Notes on Fringe, from our Artistic Director

2024 marks the tenth anniversary of Theatre; Just Because, and in those ten years, we've achieved so much! With our first-ever Fort McMurray Fringe Festival now wrapped up, I can't imagine a better event that reflects our mission and goals. This festival has been years in the making and took a village to bring to life. So, let’s take a moment to celebrate the artists, volunteers, and supporters who made it all possible.

The Artists
This year’s Fringe Festival proudly showcased 18 performing artists, including some making their stage debuts. We were thrilled to present three mainstage performances making their worldwide debuts, as well as five talented buskers and nine amazing artisans in our market. A heartfelt thank you to Birchwood Creative, Pebble Art by Joan, The Momma Island, The Crafted Writer Studio, Expressive.Artiste, Sparklefilth Studios, Tobacco and Tulips Beadwork, Petals and Metals, and Gift Hut for highlighting the creativity and passion in our community. Thank you also to Cousin’s Original, for serving up some truly delicious burgers, poutines, grilled cheeses, and more. Behind the scenes, many talented individuals ensured everything ran smoothly, proving just how essential backstage support is to any production.

The Performances
We were honored to debut three original productions written by artists who live and create in the Wood Buffalo region. Let me share a few highlights:

• Senior @ 60 by Divine Group of India
  Led by Shweta Suthar, this joyful, intergenerational celebration combined comedy, culture, dance, and music. The ensemble, made up of seniors, many performing on stage—and in English—for the first time, delighted audiences with lighthearted scenes and dances about everyday life. It was a joy to watch these performers embrace the stage and share their passion with our community.

• The Elephant and the American by Samson Nand
  Written by local playwright and Theatre; Just Because’s own Company Manager, Samson Nand, this whimsical story explores the unexpected friendship between Babar the Elephant and Yogi the Bear. Samson, Emma Carter, and Chase Gargus brought this funny, twist-filled tale of plotting and pic-a-nic basket stealing to life. It was a true belly-laugh performance, and I wouldn’t be surprised to see this one return to a stage near you soon!

• Born a Baby at 95 by Toddy
  Written and performed by Vancouver-based artist Toddy, Born a Baby at 95 is an outrageous and heartfelt exploration of death, art, opera, drag, and dairy products. Toddy’s ethereal opera mixed with humor and vulnerability created an unforgettable performance. If you ever have the chance to see her live, take it—you won’t regret it.

The Buskers
Our Busker’s Stage was alive with energy, featuring incredible performances from local musicians like Delaney Dalheim, Roman McEvoy, Millennial Radio, and Kg Banjoko. They filled the festival grounds with music and spirit, embodying the heart of Fringe.

The Sponsors
A special thank you to Fadden Family Artworks for their generous support as our Artist Hospitality Sponsor. Their contribution ensured that our performers were well taken care of throughout the festival by providing water and snacks all day long. This kind of support allowed the artists to focus on their craft and keep their energy high for each performance. We are so grateful for their commitment to nurturing the arts in our community!

The Team Behind the Scenes
A festival like this doesn’t happen without a dedicated team. My deepest thanks to the Theatre; Just Because Team and Board for their tireless work in planning, organizing, and executing this event. Emma Carter, Samson Nand, Chase Gargus, and TJ Carabeo were instrumental in making this festival a reality. Special thanks to Hilary Talbot and Ceilidh Langlois for their technical expertise, and to our many volunteers—your efforts made everything run seamlessly. Additionally, a heartfelt thank you to Jamal-e-fatima Rafat, Jayme Barter, Josh Brophy, Tegan Yarkie, and Katlyn Dykens for their incredible contributions.

Closing Thoughts
As I enter my fourth year as Artistic Director, it’s been a true privilege to work with so many talented artists across this region. This is the fourth theatre festival we’ve hosted since 2021, and the Fort McMurray Fringe Festival feels like the culmination of all that hard work. Watching our community share their unique, weird, and wonderful work has been magical. I can’t wait to see what’s next.

Thank you all for joining us—we’ll see you next year!

Theatre; Just Because exceeds fundraising goal for first-ever Fort McMurray Fringe Festival

The arts scene in Fort McMurray is buzzing with excitement! Theatre; Just Because (TJB) has surpassed the fundraising goal for the inaugural Fort McMurray Fringe Festival. Set to take place on August 31, 2024, at the picturesque Heritage Village, this milestone achievement marks a significant step forward for the region's creative landscape.

The Fort McMurray Fringe Festival was born from a desire to create a platform where local and regional artists could come together, share their talents, and connect with the community. True to the spirit of fringe festivals worldwide, the event promises to be a celebration of creativity, featuring an eclectic mix of performances that span theatre, music, dance, comedy, and more.

The Fort McMurray Fringe Festival marks Theatre; Just Because’s tenth year active in Wood Buffalo. Our mission is to create meaningful and impactful performing arts experiences while fostering growth within our vibrant arts ecosystem. As a non-profit, volunteer-driven organization, we are dedicated to enriching the cultural landscape of our community through innovative and engaging theatre experiences.

