MEDIATHEK

// DEVELOPMENT //

Vigilante first began rehearsals in the fall of 2013. Traveling to Keyano Theatre in Fort McMurray for an intensive process of rehearsing and making changes in the day, performing to an audience at night, and returning to the hall the next day to make more changes. This period was followed by two separate dramaturgical workshops with the National Art Centre's Sarah Garton Stanley - who helped develop the story. Finally this first year of development ended with a three week run at Edmonton's Citadel Theatre. As with all our work, despite its main stage showing at the Citadel, we are constantly seeking to further develop and improve the work. As it stands now Vigilante is ready to tour and be presented to an audience; however, part of our process is to redevelop work over the course of many years and we would be interested in an opportunity to continue its development as well as more performance opportunities.


// PARTNERS //

Vigilante was developed along side two partners. The first - Edmonton’s Citadel Theatre, our flagship A house regional theatre that runs a subscription based season. In addition, Vigilante was produced in association with Canada’s National Arts Centre. They are one of Canada’s most important cultural institutions and will continue to play a roll in the development of Vigilante.


// VIGILANTE //

Eight actors and 5 musicians bring this contentious piece of Canadian history to life in a dynamic and explosive new rock opera. Vigilante tells the tale of the infamous Donnelly clan – a family of Irish immigrants who moved to Ontario in order to escape a long standing feud in their homeland. Grudge escalates into sinister threats, property damage, arson, all leading to murder and the massacre of 1880, the most infamous unpunished, and officially condoned, crime in Canadian history. This is still a highly controversial piece of history that has captivated people for over a hundred years. Vigilante sends the Donnellys hurtling out of the grave and toward the audience, as the rock opera score swells, the untamable boys tell their story, and their grievances are lit by rock show style lighting that makes the whole stage pulsate with their fury.

As one reviewer put it, “ You won’t leave humming; it’s not a musical in that sense. But you might leave vibrating.”