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Jan 6

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In Conversation with Rebecca Perry – Creator & Performer of “From Judy to Bette: The Old Stars of Hollywood” at the NSTF

Interview by Brittany Kay

Rebecca Perry is back and at it again with her new solo show that will surely steal your hearts and sell out seats. She is best known for her sold out runs in the Toronto Fringe and Edinburgh Fringe for Confessions of a Redheaded Coffeeshop Girl. Her newest creation, From Judy to Bette: The Old Stars of Hollywood will be presented at this year’s Next Stage Festival from January 6th-17th and I’m thinking that it will no doubt be a crowd favourite.

Perry’s strength lies in the creation and presentation of solo shows. She is able to seamlessly transform from one character to the next by her stunning physicality and vocal manipulation. Her performances have always been incredibly engaging to watch as each new character introduced. 

Through holiday correspondence, I was able to talk creation process, inspiration and girl power.

Brittany Kay: What is this show about? How does this show differ from your other shows? How is it similar?

Rebecca Perry: From Judy To Bette: The Stars Of Old Hollywood is a power-punch of cabaret style entertainment that chronicles the life and times of Bette Davis, Judy Garland, Betty Hutton and Lucille Ball: four stars from the Golden Age of cinema who refused to be just another ingénue. They were trailblazers, who saw their value before anyone else did and fought for the roles that made them famous… and infamous. It’s an evening of marvellous melodies and scandalous headlines.

This is quite a departure from my previous work in that From Judy To Bette: The Stars of Old Hollywood explores the life and times of four real ladies from the last century and the positive effects that they had on their industry. The Redheaded Coffeeshop Girl shows, while based in real life experiences (at least the first one) and with much research into Jane Goodall and her work, are still fictional stories about a fictional character. However, there are two small similarities: From Judy To Bette shares: the upbeat and humorous tone of the RCSG shows and both of these shows look at strong women and their drive to better their situation. Empowerment and breaking the mold will always be themes in my solo shows.

BK: What is so attractive about one woman shows for you?

RP: I think because I can pick a major theme and run with it! I’ve seen (or acted in) shows where I don’t agree with how the women are being portrayed, or the message isn’t clear. I still very much believe theatre can be used for positive change. With solo shows, you are given the luxury of sharing your point of view and how you see the world. It’s heart-warming when somebody relates to a message you’ve hand-picked. It’s also quite fun to play multiple characters who sing and act and have lots of sass and brass, but when you get down to it, I hope people leave the theatre feeling like they can take on the world.

Photo of Rebecca Perry by Tanja Tiziana

Photo of Rebecca Perry by Tanja Tiziana

BK: What is your creation process when devising your solo shows?

RP: All three of my shows have a lot of improv moments because I like to connect with the audience, but I find that the bulk of the core script starts to write itself once I’ve decided what subject I am most passionate about (ex: women empowering themselves) and what elements of it are worth sharing on a stage, then making it into an active story. Anything I do is full of songs and various characters that illustrate what is important and fun about the message or major theme.

BK: Where does your inspiration come from? 

RP: Honestly, these women. I grew up idolizing them when I felt like I couldn’t relate to the role models in my generation.  Don’t get me wrong, there were some great ones… Spice Girls forever!… but something resonated with me in regards to that Old Hollywood charm that Bette, Judy, Betty and Lucille possessed. They paved the path for women of talent and drive, making it okay for women of Hollywood to have comedic chops or character acting skills, essentially making it okay to be more than just a pretty face. While many people today continue this message, I appreciate it from the source.

BK: Is there a major theme or message that the show centres on?

RP: Absolutely: that these four women wouldn’t take no for an answer – and look where it got them!  They knew their value before anyone else did and kept soldiering on. We could all take a page from them.

Photo of Rebecca Perry by Tanja Tiziana

Photo of Rebecca Perry by Tanja Tiziana

BK: Do you plan on touring this piece?

RP: Absolutely! We already have an expanded version that runs at 70 minutes. This is the cocktail hour version – a power punch of entertainment!

BK: You have a new director – Michael Rubinstein. Can you talk to me about his directorial style and approach to your show?

RP: Michael loves these women and what they stand for just as much as I do, so my script and his directorial ideas are collaborating seamlessly. It’s always a treat to have a director who is as passionate about the topic as you are. In rehearsal we basically nerd out together about how awesome these four women are and then channel that into the show so that we can pay tribute to them in the best way possible. We spent forever even debating over which Judy Garland songs to keep and cut from the script because we love them all!

BK: What do you want audiences walking away with?

RP: That they should stick to their guns. That’s what these women did. They were unapologetically themselves and 80 years later their legacies live on. So go ahead: embrace your inner Lucy, Judy, Betty or Bette.