Since launching our crowdfunding campaign at the end of July, we have exceeded our crowdfunding goal of $1000. The funds raised through this campaign support the development of local artists, storytellers, and creatives.

Bailey Yarkie, Artistic Director of Theatre; Just Because, expressed her gratitude and excitement, saying, "We are absolutely thrilled by the incredible support we've received from the community. Exceeding our fundraising goal not only allows us to bring the Fringe Festival to life but also demonstrates how much our community values the arts. We can't wait to see the energy and creativity that the festival will bring to Fort McMurray."

The campaign is still open and donations are welcome. Every dollar counts in supporting our local arts ecosystem.

Mark your calendars for August 31, 2024, and get ready to experience the magic of the first-ever Fort McMurray Fringe Festival—an event that promises to be as unforgettable as the journey to bring it to life.

Theatre; Just Because Announces First-Ever Fringe Festival in Fort McMurray

Theatre; Just Because is proud to announce the launch of the first-ever Fort McMurray Fringe Festival. 

Taking place on Saturday, August 31, 2024 at Heritage Village, the Fort McMurray Fringe Festival promises to be an incredible showcase of local talent, providing artists of all experience levels an equal opportunity to develop their work in front of audiences. 

"As someone who has cherished the magic of Fringe festivals for years, I am overwhelmed with excitement to bring this beloved tradition to Fort McMurray,” says TJB Artistic Director, Bailey Yarkie. “There is so much potential for growth and community impact. This is not just a festival; it's an opportunity for our community to come together, celebrate the arts, and forge enduring connections.”

The launch of the Fort McMurray Fringe Festival coincides with the tenth anniversary of Theatre; Just Because. Over the company’s many years active in the community, it has fueled the creative development of countless artists, collaborated with numerous community partners, and continuously contributed to Fort McMurray’s vibrant arts scene. 

"As we celebrate the tenth anniversary of Theatre; Just Because, the launch of the Fort McMurray Fringe Festival feels like a natural evolution of our commitment to nurturing creativity and enriching our community through the arts. It's a testament to the resilience and spirit of Fort McMurray, and I am deeply honoured to be a part of this milestone moment,” says Bailey Yarkie. 

The Fort McMurray Fringe Festival is planned in alignment with the Canadian Association of Fringe Festivals. Submissions are un-juried and uncensored, and Festival slots are open to anyone on a first-come, first-served basis. There are two streams for submission: general audiences and Theatre for Young Audiences (TYA). Applications are open now until June 14, 2024 at midnight. To learn more about the Fort McMurray Fringe Festival, visit www.theatrejustbecause.com/fringe. 

Reflections from a TJB Graduate: Jenny Bowie

Theatre; Just Because is honoured to have had Jenny Bowie included in every year of our Youth Players program since the program’s inception. In her years in the program, Jenny has proven herself to be a brilliant actor, director, and improviser. This year, we celebrated her graduation. We asked Jenny if she would share some of her reflections on her years with the company.

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Theatre has been a huge part of my life since 2016 when I was 11. The first Youth Players production of Fantastic Mr. Fox was in the 2016-2017 season and was the first play I had ever acted in. It was scary to jump into something I had never done before, but after the production ended, I realized I wanted to do this for the rest of my life. I met many amazing life-long friends and experienced things I would never have experienced elsewhere. Throughout the first production, I knew I wanted to continue doing this program, as there was something about the program that was unlike any other thing in town. Now finishing my final year and aging out of the program lets me reflect on what I’ve learned and done and how excited I am to watch the program continue from the outside. 

The Youth Players Program is wonderful for youth wanting to get into the theatre scene and looking for more experience. The program administrators have taught me something new every year, and I am glad I rejoined. Because of them, I have become a better actor, socializer, and person. Every year I have met new people from all different kinds of life that I will never forget, that I can’t forget. This program has taught me much about myself as an actor and a human being, and without it, I know I would be a much different person. I will always cherish the memories I have made throughout the years, being in all the shows they have produced. 

Finishing my final year has been a weird experience for me. I have been doing this program for seven years, and now I feel unsure how to let go. It has been a constant routine in my life since 2016. At every job I worked, I told them I was unavailable every Tuesday and Sunday between November and April. It was my second home for years, and now, knowing I’m going off into the world, I am forever grateful for what Theatre; Just Because has taught me. I want to thank all the program administrators I have worked with over the years, especially Emma and Bailey. Since I started working with them, they have made my second home feel special. They have taught me so much, and I know they will continue to give youth the same amazing experience I had been a youth player for seven years. 

If you are a youth or a parent looking for a program to put your child/yourself into to learn social skills, theatre, and other talents, I would strongly suggest the Youth Players Program. Even after so many years of joining and rejoining, I never was tired of it, and I am forever grateful. If you are considering putting yourself or your child into this program, I would advise being yourself. Though the first few days may be scary, once everyone comes out of their shell the experience is life-changing. You will meet amazing people, learn spectacular life lessons, and will have so much fun along the way! 

