Meet the Clockmakers: Charlie Peters

Name: Charlie Peters

Charlie Peters - Co-Creator/Director/Dramaturge

Charlie Peters

Role: Actor – Heinrich Mann

What Excites Charlie About The Clockmaker:

It’s a script that keeps you guessing. It is, at turns, romantic, funny, scary, and fascinating. It’s well-written. But it’s also performed by an amazing cast, supported by a creative team of hugely talented folks. That’s a great combination!

Charlie’s Bio:

Charlie has a BFA in Acting from the University of Saskatchewan but works in theatre not only as an actor but also as a stage director, playwright, dramaturge, lighting designer, and educator. In 2013 he won the SATAward for Outstanding Emerging Artist and was nominated in 2014 in the Outstanding Direction category for Stop Kiss (Embrace Theatre/Live Five). He has recently worked at Live Five, Persephone Theatre, Saskatoon Opera, the Saskatoon Fringe, and with the Saskatchewan Playwrights Centre. He is the founding director of Embrace Theatre.

Upcoming: Lighting Designer, Two Corpses Go Dancing (Two Unruly Gentlemen/Live Five); Director, Hansel and Gretel (Saskatoon Opera in Schools).

Meet The Clockmakers: Grahame Kent

Name: Grahame Kent

Role: Actor – AdolphusGrahame Kent

What Excites Grahame About The Clockmaker:

It is never as simple as it seems!  I love a script that draws you in with its charm and apparent simplicity and then goes further and gets more complicated with each step.  It is the sign of a smart and skilled playwright and this is a great example.

Grahame’s Bio:

Grahame is delighted to be back on the Live Five stage, especially alongside such a wonderful and talented team.  He also wants to thank you for coming to see the show! For Live Five: The Edible Woman (Thigh High Theatre/Live Five) and stage manager for Love/Stories (Ball and Chain Theatre/Live Five). Other: Burt White in Dr. Frightful Presents: Dead Air (Canadian Fringe Circuit), Butch in Leading Ladies (Persephone Theatre) and Judas Iscariot in The Black Bonspiel of Wullie McCrimmon (Persephone Theatre). Grahame also sits on the board of directors for both Live Five Independent Theatre and 25th Street Theatre.


Meet the Clockmakers: Jamie Lee Shebelski

Name: Jamie Lee Shebelski Jamie Lee Shebelski

Role: Actor – Madame Pierre

What Jamie Says When People Ask Why They Should See The Clockmaker:

It’s a lovely story, with a bit of mystery to keep you guessing.  Plus, there’s cuckoo clocks!

Jamie’s Bio:

Previous shows with Live Five include The Science of Disconnection (RiverCity Theatre Co-op), It’s All True, Scorched Ice, and The Coronation Voyage (Last Exit Theatre). Other select theatre credits include: The Importance of Being Earnest (Persephone Theatre/WCT); Velocity (Persephone Theatre); Hamlet (Shakespeare on the Saskatchewan); Gordon Winter (Persephone Theatre/National Arts Centre); The Alchemist (Dancing Sky Theatre); Perfect Pie (Nakai Theatre); Merlin (Western Canada Theatre); Silence (Northern Light Theatre); and Lig & Bittle (Concrete Theatre/YPT). Jamie Lee received a SATAward for Outstanding Achievement in Performance for her 2009/2010 Body of Work. She is a proud graduate of Ryerson Theatre School in Toronto and Canada’s National Voice Intensive.


Meet Laura Andreas, our Stage Manager for Stop Kiss

BiographyLaura Andreas(1)

Laura is excited to be working with Embrace Theatre on her first Live Five show. This spring, she will receive her BA in Drama from the University of Saskatchewan. Her previous credits include stage manager for Don’t Panic (Dibley Theatre) as well as assistant stage manager for Angel in the House (International Virginia Woolf Conference) and Love of the Nightingale (Greystone Theatre). Next up for Laura is stage managing Short Cuts Ten-Minute Play Festival (Hardly Art Theatre).

What about this play resonates with you?
Stop Kiss is a love story, not all that different from any other. A friendship that develops into something more: awkward moments, hesitant subtext-filled conversations and a first kiss. Difference is it’s not just any other love story. Stop Kiss is beautiful and tragic in equal measure.
What do you do to prepare for a role (or this role specifically)? 20140316_135134
I prepare by getting organized and making lists, so many lists. Also sticky notes, sticky notes are my friend.
What does community engagement mean to you? 