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Who:
Featuring: Rebecca Perry with Quinton Naughton on keys
Director: Michael Rubinstein
Dramaturg: David Kingsmill
Lighting Designer: Chin Palipane
Stage Manager: Natalie Frijia
Co-Producer: Jennifer Walls

Where: Factory Theatre Antechamber

When: January 6 – 17, 2016 as part of the Next Stage Theatre Festival

January 06 07:10 PM  buy tickets
January 07 06:10 PM  buy tickets
January 08 08:40 PM  buy tickets
January 09 05:40 PM  buy tickets
January 10 05:40 PM  buy tickets
January 11 07:55 PM  buy tickets
January 12 05:55 PM  buy tickets
January 13 05:55 PM  buy tickets
January 14 06:55 PM  buy tickets
January 15 08:55 PM  buy tickets
January 16 05:25 PM  buy tickets
January 17 03:25 PM  buy tickets

Connect:

Twitter: @Redheaded_CSG or @rebeccaperry21
Facebook: Redheaded Coffeeshop Girl
Instagram: @Redheaded_Coffeeshop_Girl
Web: www.redheadedcsg.com

Brittany Kay: @brittanylkay
In the Greenroom: @intheGreenRoom_

Jan 16

In Conversation with Michael Ross Albert, Playwright of “For a Good Time, Call Kathy Blanchard” at the NSTF

Interview by Brittany Kay

Like a long distance pen pal, I had the pleasure of corresponding with the talented and compassionate playwright, Michael Ross Albert, whose show, For a Good Time, Call Kathy Blanchard, is playing at the Next Stage Theatre Festival. We spoke of hockey, where and what we call home, and our constant quest to find out where we belong. 

BK: Tell me a bit about yourself. Where you’re from? Your journey to where you are now? 

MRA: I’m from Toronto originally and I started writing plays when I was in high school. I was a participant in one of the first iterations of the Paprika Festival many many years ago. I also used to act, and did that a bunch in university, which hammered home the feeling that I really preferred to be on the other side of the footlights. I was accepted into an MFA Playwriting program at the Actors Studio Drama School in New York, so I moved to the city and started training alongside some wicked talented Method actors. I kept writing plays and putting them on. When I graduated, my friends and I co-founded Outside Inside and started producing under that banner in a bunch of different festivals. And then, my Visa expired and instead of hiring a lawyer, I moved back to Toronto and started re-discovering the city as an adult for the first time. Now, it’s a real joy to be able to produce a play of mine in this particular festival with a cast and creative team who I’m proud to call friends.

BK: What inspired this play? 

MRA: In the summer of 2012, I was very interested in the idea of home. I was in the process of moving back to Canada, but was putting on a show in New York at the same time. So, I was sleeping on people’s floors, either in my mom’s basement or my old roommate’s living room. I didn’t really know where I belonged; I was unclear as to where “home” was (which is something customs agent ask you a lot when you cross the border fairly regularly and don’t have a job).

One night, in Queens, I happened to run into an old friend of mine. We started nostalgically rehashing these minute details about our shared past, like the time this funny thing happened to so-and-so, this piece of graffiti that had stuck in both our minds. Those small but very clear memories had become almost like personal talismans against… something. Adulthood, maybe. There we were, so far removed from our youth, so completely unsure of what was going to happen next in our lives, so far away from this place we hardly even thought about anymore. And those small details were the ones that still, somehow, burned very brightly. As directionless as we were at the time, these very personal but, otherwise, forgettable memories were quite comforting. I thought it was sad, but I also thought it was pretty funny. And that’s how the play was born.

Also, after years of crafting “well-made plays” at school, I wanted to rip a kitchen sink out of the wall.

Geoffrey Pounsett & Daniel Pagett in For A Good Time, Call Kathy Blanchard

Geoffrey Pounsett & Daniel Pagett in For A Good Time, Call Kathy Blanchard

BK: Are there familial ties from your own life to this play? 

MRA: Not really, but there are shadows of myself in each of the characters, and aspects of my own family members and our dynamics that must have influenced the relationships in the play. But not in any glaringly autobiographical way. It’s fiction for sure.

BK: After watching the show, I assume you’re a huge hockey fan? How did hockey influence your life and this play? 

MRA: I like hockey a lot. I can’t help getting swept up in it, especially if the stakes are high, like during a playoff game. What Jim Warren’s production of this play does very well, I think, is that it sets up the characters themselves as the opposing teams in a hockey game. They’re members of a family pit against one another in this very fast-paced, high-stakes competition. But, unlike hockey, even in this combative family, there’s no clear winner. In fact, probably, everyone in this play is a bit of a loser. But that’s because they don’t want to be pitted against each other. In fact, they really really love one another.

BK: What’s your favourite team? 

MRA: The Leafs.

BK: Why do you think the NSTF is important for the Toronto arts community and Toronto as a whole?

