Diego Marulanda’s latest video!

With rigors of this winter, some groovy Latin American beats are just what the doctor ordered. Meet Diego Marulanda. Roseneath Theatre is delighted to welcome this accomplished international musician as our sound designer and composer for La Maleta (The Suitcase). Diego Marulanda is a well-established dance, theatre, film and television scoring composer with vast experience in contemporary and world music.

To put some spring in your step this weekend, we are sharing Diego’s new music video.

Diego MarulandaBorn in Bogota, Colombia, Diego is a multi-instrumentalist, playing guitar as well as the instruments in his extensive collection. Diego lives in Toronto, where he has had an active music career as a composer, performer, music director, music arranger and producer since 1988. This diverse background has led him to a variety of interesting projects as a freelance musician. He is especially well known for his work in the area of World Music. Diego’s talent as a composer, band leader and musician and his CDs Rueda La Bolita, Ke’Ma , Por El Sol, El Otro Lado and La Verraquera, have garnered acclaim nationally and abroad. He was nominated for the Juno Awards in 1999 and Canadian Music Week in 2001 and 2006. Diego’s music has been heard on television series including La Femme Nikita and Peter Benchley’s Amazon. His talents as a composer and his ability to work with creative teams have recently taken him from creating the live musical landscape of a Mexican rodeo in Cozumel to composing film scores and creating music for dance performances with local choreographers and those as far away as Iqaluit, Nunavut and the Yukon First Nations in Canada’s Arctic.

Meet the Company – Daniel Krolik


Daniel Krolik headshot Feb 14This week we sat down with Daniel Krolik (Actor in the role of Dib) to discuss his return to Dib and Dob and The Journey Home

Tell us how a bit about how you got here.

I also have been doing TYA shows for many, many years. I did Dib and Dob and The Journey Home for my first time last year. I most recently did the TYA The Snow Queen at the Sudbury Theatre Centre. The day before I started rehearsals for this run, I closed a show that I co-wrote and co-starred in called Release the Stars:  The Ballad of Randy and Evi Quaid at the Next Stage Festival. So I closed the show, went to sleep, woke up and came here.

What makes TYA different?

DIB&DOB_32The immediacy of the response. If you’re doing it well, there is not a lot of ambiguity. You know you’re doing a good show because the response of the audience is immediate, proactive, and positive. And when it’s done well, you can do it endlessly. We did Dib & Dob for 10 weeks last year, and it was a show that I personally, might have physically tired of – but emotionally, I never tired of it.

What has it been like to work on a re-mount?

Before I started rehearsals on Monday, I was like, “Oh, Dib & Dob… I did it for 10 weeks in 2013. I know these guys. Piece of cake – clock in, clock out.” And every minute of this week has been a challenge for me in the best possible sense because we have been looking at every single moment of the show with fresh eyes. I’ve done re-mounts before, but I have never sort of had that experience in rehearsal where every moment is being challenged, and every moment the bar is constantly being raised… Colin and I are sort of breaking the mould that we established last year.

What is it like working with Director Andrew Lamb?

Andrew has this way of getting exactly what he needs out of you, and making you think that you did it all by yourself. Which I think is his gift as a director. It’s the softest, most gentle touch. He’s totally in control, but he makes you think that you did all the work.

What advice do you have for others pursuing work in theatre?

DIB&DOB_91See everything and read everything and talk to as many people as you can. The more theatre you go to the better you’ll understand an audition, they better you’ll understand a breakdown, the better you’ll be able to dissect a scene or a play. Just go. And don’t be afraid to make a phone call or write an email or to talk to somebody. Everybody who I have wanted to reach out to in the city has been responsive.  The really cool thing about being in Toronto is that everybody is accessible. People who you don’t think would be [accessible], will return a phone call or an email or meet you for an interview or a coffee. The wonderful and weird thing about the city is that everybody is sort of reachable and on the same level.

Finally, would you say you’re more of a Dib or a Dob?

I think I may be 80-85% Dib; there is a small Dob contingent.

Meet the Company – James Kendal


James Kendal
This week we sat down with James Kendal (Technical Director, Monster and Magic-Maker) to discuss his return to Dib and Dob and The Journey Home

Tell us a bit about how you got here.

I come to Technical Direction from a bit of a circuitous fashion. I was a musician, and a dancer as a kid. I did most of my post-grad work in classical ballet. From there I moved on and got into carpentry and then technical art. So it has been a riot to be involved in this show, operating caterpillars and birds and ginormous monsters and such.

What are some challenges that come along with touring?

A fairly obvious challenge at every place we stop is avoiding little people who are up to our waists when we are carrying large set pieces – safety is obviously number one. Often we’ll have some of the older kids help us out, and it’s a blast and they are usually thrilled to help. One challenge that I am dreading is the freezing cold metal pipes that make up the interior of the tree. Those are going to be in the truck overnight, so I am thinking gloves might be necessary!

What has it been like to work on a re-mount?
More-spacious-than-ever Monster Den

More-spacious-than-ever Monster Den

It’s been great to rediscover the main characters, Dib and Dob. I feel like I am getting to know both the characters and these guys better. It’s been fun. We tweaked some stuff with my big caterpillar entrance, got some more caterpillar moves.  It hails back to my dance background – caterpillar dancing.

What advice do you have for others pursuing work in theatre?

From my unique and somewhat unusual sort of background, the biggest thing I can say is to put yourself out there. I did quite a lot of touring through elementary schools as a teenager, not so much as with TYA, but BYA (Ballet for Young Audiences). I moved back to Toronto 4 years ago… and the job market was terrible, so the biggest thing I did was just get out there. I volunteered as an usher or an ASM (Assistant Stage Manager) at dance festivals and friends’ theatre productions, and one thing led to another. So then I was SM-ing shows, and helping with lighting hangs, and the next thing I knew, I was crawling on grids. It’s just about being safe and knowing your limits and asking for help. Toronto has just been a great scene and community for that. If you can’t afford to go to shows, volunteer to help usher, and you’ll get to see stuff and meet people. Be brave, talk to people, and try to edge your way in.

James Kendal, Technical Director & Monster and Magic-Maker

James Kendal, Technical Director & Monster and Magic-Maker

Finally, would you say you’re more of a Dib or a Dob?

It’s interesting to live both the upper and lower station in the sibling element; I have an older sister, a younger brother, and a way-younger sister. So I see really interesting things about different dynamics. If I had to pick, since I have a bit of both in me, I would probably err more in the direction of Dob.