Behind the Scenes with Rodney Marmota Monax
by Dawn Lyons, photo Den Ciul

Rodney the Groundhog did not see his shadow, therefore spring is just around the corner.

The noble groundhog (marmota monax) in the photo is international opera star Rodney.  We can report without fear of contradiction that he did not see his shadow this Groundhog Day, nor will he ever.  He  is, after all, dead and stuffed.  A true artist, though, he has not let his condition hinder him from making a successful international career in opera.

International stardom took Rodney by surprise.   When he originally perf-ormed the role of Mascot in COC's "wild west" production of Don Pasquale in Oct 1994 at the Elgin, he didn't even have a  name.  His big break came in 1996 when the Utah Festival Opera Company rented the same sets and costumes for their Don Pasquale.  As is usual in such cases, props and cast were to be furnished locally and the mascot role was given to a local stuffed  skunk.  Skunk simply was not working out and as opening night loomed the director called Toronto in a panic.  Marmota Monax  was unearthed from props storage and dispatched to Utah.

Because he was or once had been an animal he had to have extensive documentation to cross the border and he needed a name.  I quote from the correspondence to the customs broker who prepared his paperwork: "This fax is to confirm that Rodney the Groundhog, a Canadian citizen, valued at $50CDN (who has seen better days) is going to be travelling to Utah to make a guest appearance with the Utah Festival Opera Company.  Rodney will be travelling in his own private box perched on his piece of wood via Federal Express and will be returning home to the Canadian Opera Company no later than August 16, 1996.  Being deceased, Rodney will not require any shots.  Once you have stopped  laughing, please call if you have any questions or require any further information."

The programme credit,  required by Rodney's contract (he has a great agent), read: "Rodney the Groundhog starring in Don Pasquale courtesy of the Canadian Opera Company."

He had left props storage as a nobody but  returned to Toronto  definitely a somebody. It just didn't seem right to put him back in a box in a warehouse, so an administrative position was found for him at the COC  offices on Front Street.   He is known as a hard  worker-- already  at his post (actually, on his log) on scheduling manager Sandy Gavinchuk's credenza when she arrives in the morning, and  still there when she leaves.  No one I spoke to is really sure what he does, but it seems to involve chucking things.  Like many of the COC staff, he still performs from time to time, most recently as  understudy for the role of Head of John the Baptist in the COC's production of Richard Strauss' Salome, under the direction of  Atom Egoyan.

    with files from the Canadian Opera Company and www.marmotburrow.ucla.edu