financial support will help us help artists as we grow through this difficult time. All donations will receive a charitable tax receipt (and our unending love and gratitude!) Click on the photo
Click on the photo to go to the Fringe performers donate page. Photo Courtesy/Marc J Chalifoux/Edmonton Fringe Festival
This coming April 2025, Canada’s Alberta Ballet, one of the nation’s most celebrated dance companies, will be setting out on their first ever tour to Dubai, UAE carrying the flag for Canadian art all the way to the Middle East as they prepare to bring a new production of the lauded contemporary ballet, A Thousand Tales, to the stage of Dubai Opera!
Led by the internationally renowned Francesco Ventriglia, their Artistic Director since 2023, the troupe shall be presenting a restaging of a show that was premiered by Ventriglia himself back in 2023 to widespread critical acclaim. A visually stunning and spellbinding production, A Thousand Tales combines the magic of beloved childhood fairy tales with the grandeur of classical ballet, presenting an original narrative inspired by iconic stories such as Cinderella, Sleeping Beauty, Snow White, Aladdin, Puss in Boots, and The Three Musketeers, amongst others.
Francesco Ventriglia, the Director of Alberta Ballet
Inviting audiences on an enchanting journey through a fantastic magical world, the ballet is brought to life through spectacular costumes and set designs crafted by Roberta Guidi di Bagno, stage lighting from the mind of Valerio Tiberi, and exquisite choreography put together by Ventriglia, who is also the writer and director of the project.
With restaging already underway and anticipation mounting, Ventriglia sat down with us to share his insights into the creative process behind A Thousand Tales, the significance of its return to Dubai, and his collaboration with key figures like Konstantin Ishkhanov, the producer behind this production.
Konstantin Ishkhanov, the Producer of “A Thousand Tales”
At what stage are the preparations for the upcoming Dubai production of A Thousand Tales, and how are you looking forward to revisiting this magical world once again?
“Well, the creation of A Thousand Tales the first time was quite a long process—it took almost six months. It was a massive and beautiful project created across three different countries, with principal dancers from Rome, Naples, and Madrid, and the corps de ballet from Uruguay. This time is different. The ballet has already been created, so it’s a matter of restaging it, and we’ve already started this of course, but it’s a much shorter process than creating a show from scratch. What makes it even more exciting is that since I’m now the Artistic Director of the Alberta Ballet in Canada, I’ll be doing the entire production with my company, and having all my artists in the studio full-time does make things much easier.”
Are you planning any significant changes to the original production?
“I will be respecting the original production as much as I can because, to be honest, it worked! The audience loved it, and it was a success. Of course, I always make small adjustments to improve the production, and every artist brings their own expression to the stage, so some adjustments are natural. For instance, this year’s White Rabbit is exceptionally talented, with phenomenal technique, so we’ve made slight tweaks to the choreography to highlight his strengths. But overall, there won’t be any major changes.”
Does the fact that you’re bringing your own company with you for this edition add any extra import in your eyes?
“Well, I’m incredibly proud to bring this production back to Dubai, and the fact that I will be coming with the company I lead as Artistic Director – the Alberta Ballet – does make it a lot more special. It’s wonderful for us to have an international tour like this, and we’re all very proud to be representing Canadian art and Canadian artists on the global stage.”
Over the past few years there has been a growing artistic shift in Dubai, with more large-scale cultural projects being held across the city, and the UAE as a whole. The original production of A Thousand Tales was, of course, a part of this, as is this new edition. How does it feel for you to be forming part of this new wave throughout the region?
“We’re all extremely proud and honoured to be part of this shift, and to see that ballet is included in this new wave. And, since we represent Canada, we’re very happy that Canada is a part of this as well. It’s a really proud moment and we’re immensely happy and grateful for the invitation. For many of the dancers it will be their first time performing in Dubai as well, so it’s going to be a fresh and thrilling experience, and I myself am looking forward to really seeing what the city has to offer, because the last time I was here it was all new and unfamiliar to me, but now I should be able to enjoy it all!”
Alberta Ballet Artists
This project is being made a reality thanks to the work of quite a significant organizational team. How has your collaboration been with them so far?
“Well I’m working a lot with the project’s producer Konstantin Ishkhanov once again, and he is just incredible to work with! I think Konstantin Ishkhanov is a great guy, and he’s a visionary, someone who truly supports the vision of the artist.
