| Harry Frehner and Old Trout Puppet Workshop are recent nominees for the largest annual theatre award in Canada – the Siminovitch Prize in Theatre. It was introduced in 2001 and dedicated to renowned scientist Lou Siminovitch and his late wife Elinore, a playwright. The award’s aim is to honour professional directors, playwrights and designers by acknowledging excellence and encouraging further exploration in Canadian theatre. The winner receives $100,000, of which one quarter is given to a protégé chosen by the recipient.
The award rotates every three years through the three categories, and this year is open to theatre designers. Three years ago there were 25 designers nominated. This year there are 36, with stronger regional representation. This category is a bit like comparing apples and oranges, because Harry Frehner is nominated as a lighting designer, while Old Trout is nominated as set and costume designers. Worth noting also is that two other nominees, Kevin Lamott and Brenda Gerecke, were mentored by Frehner.
Frehner’s talent for stage lighting has enhanced over 350 productions for 29 companies – 14 theatre, five dance, three broadcasting units, plus seven Canadian and two American opera companies. Over the past 15 summers at the Banff Centre, he has mentored designers and explained the potential of lighting to directors and choreographers. Designing lighting described as "stunning" for opera, dance and theatre, he also cross-pollinates among the genres, sharing what he has discovered in new technologies.
"Generally, for me, the essential difference among the three performing arts I work in, is the device or conduit that is used to reach the audience. Part of the excitement for me is being able to bring the sensibilities of one to the others," says Frehner.
"In most English theatre, the script is paramount – it is the voice, the face and nuances of the body that tell the intent of the director and writer. Words and body language are the way the script comes out.
"Whereas with dance, jazz or ballet, the conduit is the body of the dancer, so it is a completely different communicator. And, the music may or may not be a part of that communication. In opera, music is the paramount communicator conveying the details and intimacies, freeing me to use a larger canvas.
"My goal on each show is to synthesize my comments, to support and lead my fellow artists, so that we may, in an ensemble, touch and change our audience."
Frehner welcomes opportunities that have allowed him to evolve into a designer of scenic aspects in such productions as Bulla! for Decidedly Jazz Danceworks.
His theatrical sense has been described as "understanding the brains and spirits of his co-workers." His unique genius is sensing the precise point where reality and impression meet, thus eliciting the audience’s imagination.
Frehner’s manner and demeanor are contained and serene. Tom McCarthy, production manager for Calgary Opera says, "He’s the bedrock on which you can put a show together – insightful and thoughtful."
Frehner observes, "I think I am uniquely placed because I am not pegged as a lighting designer for one art exclusively, but am invited to play in all the arts."
Play he will, this coming season with Theatre Junction, Calgary Opera, Decidedly Jazz and Theatre Calgary. |
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