- Jenny Bowie

Jenny Bowie

Pictured here in 2022/23 Youth Players production of Dolcevita or the Clown Chorus of the Carnival del Dolcevita Proudly Presents the Sad Tale of the Turbinado Triplets by Briandaniel Oglesby.

Jenny not only appeared onstage as the Widow Rosetta, but she also provided improvised intermezzi with the audience in the style of carnival games and was a student director of the production. She also did her own clown makeup!

The art of translation; In conversation with Eva Buchwald

We were lucky enough to talk with translator and dramaturg Eva Buchwald about her career, her work on Purge, and the art of translation.

TJB: Can you tell us a bit about yourself? 

EB: I was born in London and studied Finnish and Russian at London University back in the eighties. I moved to Helsinki permanently after completing my PhD and acquiring a job with a translation agency, mostly translating articles and other texts related to the arts. In the early 90s, I started working for the Finnish National Theatre, first as a literary assistant, and later as a dramaturg which is the post I still hold today. Throughout my career in the theatre, however, I have always continued doing freelance translation. I specialise in translating plays, though I have also done a fair bit of prose fiction, and academic articles on the theatre. 

TJB: What made you decide to become a translator?

EB: I have always loved translating, even though it is not my main occupation. I am fascinated by form rather than content. In translation, the content is a given, and I enjoy the puzzle of finding ways to convey it in the right style, rhythm, and melody from one language to another, matching but adapting according to the needs of the target language, which in my case is always English. In a way, I also do much the same in my work as a dramaturg, as I often adapt prose works for the stage, which is another way of translating content into a form which suits the language of theatre. 

TJB: Can you tell us a bit about being a professional translator?

EB: As I work freelance, I am not the best person to answer this, but I will say that translating plays is a unique branch of the field. Plays are, if not always dialogue, then at least mostly the ‘spoken word’, with all its idiosyncrasies, contradictions, inaccuracies, blunders, lies, incorrect punctuation and above all, sub-text. This is always a challenge to translate without interpreting too much and making choices for the characters that are your choices, not theirs. And you have to be aware that there is no real way of knowing if the character is speaking the truth or not, since there is no narrator, as in a novel for example. 

TJB: What was it like working on Purge?

EB: Sofi Oksanen wrote Purge for the Finnish National Theatre in 2007 and I followed it from its first draft to its final version in my work as a dramaturg, so by the time the play opened, I had seen its progress and knew it was an important text with international potential, despite the context being so specific. The play didn’t get funding to be translated however, but I decided to do it anyway, and it helped launch the novel too, which came afterwards. I felt the play had a powerful rhythm and intensity which is well served by the often brisk, clipped dialogue. Sofi is primarily a prose writer, but I feel she really used the compact form of drama to advantage here. 

TJB: What's your process like? Is it different from play to play or project to project?

EB: Each play is unique, and I would say that of every project I work on as a dramaturg too. I think that is the best part of my job – no two days are the same, no two projects are the same. Each translation has its own set of criteria. Translating from Finnish to English has its own challenges in that you are always translating into a void, on speculation, because Finnish plays are only picked up once they are translated. This makes the process different from, for example, translating from English to Finnish, where theatres in Finland commission translators to translate a play for a specific production, so the translators know which theatre they are writing for, often which actors, and so on. This makes a difference to the choice of slang and swear words, etc. As I don’t have that privilege, I tend to use the language most natural to me (British) and the given play (urban, provincial, sci-fi, young, old, etc) without resorting to any specific dialects or changing

the location of the play. If the play is picked up, I do usually adapt it for the location however, for example Americanising the most severe Britishisms if necessary. Sometimes this isn’t even necessary, however. In America, I have sometimes been told that the British lilt gives the play a European feel. 

TJB: What's the most rewarding thing about translating plays/being a translator?

EB: I think what I find most rewarding about translating relates to what I’ve mentioned before, solving the riddle of finding the right rhythm and expression for the characters involved. Similarly, in prose translation I enjoy the fine line of recreating the atmosphere of the original without compromising the fluidity of the target language. And with plays of course, it is always rewarding if someone actually produces the play in translation, which is not so common after all, for Finnish plays in English. They tend to be produced in places like Germany or Eastern Europe, but the English-speaking world is often very insular, not least because there are plenty of exciting writers who write in English. But I think seeing a play from another culture is always a worthwhile eye-opener. 

TJB: Is there anything else you would like to add (upcoming projects, website, anything you feel is important to add)?

EB: My most recent play translation was produced earlier this year (online of course, due to COVID) by Cut the Cord Theatre in London, who profile Nordic writing in translation. In their last series, which focused on young writers, they commissioned a translation of a play by a debut writer, Arda Yildirim, called Hornblende (Sarvivälke), which is a touching, charming coming of age monologue for a very young actress. (This was a rare occasion where I knew where and when the play would be performed before translating it.) I also have a long-term project translating a Finnish classic feminist novel from the turn of the century, full of steamy decadence. Otherwise my current focus is on various productions I am working on at the Finnish National Theatre, most notably an adaptation of Goethe’s Faust due to open next spring, all being well with COVID.