MRA: The festival is curated and they program new works that appeal to various demographics. Their programming is diverse, which brings people who wouldn’t necessarily see theatre into that tent. Each show is completely different from the others. Tickets are inexpensive, so for the same price as a movie, audiences can see really high quality indie theatre, or dance, or comedy. And, the festival literally brings arts-minded people closer together, huddled in that very cozy beer tent. January can be a very depressing month in a cold city and, if nothing else, NSTF gives you an excuse to tear yourself away from Netflix vortexes and be part of a community.

BK: What is your favourite part about the NSTF tent? 

MRA: It’s not the beer. It’s meeting, getting to know, and commiserating with all of the other NSTF artists, whose excellent work I’ve gotten to experience in the festival. The beer is pretty good, too.

BK: What inspires your stories? Where does your inspiration come from when you write?

MRA: I think, first and foremost, I want to write characters that actors would like to play. I think that’s the constant. Apart from that, I have no idea where the inspiration comes from most of the time. Overheard dialogue on the street, stories I’ve been told, phrases, songs, memories. Anything that surprises me.

BK: Do you have a favourite place to write?

MRA: Anywhere private with a window.

BK: What do you want audiences to walk away with?

MRA: I hope they’re able to see themselves and their loved ones in these characters. And I hope they know that, even in those moments when life sucks, they’ve got worth and they mean something to someone else.

Rapid Fire Question Round:

Best show you saw in 2014: Jesus Hopped the ‘A’ Train at Unit 102

Favourite play: Either Three Sisters by Anton Chekhov or A Delicate Balance by Edward Albee

Favourite actor: Phillip Seymour Hoffman comes to mind

Major influence: Edward Allan Baker

Best advice you’ve ever gotten: From a writing standpoint: “Cut into the action as close to the conflict as possible.” From a producing standpoint: “If it’s not fun, it’s not worth doing in the first place.”

For a Good Time, Call Kathy Blanchard

by Michael Ross Albert, presented by Outside Inside as part of the Next Stage Theatre Festival

Entire-Cast

Game Four, Stanley Cup finals. Lawrence is having a breakdown. Sky’s been kicked out of his house. Amanda’s career is going nowhere. Mary won’t leave the living room until someone wins the Stanley Cup. And they’re all preparing for a devastating loss, both on the ice and at home. But, Lawrence has a plan to fix his family for good. A tragic comedy about heartbreak, hockey, and the places we used to call home.

Tickets – $15

Connect: Outside Inside @OutsideInsideCo

Where: Factory Theatre Mainspace (125 Bathurst St.)
Length: 75 mins

Playwright Michael Ross Albert
Director Jim Warren
Featuring Jennifer Dzialoszynski, Daniel Pagett, Geoffrey Pounsett, Caroline Toal

When:

Wed Jan 7 – 8:15pm
Fri Jan 9 – 10:00pm
Sat Jan 10 – 4:45pm
Sun Jan 11 – 4:30pm – followed by a Talkback at The Hoxton
Mon Jan 12 – 9:30pm
Thurs Jan 15 – 7:30pm
Fri Jan 16 – 7:00pm
Sat Jan 17 – 2:30pm
Sun Jan 18 – 6:15pm

Jan 10

Artist Profile: Gwynne Phillips & Briana Templeton of The Templeton Philharmonic’s “Unbridled & Unstable” at the NSTF

Interview by Hallie Seline

I had the pleasure of chatting with two hugely-talented, intelligent and down-right hilarious performers – Gwynne Phillips and Briana Templeton of The Templeton Philharmonic about their current sketch show, Unbridled & Unstable, a good-time-havin’ must-see at the Next Stage Theatre Festival (NSTF). 

We discussed the importance of taking risks, the freedom of making your own work, a remixed Downton Abbey theme song, inspiring artists, The Comedy Bar and putting the focus on the work.

HS: Tell us about yourselves.

B: I grew up in Kitchener, ON.

G: And I grew up in the country, near Orangeville, ON.

B: Both of us studied drama at the University of Toronto, where we met. We ended up doing a play together at Il Piccolo Teatro in Milan through the program, which needless to say was very, VERY fun. Since then, I’ve done a lot of theatre and worked behind the scenes for film companies. Right now, in addition to acting, I work as a writer and producer for advertising. It’s very fun and beneficial to infuse whatever comedy I can into my work in that arena, as well.

G: When I’m not performing with The Templeton Philharmonic, I work for a charity called A Ticket Forward as their Social Media Manager. Briana and I have also worked for TIFF doing various jobs. As far as other acting gigs go, I also starred as Barbra in Night Of The Living Dead Live! directed by Christopher Bond last year, which was an incredible experience and probably the most fun I’ve had on stage other than doing sketch.

HS: What sparked The Templeton Philharmonic to get started? 

