A4 A A 7, 2 0 2 4 A A A I London Drugs is gradually reopen- ing its stores across Western Can- ada including those in Saskatch- ewan more than a week after a cybersecurity breach forced the retailer to close. The company says it is working with independent cybersecurity experts to securely bring its sys- tems back online after it was dis- covered April 28. The B.C.-based pharmacy and re- tailer operates about 80 locations across Western Canada. The retailer says on its website more than two-dozen stores are back in operation in B.C., while six are open in Alberta, three in Sas- katchewan and one in Manitoba. Of the five Saskatchewan stores, the Lakeside and Eighth Street lo- cations in Saskatoon and the Regi- na East location in the Queen City are open.
One store in each of the cities remained closed on Monday. The company notes that some stores may not be fully open during regular operating hours while it completes the reopening process. A statement from London Drugs says its systems have been thor- oughly tested and the company has that it is secure. It says there is no evidence that any consumer databases were compromised during the breach, including pharmacy patients and LDExtra members. London Drugs says pharmacists are available at all store locations to help with urgent needs and Can- ada Post locations inside stores are also accessible.
The Canadian Press Dozens of London Drugs stores reopening after cybersecurity shutdown is loved by so many people around the world, and I thought that to give it an Indig- enous flair would really elevate Indigenous languages. The Cree language needs to keep evolving in order to survive, and it gives the audience a richer experience, to know the diversity that exists in our languages and our According to co-director Bob Wicks, while Shakespeare has al- ready been translated into every including various Indigenous languages, the creative team believes this trilingual adap- tation is the first production of its kind. to try to be the first to do Wicks said. was to do something that could only happen Working with three local lan- guages and dialects English, Cree and French Wicks said text instantly un- furled into a new creative world. In one sense, still the same iconic story: King Lear is divid- ing up his kingdom between his three daughters, as his family and court devolve into backstabbing, betrayals, broken promises and power plays.
But the language each character speaks can turn obvious conflicts into subtle acts of resistance, or bring some of the quieter subplots into the spotlight. is a really interesting mo- ment in the first scene where Kent, who Lear has just banished, leaves daughter) Cordelia with a said Wicks. thought that would be a dangerous thing to do for a dis- inherited daughter to be getting blessed by somebody that her fa- ther, the king, has just banished. we translated that blessing to Cordelia into Cree, which would be veiled from most of the charac- ters on stage. Now, the character receiving the blessing might not understand it, but that make it any less true.
What sort of an act of defiance might that Though most audience members speak all three languages fluently, Wicks said that will only add to this version of the story instead of subtitles or surtitles, people will have to rely on what they can see and understand, and embrace the mysteries and un- knowns as they exist in the world of the play. did not want to treat French and Cree like foreign languages; not, and that would have been Wicks said. we made the decision to let people have their own, unique experienc- es of the play. we do our job, you have to understand a word of it to get the story. Yes, there are nuanc- es, but we tell the story by the way we place people on stage, and with our bodies, and giving cues that the audience can For Morin, translating passages from King Lear into Cree was a constant creative challenge.
Not only was it a matter of finding the right words, but reflecting Shake- point of view with a Cree perspective. enjoyed the fighting scenes a lot of passion in those and the he said. were meaningful to me as a translator, because captur- ing what people are thinking and what going through, and some of those emotions. in the Cree language, very mindful not to swear. So that kind of name-calling in the play was interesting to translate.
I would have to try and relate it to how I would insult somebody in my language. We do have insults, but we try to be mindful of how we insult people. It was a little bit of a world view clash going on In contrast, Morin said, there were times when full sentences of Shakespeare translated to a single word of Cree; iambic pentameter transformed into a different, suc- cinctly descriptive poetry. an honour that I get to trans- late and got to do it he said. word is a spirit in our culture, right? So got to bring that spirit to life.
an Indigenous world view with the culture of the Shakespearean era in this way was a good challenge, and I am very proud to hear the language being LEAR is on stage at the Remai Arts Centre until May 12. Adding Cree and French offers richer Randy Morin is involved in the creation of a trilingual version of King Lear, using French and Cree to add new layers to play. For Morin, translating passages into Cree was a creative challenge. I HEL BERG A AT I A1 Canadian Equity, Diversity and Inclusion Summit Awards Wednesday, May 22, 2024 Metro Toronto Convention Centre Immerse yourself in this one-day event brimming with insights from top inclusion belonging practitioners who fearlessly lead the charge. The CEDI Summit brings you the panel discussions you crave, exploring top-of-mind topics that drive enduring progress in organizations.
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