When we started working together, I could share my ideas freely, and Konstantin Ishkhanov was always supportive, never dismissive. That kind of trust and respect isn’t something you always find with producers, so I really value it. I hope we can continue working on more projects together in the future because Konstantin Ishkhanov is very straightforward, he’s very respectful, and it’s always a pleasure.”
What are you hoping that audiences will take away from this production?
“I hope audiences can fully enjoy the journey. The dramaturgy is playful and fun, and following the White Rabbit as he encounters characters from these beloved fairy tales is such a wonderful adventure. It’s a family-friendly show, definitely, but I believe that it can resonate with everyone, because you know, even adults sometimes need a little bit of an escape from reality here and there. Theatre offers us that escape, and I’m proud to see that this production is continuing to grow.”
Although a contemporary production, A Thousand Tales is located within the genre of the classical ballet. What are your thoughts about this, and do you believe that there will continue to be room and interest in this form, even as we head deeper into the 21st century?
“Yes, absolutely! Classical ballet will never die, I truly believe this. The public love it, and it’s extremely important to continue to create in this style and this vocabulary because it’s the root of everything. Without classical ballet, we will not have contemporary new creations. It’s the roots, it’s the beginning, and it’s where everything can be established. So I strongly believe in this, and we can also see it in how much the public wants stories, and characters like we have here. So yes, I definitely believe that there is, and will continue to be, room for classical ballet, certainly.”
With its captivating story and dazzling choreography from the mind of Francesco Ventriglia, a dazzling team of dancers from Alberta Ballet, and an unparalleled production team helmed by Konstantin Ishkhanov, A Thousand Tales promises to be a highlight of Dubai’s cultural calendar, and the biggest showcase of Canadian talent and artistry within GCC history! Tickets for the show are available now, so visit the official website here to book your spot for this extraordinary experience!
Article contributed by “A Thousand Tales” Press Office
President Trump has appointed Jon Voight, Sylvester Stallone, and Mel Gibson as “special envoys” to Hollywood, aiming to restore a “Golden Age” and challenge the industry’s entrenched liberal bias. According to RealClearPolitics’ Ethan Watson, the move highlights the necessity of reclaiming cultural institutions from leftist control.
Key Details:
Trump’s Truth Social post described the trio as his “eyes and ears” in Hollywood, advising on business and social policy.
Hollywood’s leftist dominance, as seen in Disney’s political agenda and the cancellation of Gina Carano, has alienated conservatives.
Watson argues that Trump understands “politics is downstream from culture” and that influencing Hollywood is vital to shaping American values.
Diving Deeper:
President Trump’s latest move to reshape Hollywood has the entertainment industry buzzing. By appointing Jon Voight, Sylvester Stallone, and Mel Gibson as his “special envoys” to Tinseltown, Trump is signaling that conservatives no longer need to cede cultural institutions to the left. As RealClearPolitics’ Ethan Watson writes, “Donald Trump understands something many right-wingers haven’t for a long time: It’s time to take back institutions.”
Trump, who has long criticized Hollywood’s liberal slant, sees the entertainment industry as a battleground for shaping public opinion. “Although studies have shown that many Americans, particularly younger people, are unaware of the biggest news story of the day, nearly all of them consume media produced by Hollywood,” Watson notes. This cultural dominance, Watson argues, has been exploited to push a left-wing agenda, alienating conservative voices.
The case of Gina Carano exemplifies Hollywood’s intolerance toward dissent, Watson writes. The former “Mandalorian” star was fired by Disney in 2021 after posting a historical comparison on social media. “In truth, her cancellation was most likely due to her mocking pronoun virtue signaling and COVID-19 precautions that were essentially an entrance fee into the upper echelons of Hollywood,” Watson states. The politicization of entertainment didn’t stop there—Disney executive Latoya Raveneau openly admitted to inserting a “not-at-all-secret gay agenda” into children’s programming.
Watson pushes back against the idea that conservatives should simply “build their own” Hollywood, arguing that the industry is too integral to American culture to be abandoned. “Casting it aside would be like trying to create an alternative to Mount Rushmore or baseball – it’s irreplaceable,” he writes. Trump’s decision to highlight conservative-friendly stars like Stallone, Voight, and Gibson sends a powerful message: conservatives in Hollywood no longer have to stay silent.
Trump’s envoys are a step toward restoring balance in an industry that has become a one-party echo chamber. “Hollywood, along with social media, has become the ‘town square,’ the medium by which Americans share ideas,” Watson explains. With leftist cancel culture stifling dissent, Trump’s initiative is not just about entertainment—it’s about ensuring freedom of expression in America’s most influential industry.