B: We wanted to create something together as writers and performers, so we applied to the Montreal Fringe back in 2011. Thus, we were forced to create something and ended up making a comedy show. Nothing helps bring art to life like a solid deadline.

G: We were also never cast in anything together at U of T and wanted to create our own work where we could have the freedom to play any type of character we wanted… for instance… two monks in a monastery.

Briana Templeton & Gwynne Phillips

Briana Templeton & Gwynne Phillips

HS: Tell us a bit about Unbridled & Unstable at the NSTF.

B: It’s a comedy show that features a lot of surreal, strange and silly sketches. It’s a lot of fun to perform, and to watch as well (so we hear).

G: U&U (no one calls it that) is a loosely equestrian-themed sketch comedy show with a variety of characters who are all, in some way, either unbridled or unstable.

HS: We are thrilled at how many female artists are representing at the NSTF this year. As artists who hang out in the comedy circuit as well, is that somewhere you see the same vibrancy of female talent being recognized? We’d love to hear your thoughts. 

B: Yup, it’s great. We feel lucky to be a part of both the theatre AND comedy scenes in Toronto – which are home to some awesome talent (of all genders).

G: The calibre of talented ladies in the Toronto comedy scene is exceptional. We are very fortunate to have such a supportive comedy community.

To state the obvious: the entertainment industry is a tough one. And in many ways: it can be even more brutal if you’re female. I think that it’s important for the genders of creators and characters to be more evenly represented in media (the The Geena Davis Institute on Gender in Media has some great stats if you feel like being depressed). And that includes comedy. I think it’s important to acknowledge the disparity and try and actively change that state of affairs.

B: That said… we get asked A LOT about what it’s like to be female comedians. I suppose it’s because humour can be a very powerful thing to wield and/or master… you sink or swim. And there’s that myth that women aren’t as funny, due to our lady brains and all. As such, we’ve had interviewers focus on whether or not we cry after we bomb a set. Somehow, I doubt that’s something they would ask a male comedian…

Of course, our viewpoints as feminists and females does inform our work. It has to, and that’s a good thing. But, I don’t think that’s the ONLY thing we can focus on in our writing, either. We want to be good comedians, period. Not good for comedians that get their period (see what I did there? A pun!). What I’m saying is: we’re very grateful for being recognized as artists, and that people like and/or connect with our work. That’s marvellous. But I hope we don’t get extra kudos just because of our chromosomes, but because we’re doing interesting work. Ya dig?

HS: Totally. Great answer!  Why do you think the NSTF is important for the Toronto arts community and Toronto as a whole? 

B: It helps artists reach a bigger audience, and it helps us to access venues that would be difficult for us to afford otherwise (without jacking up our ticket prices). Getting to perform at the Factory Theatre, for example, is such a pleasure for us.

G: NSTF is great for creating a supportive community of artists gathered in one place to see each other’s work and inspire one another. It’s also refreshing to see so many people lined up outside at the coldest time of year to see some theatre!

Briana Templeton & Gwynne Phillips

Briana Templeton & Gwynne Phillips

HS: Who inspires you?

B: We both really like offbeat, old movies. We recently watched The Innocents (1961) together which is delightfully creepy. And of course, other writers and performers and comedians. I really love Maria Bamford and Key & Peele. In terms of fellow Canadians, I’d say: Tony Ho, Peter ‘n Chris, Kathleen Phillips, Mark Little and Dan Beirne (especially their recent “Space Riders” and “Dad Drives”), we could go on and on.

G: Obviously love Tina Fey, Amy Poehler, Kristen Wiig, and Sarah Silverman, among others. But if you just pop into Comedy Bar here in TO, you are surrounded by talented and inspiring folks from stand-ups to sketch comedians who are going out and performing almost every night of the week and just trying stuff out. That’s inspiring.

HS: What is your favourite part of Toronto and why?

B: I love Toronto Island. Probably because of the insane 50-100 year wait list to live there. It makes it that much more appealing because it’ll never happen. Also, name wise: I like Baby Point and Crestfallen Lane.

G: I really love biking in Toronto in the summer and going through all the different neighbourhoods. Seems like it’s becoming a really cool place to live all of a sudden. Maybe too cool…

HS: I would love to hear the best advice you’ve ever gotten. 

B: “Those pants look terrible”. KIDDING. That’s one of the not-so-helpful pieces of advice I’ve gotten. Hmm… a theatre teacher once said “Don’t move unless you need to move, don’t speak unless you need to speak” in regards to being on stage. The point is not to be hesitant on stage but to find your intension and have stakes. Everything you write as a writer and everything you do as an actor should serve a purpose. And, don’t be afraid to streamline your work and distill it. Zero in on what you’re trying to get across, and/or how you are moving the action.

G: Take risks. This is a hard one because it is easy to fall into a pattern that is comfortable – whether it’s in comedy or in life. Just do things that scare you. Don’t fall into old habits or repeat yourself too often. Shake things up!