Theatre is a social experience. It isn’t meant to be forgotten as soon as the curtain call finishes and the audience gets up from their seats. Community engagement means continuing the conversation after the final curtain is drawn. It is this formal (or informal) connection to the community that brings wider attention to the issues of a play.

Read more about Embrace Theatre’s production of Stop Kiss by Diana Son

Read about the rest of the Cast and Creative Team of Stop Kiss 


Stop Kiss is selling out! Get your tickets before they’re gone!

Stop Kiss by Diana Son sold out its opening night on March 28th! Unfortunately, some people had to be turned away at the door. Make sure to buy your tickets here before the rest of the run sells out.

Here are some responses from our preview and opening night audiences: 1238067_374127746060345_1391218881_n

“Wow, you guys really touched the audience last night. Way to make a difference!”

it completely blew me away. An absolutely incredible story, with talented actors and a phenomenal director.

“Thank you for an amazing experience last night. Looking forward to seeing it again!”

“Fantastic show.”

Opening Night of Stop Kiss!

Stop Kiss by Diana Son opens at The Refinery at 8pm tonight! Get your tickets here. Join us after the show for an opening night party sponsored by NORAC.

Here are some responses from our preview audience last night: 1238067_374127746060345_1391218881_n

“Wow, you guys really touched the audience last night. Way to make a difference!”

-Louise Seidel

it completely blew me away. An absolutely incredible story, with talented actors and a phenomenal director.

-Alexandria Werenka

Meet Chris Donlevy, our Peter in Stop Kiss

BiographyChris Donlevy(1)

Born and raised in Saskatoon, Chris is thrilled to be a part of his first show with Live Five and second with Embrace Theatre. Since receiving his BFA in Drama from the U of S, Chris has been exploring many paths in performance, including voiceover, directing, composing music, as well as singing opera. He was previously seen in The Composer is Dead (Saskatoon Symphony), Bottome’s Dreame (Embrace Theatre), Carmen (Saskatoon Opera), and Into the Woods (Greystone Theatre). Upcoming performances include singing in the Saskatoon Music Festival, Candide (Opera Nuova), Saskatchewan Oudoors: A Touring Play for Families (Embrace Theatre) and Blood in the Dust (Neverending Highway).

What about this play resonates with you?

The first thing that resonated was the humour: it wasn’t a typical “set up then punch line” comedy, but rather a human, organic “two people connecting” humour that I know from experience is difficult to write. It was so authentic, that I could immediately believe these two characters would fall for each other, and I was rooting for them getting together right from the opening scene. Then the next scene elapsed, and I was immediately terrified of getting what I was rooting for. The characters are amazing and nuanced, and the story structure knocks me off my feet.
What also resonates with me is the depiction of the trials women and the queer community can encounter in the event of being attacked, or simply by being a woman and/or a member of the queer community: It’s very sad, to say the least. As well, the fact that the play focuses on the romance between these two women makes these obstacles even more egregious, as they’re trying to step on their love. However (and this is a favourite part) none of the characters are overtly evil “moustache-twirlers”, which makes these transgressors human as well. There’s a love by the playwright for everyone in this play, even if the characters aren’t so generous with one another at all times.

What do you do to prepare for a role (or this role specifically)?

Kitchen Jams - The Stop Kiss Theme Song

Kitchen Jams – The Stop Kiss Theme Song

I start with reading the play many times then doing some table work (macro objectives, etc). I then generally over think it, which is to say I dive into what the character thinks of a multitude of things, some of which aren’t even represented onstage/in the context of the play. I usually begin with topics that are important to me, and I try to find common ground between myself and the character: sympathy with my character is key. When that’s established, I move on to key differences between them and me. I then think about how they would move, speak, and react within the context of the play, journal as my character, write a bio, nail down a belief system, etc. Then I hit the point in my process where I decide to stop trying so hard, relax into the character, and just work toward reacting with my fellow actors in the cast. Also, my character is shaped by how my cast mates’ characters are reacting to me: if I take that into consideration I can better fit into the story and contribute to the ensemble.

What does community engagement mean to you?

If theatre is about creating resonance between an audience/performer and text, I believe community engagement is about sustaining that resonance beyond the theatre space. We, as artists, tell stories, and I personally know that there are countless stories like that of Stop Kiss in the real world with similar endings to this one. By engaging in the community, we can hope to extend the sensation of rooting for these love stories into the communities in which we live, and to extend the sensation of loss we feel when an attack like the one in the play harms the potential of these relationships.


Read more about Embrace Theatre’s production of Stop Kiss by Diana Son

Read about the rest of the Cast and Creative Team of Stop Kiss FINAL-stopkisshandbill-front