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It’s showtime at King’s Theatre in Annapolis Royal, a town of about 500 in western Nova Scotia. In the green room, two young sisters take turns brushing each other’s hair while mothers, who will also perform, fix their bright belly-dance dresses.
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Tonight, members of the non-competitive Sparkle Dance Academy, whose mandate is to “foster friendships, teamwork, and confidence,” will take to the stage in a production called The Power of Love.
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The mandate could just as easily apply to the theatre itself. A mainstay of the Annapolis Valley since 1921, many consider King’s a cultural hub that fosters amateur talent as well as hosts performers from around the world.
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caption-2: Canada’s first Inuk artist, Susan Aglulkark, performs at King’s Theatre as part of her national tour celebrating the 30th anniversary of her album ‘This Child,’ on May 24.
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Director, producer and choreographer Wendy Goudie cherishes the welcoming nature of the space. “As soon as you walk up those stairs,” through the main doors of the building, she says, “it’s like a bubble of safety.”
After a rocky history, including a derelict patch as a cinema in the 1970s (the running joke was that you would buy two boxes of popcorn, one for yourself and one for the rats) and a subsequent closure, King’s Theatre was reopened in 1982.
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The theatre has been active since, with programming that strives for inclusivity in a place that originally sustained the Mi’kmaq and, subsequently, generations of African Nova Scotians.
“I want to make sure that everybody in this community feels welcome here,” says Janet Larkman, now the executive director, “and that they see themselves reflected on the stage and the screen.”
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King’s is a registered charity run by a volunteer board of directors. With a staff of 10 and a roster of more than 50 volunteers, the theatre puts on multiple stage productions throughout the year.
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A recent burlesque show for Pride, produced by performers Steph Peaks (stage name for Chase Hudson) and Elle Lixir, brought a roster of drag performers to the venue.
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“There’s something about being able bring the show to my hometown that is more fulfilling for me than other venues,” said Hudson, who is originally from Annapolis Royal.
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In addition to being excited to bring queer joy to new audiences, he says, “Everybody I perform with leaves saying how great the venue, the staff, the people, the audience are and how welcoming the people in the town are.”
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Dany Rousseau and her Canadian-born partner moved to Nova Scotia from the U.S. in 2021, eventually settling in Bear River, 26 kilometres from Annapolis Royal, where they are renovating a farmhouse and raising two kids. Having worked in the New York City theatre scene, Rousseau doesn’t find the more diminutive King’s to be a hindrance to her creativity. In fact, she’s thriving, teaching workshops on makeup, choreography and acting, and has even started her own theatre company, Fundy Theatre Works. “Any theatre is going to be near and dear to my heart,” she says, “but King’s Theatre is where I kind of got my footing, and I’m grateful for that.”
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Heather Hiscock’s children, Noah, 10, and Khadi, 13, are both active members of the King’s youth programming. Hiscock, now a teacher in Annapolis Royal, studied musical theatre herself. “Janet is a saint for the King’s Theatre,” she says, referring to how she champions kids. “King’s Theatre does a wonderful job of making everyone feel included and valued.”
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caption: The cast of the musical Broadway Bound gather to cheer before going on stage for the Young Company Productions’ performance at the King’s Theatre on February 2.
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“King’s is this intimate small theatre with a history of almost a community centre,” comments Goudie, “but the technology and the professionalism of a major theatre.” She remembers asking the technical director, Devin Fraser, if he wanted to swap out a good microphone for a cheaper one, “but Devin will hand the children a $4,000 mic and say, ‘They’ve got to learn.’ ” (Fraser clarifies the mics are $3,000.)
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“When I was a kid, I used to come to the King’s Theatre and sort of fell in love with it,” Fraser says; he saw Jurassic Park there when it first hit screens in 1993. In his present role, he relishes the community and the collaborative nature of the theatre’s culture. “It’s nice to be in a place where right from the top down, it’s more like a family.”
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“What we do is we bring people together,” Larkman says. “We present to them stories, and people are moved by that and changed by that and inspired by that. And so being able to see people respond to the art that happens on our stage and on our screen is really a gift.”
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bio: Meagan Hancock is an international photojournalist and NGO photographer with a degree in international development studies. She has worked for international agencies and local newspapers in South America for almost a decade. Based in Nova Scotia, she brings a global lens to telling meaningful local stories, exploring the diversity and similarities of the human experience across cultures. Andrew Tolson is an award-winning photographer and filmmaker. He was director of photography at Maclean’s Magazine from 2003 to 2015, after which he created the in-house Rogers Media video unit. Since 2018, he has been a freelance photographer and filmmaker based in the Annapolis Valley, N.S. When not creating visuals, he writes children’s books: www.andytolson.com
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[.+credits]
Photography and story by Andrew Tolson and Meagan Hancock
Editing by Lisan Jutras
Photo editing by Theresa Suzuki
Visuals editing by Solana Cain and Liz Sullivan
Digital presentation by Sarah Palmer
Interactive design and development by Christopher Manza
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