HS: Favourite part about the NSTF tent? 

B: The heaters. Also, the people huddling around them.

G: The twinkly lights. And one year they had stew. I hope they have stew again.

HS: If you could have your audience listen to a song or playlist before seeing the show, what would it be? 

G: “The Downton Abbey Opening Theme Song” immediately interrupted by “Pump Up The Jam”.

(For your remixing purposes:)

HS: Describe Unbridled and Unstable in 5-10 words.

G: A fast-paced, energetic, comedy/variety show featuring hobby horses.

HS: What’s another NSTF show that you are most excited about?

B: I’m excited to see Dink! Kris Siddiqi makes a voiceover cameo in our show, and Jasmine Chen guest starred in our CBC Punchline web series, “Womanish”. Also, Graham Clark Reads The Phone Book and For A Good Time, Call Kathy Blanchard seem very promising.

G: I would love to see all the shows if I get the chance! They all look intriguing to me. That being said, Graham Clark Reads The Phonebook seems right up my alley.

Unbridled & Unstable

by Gwynne Phillips and Briana Templeton of The Templeton Philharmonic, presented as part of the Next Stage Theatre Festival

Horse-Photoshoot

Playing everything from upper crust Edwardian snobs to unhinged modern suburbanites, Briana Templeton and Gwynne Phillips have created a show loaded with surreal humour, outrageous dance sequences, and biting social commentary. Unbridled & Unstable will feature best-loved sketches from the duo’s repertoire alongside plenty of daring new material. Expect the unexpected.

Tickets: $15 – Buy here.

Connect: The Templeton Philharmonic

http://templetonphilharmonic.com/
@TempletonPhil 

Where: Factory Theatre Studio (125 Bathurst St.)
Length: 60 min

Created by Gwynne Phillips and Briana Templeton
Featuring Gwynne Phillips and Briana Templeton
Stage Manager Vanessa K. Purdy

When:

Wed Jan 7 – 8:30pm
Fri Jan 9 – 5:15pm
Sat Jan 10 – 2:45pm
Sun Jan 11 – 7:00pm – followed by a Talkback at The Hoxton
Mon Jan 12 – 9:15pm
Wed Jan 14 – 6:45pm
Thu Jan 15 – 7:15pm
Sat Jan 17 – 9:00pm
Sun Jan 18 – 6:00pm

Jan 9

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In Conversation with Jenna Harris – Playwright & Performer of “Mine” at the NSTF

Interview by Hallie Seline

It’s January. It’s cold. But if there is one thing to make this bleary month bearable, it is the excitement for The Next Stage Theatre Festival, a curated festival from The Toronto Fringe which provides past participants the opportunity to take their work “to the next level”. It is a great chance for artists to dig deeper into their projects and for audiences to see a variety of indie work and be introduced to new artists in between trips to the heated beer tent where you can connect with friends old and new and discuss the work over a local brew.

I had the pleasure of chatting with Jenna Harris, playwright/performer of Mine playing in the Factory Theatre Studio Space. We discussed the benefits of wearing many hats in the theatre world, playing with form and poetry, where she looks for inspiration, and the need to produce more work featuring the lesbian voice and authentic female sexuality. 

HS: Tell us a bit about yourself.

JH: I am an actor, writer/creator, arts educator and dancer (although formerly!), and the Founder and Artistic Director of Discord and Din Theatre. I am also a member of the [elephants] collective, a devised theatre collective. Originally from Kingston, Ontario, I went to acting school at The American Academy of Dramatic Arts (NY) before moving to Toronto.

HS: You wear a lot of hats in the theatre world. Can you speak about the benefits of this and what you’ve learned because of your experience?

JH: Absolutely! I am currently the Interim General Manager of Studio 180 Theatre, and was once the Assistant Box Office Manager at Buddies in Bad Times Theatre. These two jobs, have been invaluable in teaching me the skills required, as well as the confidence, to self-produce.

Producing was not something that was taught to us or even spoken about when I went to acting school, so I never thought that would be something I would end up doing. But after moving to Toronto and seeing what a vibrant indie theatre scene existed here, and that it was possible to self-produce if you have the knowledge and skills to do so, I really wanted to learn as much as I could to create opportunities for myself and to get my work out there.

HS: Talk to us about Mine and why you wanted to put this story out in the world? 

JH: Mine is the story of the relationship between Bea and Abigail who meet when Bea is an undergrad and Abigail is her T.A. It is a story of joy, laughter, desire, miscommunication, sex, sadness, vulnerability, anger, lust, humour, growth, fear and love.

