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DuFair Products also developed a new ceiling system of plaster over steel mesh panels for office construction.19 Fairfield-Dubois was one of the significant Toronto-based firms practicing in Canada during the 19605. At some time the office was on Eglinton East. 14 Incomplete minutes contained in Fairfield Family Papers. 15 Amongst the Fairfield Family Papers are several documents relating to the meeting of shareholders and arranging construction of houses but insufficient for a complete history of these activities. 16 References contained in Fairfield Family Papers are informative but further archival research is required to determine the scope of Fairfield's involvement in the new town for Frobisher Bay. 17 Professional Memberships included: Member, Advisory Committee, Canadian Government Specification Board, 1967-69; Board of Trustees, Art Gallery of Ontario, 1972-76; Member of Council of OAA, 1966-68; Fellow, Royal Architectural Institute of Canada Associate; Fellow, Royal Institute of British Architects; Fellow, Ontario Association of Architects; Arts and Letters Club, Toronto, 1948-70 18 FPP. Housing Ottawa Competition, 1961, Smyth Road; Canadian Ambassador's residence in Ankara, Turkey, 1960 to 1969; Art Centre, Central Technical School, Toronto, 1962; Massey Silver Medal, 1964; Massey Medal, 1967; Province of Ontario Pavilion at Expo '67; Brewer's Association of Canada Pavilion at Expo '67; Centennial Building, Lakehead University, Thunder Bay, n.d.; Lakehead University, Master Plan, Thunder Bay, n.d.; Residential College, Trent University, Peterborough, 1968; Albert Campbell Library, Scarborough, n.d.; Oxford University Press Building, Don Mills, 1962; New College, University of Toronto, 1964 and 1969; Sarnia Opera House proposal, n.d.; Sao Paulo, Brazil Biennial Awards for Architecture, Honourable Mention, 1965; Amsterdam City Hall Competition, finalist from 803 entries, 1969.

In 1952, he finally made it happen with the help of the community. Since its opening night in July 1953 (Alec Guinness in Richard III), the Festival became an artistic and economic force that not only kept the town alive, but also supported the development and establishment of Canadian professional theatre.2 The Thrust Stage Since its inception, the Festival, still the largest repertory theatre in North America, featured an innovative design. Recent projects such as the release of DVDs of rare archival materials,13 public screenings, the opening of the Festival Exhibition, the Archives Tours, and more, are just some initial ways to open the Archives to a wider audience. Since I began as Archives Director in July 2010, the Archives has been undergoing a major re-organization and is pursuing new approaches to archiving, serving users, and conducting education and outreach. After 2012 most of the set will be returned to the props department and the shops, and only selected items will be retained in the Archives for future reference. Besides the display area within the Archives, which is used for the Archives Tours, 2012 sees the opening of the Festival Exhibition in downtown Stratford, which will host a different exhibition each year. Besides designing at the Festival, Heeley, now based in New York, has worked internationally, notably on the first staging of Tom Stoppard's Rosencrantz and Guildenstern Are Dead in 1967 at London's National Theatre (of which Olivier was the first artistic director).

In recent decades, critics writing from a postcolonial perspective have portrayed Tyrone Guthrie's 1953 founding of the Stratford, Ontario Shakespearean Festival as an imperialist endeavor designed to assert British hegemony in cultural affairs and prevent Canadian artists and audiences from achieving theatrical independence. Here, Falocco examines the ideological context of the founding of the Stratford Festival, which has long been seen by Knowles and like-minded critics as a prime example of Shakespeare's imperialist function. Falocco stresses that Guthrie was a British director who sought to stage the works of an English playwright \"within the particular conditions of Canadian postcoloniality in the postwar years,\" he has been accused of cultural imperialism. Among the related ideological concerns motivated Guthrie in establishing the Stratford Festival was the director's belief in function of theater as spiritual and, in a broad sense, \"religious ritual.\" Modern theaters were not amenable to this ritual function, and the opportunity to devise an alternative configuration in which the audience would nearly surround the actors as in ancient times was a major factor in Guthrie's decision to come to Ontario.

  So what's it all about? I have a vague memory of the television programme Blue Peter or maybe it was Magpie doing a child friendly version of the beginnings of Halloween as having origins in 'Holy Evening' but the bottom line was about remembering the dead. They always seemed to concentrate much more on Guy Fawkes and the fifth of November in GB while we were firmly rooted in the 31st of October. I told you before but it's worth a repeat. My one experience of the paranormal was in Annaghmakerrig House in County Monaghan. It's now known as the Tyrone Guthrie Centre. It's a kind of retreat for artists of all varieties and was the home of the well-known theatre director, Tyrone Guthrie, a cousin of the Hollywood actor Tyrone Power. Guthrie had many of his artist friends, among them Laurence Olivier and Alec Guinness, come and stay and write, paint or compose.

This classic documentary describes how a small Canadian city, bearing the name of Stratford and nestled beside the Avon River - named after the Avon in Englad - realized the vision of one of its sons: the creation of a theater for the staging of the finest Shakespearean drama. The Stratford Adventure also explains how the idea grew; how a famous British director, internationally known stars, and Canadian talent were recruited; and how the Stratford Festival finally became a triumphant reality.

Quinnopolis, NY is, according to its website, \"a theatre company creating original productions adapted from classics,\" and the company is aware of its oxymoronic quest to wrest something \"original\" from a \"classic.\" Unique among recent Hamlet adaptations, only Paul Rudnick's I Hate Hamlet (1991) matches Quinnopolis, NY's obsessive focus on the daunting task of facing down history's most famous dramatic role.

7) French architect Jean Nouvel's Guthrie, right, set the bar high with its cantilevered bridge, super-sized portraits of theatrical greats (shown is Tyrone Guthrie) and nighttime play of light and shadow. Its monumental scale pays homage to the neighboring flour mills and elevators. At left are the Humboldt Lofts, with Spoonriver restaurant at street level. 8) ESG's design for the Aloft hotel, a hip \"junior\" W, features a swooping tubular metal roof lit from below. Blue and yellow LED light bands add an element of fun to the Washington Avenue facade, and an outdoor courtyard promises to be an after-theater gathering spot.

He is about to undertake his third writing residency since 2000 - this one a $12,000 Asialink Literary Residency in northern India. In India, hosted by Sanskriti Kendra Artists Residence and funded by the Australia Council and Arts SA, House intends to engage in his \"serious writing stint\" at Varanasi. House has quite a few projects on the go for 2007. He is directing his Awgie-winning work Vin for Come Out, producing a commissioned work on hepatitis C, working with the young on Whyalla Monologues in Whyalla, in Mt Gambier on a project about youth suicide and, to top it all off, he has his first novel on the brew.