There are sort of three components to the story that, when I first started writing it, I wanted to tackle. The first one was that I was interested in musing on relationships: why they work, why they don’t, what it feels like to be in them…love, conflicts, power dynamics… And with this, the second one was, more specifically, that I wanted the relationship to be a lesbian one; not about being in a lesbian relationship, but simply about one. It’s a mystery to me why lesbian voices are not as numerous on Toronto stages as I feel they should be, given the strong lesbian presence in the theatre community and in the city as a whole. Lastly, I was interested in writing a play that paid homage in some small way to female sexuality – something that I also feel is lacking in theatre in an authentic and relatable way.

Michelle Polak and Jenna Harris in Mine

Michelle Polak and Jenna Harris in Mine

HS: Can you speak about your use of poetry in Mine and a bit about the play’s structure?  

JH: The role of poetry in this play is interesting, for me at least, because it wasn’t anything that I had planned to do. I didn’t start out by saying, “I would like to feature poetry in this piece”. It more just happened.

I am very interested in language and how we use language, particularly patterns of speech – the poetic rhythms of natural and not-so-natural speech. So this is where I first started. But then I guess I moved on to questions such as: What makes poetry/a poem? What is it about certain words or the way in which they are strung together that makes us feel things versus times when we don’t? And what does it mean when we can say things in a structured format like poetry or playwriting for that matter that we can’t in real life?

And so it was these questions as a playwright, coupled with the fact that Mine isn’t linear that I was interested to see how the theme of poetry, as well as poetry itself, could tie this play together and help to extenuate the journey of this relationship.

HS: Why do you think festivals like the NSTF are important for the Toronto arts community and Toronto as a whole?

JH: I think that festivals like NSTF provide an opportunity for artists to put their work out there in an extremely supportive environment where, not only is there the opportunity to continue to gain skills in self-producing, but also, because of the support of the Toronto Fringe, you are able to really focus attention on the art being created. This is a huge luxury.

Furthermore, NSTF creates a physical space, a hub, for artists to be able to come together and meet one another, and share and get excited about what is being created in our city, whether that’s a NSTF show or something else. Having this space and opportunity to interact with one another, and in solidarity brave the freezing winter to do so really bonds us as a community.

In terms of Toronto as a whole, I think NSTF is a chance to see work that might not be seen otherwise, or if it is, may go under the radar. Also, with the festival setting, I think people are more likely to come to one show and then maybe stay for another, see something they might not see otherwise, again exposing them to new work and artists.

Jenna Harris and Michelle Polak from Mine.

Jenna Harris and Michelle Polak from Mine.

HS: Where do you look for inspiration? 

JH: Hmmm… I think content inspiration for me usually comes from things that I find fascinating in the world or that I have questions about. I am particularly interested in the personal and the interpersonal; what makes us tick as people, as well as the ways in which we as people interact with each other and the world around us.

As for aesthetic and writing style/structure, inspiration for this has come from constantly reading plays from all over the world, but also going out and seeing theatre and other types of performance. I love being inspired by the work of others, whether that inspires me to try something new in my writing, or pushes me to risk more.

HS: What is your favourite part about the NSTF tent? 

JH: My favourite part of the NSTF tent is the atmosphere. There is so much energy and excitement in one place, you can’t help but be swept up by it. Even on our opening when it was -30, people were in the tent chatting with one another and getting revved-up to see shows. As a theatre artist, this is essentially heaven!

HS: If you could have your audience listen to a song or playlist before seeing the show, what would it be? 

JH: Oooo…good question! Well, a song that our Director Clinton Walker had us listen to was Pentatonix’s Run to You. Although I would maybe say listen to it after the show as opposed to prior to. I would say listen to something before that you love and that makes you want to get up and dance because who doesn’t love to dance?

**No cheating… listen to this after you see the show:

HS: Describe Mine in 5-10 words.

JH: Mine is about what it means to love someone.

HS: What’s another NSTF show that you are most excited about?

JH: Okay, so I’m going to be that person who answers this way: I’m excited to see all of them!

I am, actually. I’m looking forward to seeing what the other companies have been working on the past few months as we’ve been working on Mine, how diverse the shows are, and the passion with which these companies are putting their works out there.

Mine

by Jenna Harris, presented by Discord and Din Theatre as part of the Toronto Fringe’s Next Stage Theatre Festival

Mine

A bar, two strangers and a Fuzzy Navel. Mine is a rhapsodic odyssey of love, loss, laughter and the lives of two women as they build a relationship together. Composed within a haunting and sensual rhythm, this is a play that speaks to our desire and desperation to be understood, valued and loved. Our human need to belong.

Tickets: $15 – Buy here.

Connect: Discord and Din Theatre @DiscordandDin

Where: Factory Theatre Studio (125 Bathurst St.)

Length: 60 mins

Playwright Jenna Harris
Director Clinton Walker
Featuring Jenna Harris, Michelle Polak
Sound Designer Lyon Smith
Lighting Designer Adrien Whan
Dramaturge Clinton Walker
Producer Emma Mackenzie Hillier
Stage Manager Christopher Douglas

When:

Wed Jan 7 – 6:30pm
Thu Jan 8 – 9:00pm
Sat Jan 10 – 8:45pm
Sun Jan 11 – 5:00pm
Mon Jan 12 – 7:15pm – followed by a Talkback at The Hoxton
Wed Jan 14 – 8:30pm
Fri Jan 16 – 4:45pm
Sat Jan 17 – 2:45pm
Sun Jan 18 – 4:00pm

 

Jan 8

Loss, Comedy and the Quaids: In Conversation with Amanda Barker & Daniel Krolik – Next Stage Theatre Festival’s Release the Stars: The Ballad of Randy and Evi Quaid

Interview by Shaina Silver-Baird

I had the pleasure of interviewing Daniel Krolik and Amanda Barker to discuss the upcoming run of their show “Release the Stars: The Ballad of Randy and Evi Quaid” appearing as part of the Next Stage Theatre Festival. Here they talk all things Quaid; the essentials for living on the run and creative inspiration. 

SSB: How do you think the piece has changed since your first, exceptionally successful run? 

Daniel Krolik: The thing I realized in rehearsals last week was that, more so than the numerous rewrites that we’ve made, the basic energy of the piece is what’s changed the most. In 2012, we were performing in an art gallery. No set, no lights, just us and our audience. We asked them a lot of questions directly and were basically in their laps for the show. Now it’s Amanda and me on a stage with all the trappings of a theatre piece. Even though much of our text is the same, the energy is more polished, more focused, more precise. It’s still as funny and sad and dangerous as it was at Fringe… just completely different at the same time.

Amanda Barker: It has grown in so many ways. There are undercurrented characters that run throughout the piece – they were always there, but we took the time to develop them and really examine who they were and what their journey was.  We make an appearance as ourselves as well, and we examine what it was like to meet the real Randy and Evi Quaid.

SSB: What inspired you to write this piece about the Quaids? 

DK: Amanda and I had both read the Vanity Fair article about Randy and Evi in 2010. We were trying to write something together, and we started experimenting with the idea of playing the Quaids. For me, the inspiration was twofold. First, Randy is a really good actor and has worked with most of the greats from the 1970s and 1980s. He was very close to a real comeback after his work in Brokeback Mountain, which got derailed with the events we cover in our show. I became intrigued with how this man, an established talent, was deprived (or deprived himself) of an artistic renaissance, and how devastating that would be for him. Then it was the Quaid’s experience with loss. Randy and Evi had lost a number of close friends in Hollywood – like Heath Ledger, Chris Penn, and David Carradine. How do you cope when the people in your life keep dying? How do you justify or process that? Beyond the outrageousness and the crazy Hollywood life, Randy and Evi’s story is about two people trying to stay connected in the face of terrible loss.

AB: Anyone who has heard even small pieces of their journey is fascinated. For me, it was a Vanity Fair article by Nancy Jo Sales (who also wrote the original Bling Ring article) that had me hooked. I think Daniel’s was with Esquire. He actually texted me from Montreal one night asking me what I thought about a show about the Quaids and I was like – YES! Let’s do this. For me, I was always interested in Evi. She was always labled as his crazy bitch wife and I wanted to know everything I could about her. Why did everyone think she was to blame? That’s something I wanted to examine. I wanted to know who she was. She’s a strong woman and an unabashed artist.

RELEASE-THE-STARS_DANIEL-KROLIK-AND-AMANDA-BARKER_PHOTO-BY-MARCO-TIMPANO

Release the Stars: The Ballad of Randy and Evi Quaid – Daniel Krolik and Amanda Barker. Photo by Marco Timpano

SSB: What was it like having the real life Quaids in the audience for your final performance in the Fringe? Did it change the show at all for you? 

DK: It was terrifying, because we didn’t know how they would respond to the show. We worked very hard to tell their story as objectively as possible, but we had no idea how they would react. Early on that night, I delivered a line of dialogue right to Randy, and he laughed. I relaxed and knew it would be ok from then on in. Amanda and I only had each other to rely on, and it’s probably the most exhilarated and connected I’ve ever felt in a show.

AB: It was insane….magical…..electric….terrifying. Daniel and I couldn’t talk once we were individually told before the show. That moment when our eyes met on stage will always be one of the single greatest moments that I will ever feel as a performer. We communicated everything in that moment – we both knew what we knew, and we both knew we were there to support each other, no matter the outcome. There may have been slight nuances that were different but for us in that performance but the show was always about their life through a media lense and so we made a safe structure knowing that they were there – we aren’t up on stage poking fun at the “Crazy Quaids”.  We never wanted the show to be that. That would have been easy and maybe funny but ultimately uninteresting for us as creators.

SSB: What was your process for creating this particular piece? 

DK: About two years of trial and error. Between our work with Jack Grinhaus, our director, and Megan Mooney, our dramaturg, scenes were reshaped, rewritten, added, taken out, cried over, put back in, ripped apart and put back together again. It’s been an extremely complicated and infinitely rewarding process.

AB: I have an English degree in addition to Theatre and have lots of experience in TV format as well but in the last decade I have also written a fair bit of sketch comedy and I think the sketch process is an easy format to get ideas and scenes generating. Being part of that world encouraged me to take risks as a writer and it taught me to generate material and to get out of self-editing. Daniel and I originally were just trying to motivate each other creatively so we challenged each other to write personal or character essays in various coffee shops in the annex.  Once possible ideas for a show started percolating, we wrote with Randy and Evi in mind as well as a shared grief experience that really affected both Daniel and me. Then it kind of followed a sketch format for a while. After about a year, what we had were a series of personal essays and sketches. We brought it to Jack Grinhaus who said – ‘yeah, I’ll play with you, but get a dramaturg!’  So we did, Megan Mooney. Both Jack and Megan have guided this piece in ways we couldn’t possibly imagine. I have so much gratitude for both of them.

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SSB: What are the 5 things you’d have to take with you if you were on the run like the Quaids? 

DK: A good book. An ipod with my entire music library. Cheese and crackers. My favourite orange hoodie. And a damn good bourbon.

AB:

  1. paraben free lip balm

  2. My ipad Mini with Netflix on it and tons of open disk space!

  3. All of my points cards. I am religious about them.

  4. A bathtub. I can’t live without one.

  5. Several bags of Smartfood popcorn

SSB: Are you afraid the Hollywood Star Whackers might accidentally come after you instead?! 

DK: I’d be honoured and humbled if the Star Whackers made the effort to track us down at Next Stage. I’d be thrilled. Who are the indie Toronto theatre Star Whackers? Names. I want names.

AB: Shit….now I am. I’ll take a career that people would love to kill me for, thank you very much.  I’ll take some residual cheques so big people want to murder me for them. These are the problems I want. Sign me up.

SSB: What inspires you as artists? 

DK: A billion things. Mostly it’s the amazing work of others. Right now, I’m in love with the late, lamented HBO series Enlightened, David Rakoff’s gorgeous final book “Love, Dishonor, Marry, Die, Cherish, Perish”, the insane and beautiful nightmare of a film Holy Motors, the food at the Whippoorwill Restaurant at Bloor and Landsdowne, and the How Was Your Week and Ronna and Beverly podcasts. And I’m giddy with anticipation at seeing all the amazing work by everyone at Next Stage.

AB: You know what inspires me? Doing shows where an interviewer asks me these kind of questions! I think I’ve done 60 interviews in the past year and most of them were about dildos (I was touring a parody of the 50 Shades of Grey Series). This is such an amazing change.

So, that said… My freedom inspires me, it always has. I love jumping into improv sets whenever I can, the freedom of it, the support of an ensemble – that is always inspiring to me. Shortly after the first Release the Stars ended, I went to Mexico City for work and had a day off. I went to Frida Kahlo’s house, the Casa Azul. I have never been so inspired as I was that day, standing in her studio. She had to create, there was no other option. It was not a question for her. Her energy still radiates from those walls and a world of colour poured from her. You feel it. I felt much the same a year ago – I was in Chicago and I came upon an exhibition of Vivan Maier. She was a nanny who took hundreds of photos her entire life. She took them because she had to, she loved to.  And they are haunting, some of the most articulate photos you’ll ever see. They were only found because she defaulted payment on her storage facility, she never did anything with them. It comes from a different place, that creative spirit that flies out of you in inspiration. Like a bird that wants to be set free and it is just up to you not to stand in its way – let it go, give it away. The female artists who fight to create inspire me, I suppose – I think that’s why I am so intrigued by Evi Quaid. I am most inspired when I am in a community of story tellers who fight to create – Next Stage is a thrill beyond thrill for me because that’s what all of us are and I can’t wait to experience the beautiful work that will surround us at the festival. It is beyond inspiring.

Release the Stars: The Ballad of Randy and Evi Quaid

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Written and Performed by: Amanda Barker & Daniel Krolik
Directed by: Jack Grinhaus

Where: Factory Studio Theatre – 60 minutes

What: Comedy/Drama

WARNINGS: Adult themes

Tickets: Click here

When:
Wed Jan 8, 9:00pm
Fri Jan 10, 5:15pm
Sat Jan 11, 7.30pm
Sun Jan 12, 9:30pm
Tue Jan 14, 9:00pm
Wed Jan 15, 6:45pm
Fri Jan 17, 7:15pm
Sat Jan 18, 2:45pm
Sun Jan 19 5:15pm

Watch their NSTF Teaser here:

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