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Posts tagged ‘Site-Specific Toronto Fringe Show’

Embracing the Fast & Funny in the Site-Specific Fringe Show “Behold, the Barfly” – In Conversation with Justin Haigh

In the Greenroom’s Madryn McCabe sat down with Justin Haigh, writer, director and co-producer of Behold, the Barfly! playing at the 2016 Toronto Fringe Festival, to chat about the thrill behind how the show came together, working with a killer team, and the challenges and joys of working in a site-specific venue.

MMC: Why don’t you tell me a little bit about the show?

JH: 

Behold, the Barfly! is a surreal and cerebral sketch comedy revue set in the subconscious mind of a slumbering barfly. It’s got traditional sketches, some rather dark humour (bring the kids!), some theatre of the mind, a couple of musical numbers, a Christmas pageant that is just plain ridiculous, and a loose through-line that I won’t spoil here but that I hope will add just a smidge of genuine emotion to counterbalance the sheer silliness of it all.

MMC: I’ve read that you were asked to do a site-specific show after one had dropped out. What was it like putting together a show in only two months?



JH: I got an email at the end of March (I guess that actually makes it three months from email to opening night… but still, a timeline of madness) informing me that another site-specific show had dropped out and I was next on the waiting list, and did I want to take their place? Having no script, no plan, no venue, no cast, no creative team, and no budget, I was hesitant for obvious reasons, but Sarah [Thorpe – assistant director/co-producer/actor] said, “If you don’t do it, you’ll probably regret it.” I realized she was right. The Fringe is probably the most affordable way of independently producing a show in Toronto with the bonus of having a built-in enthusiastic audience willing to take a chance on just about anything. I’ve always loved sketch comedy and had always wanted to give writing it a shot, so I figured this was the universe telling me to shit or get off the pot.

It’s been pretty non-stop ever since then. I’ve found the biggest challenge (other than the lack of sleep and absence of free time) was to have to put a lot of pieces together simultaneously that would normally be done sequentially. I was writing the script at the same time as securing a venue, working on graphics, approaching potential cast members – I even had to come up with a description for the show for the Fringe program when I didn’t even have the thing written.

Needless to say it’s been an incredibly stressful yet productive two and a half months, and we will see what audiences have to say, but I’m quite proud of what we have managed to accomplish in so little time.

Photo Credit:

Photo by Laura Dittmann

MMC: You’ve got a great cast, full of popular indie theatre actors. How did you put this cast together?

JH: 

Your question makes it sound like I put together the A-Team – which in some ways is accurate. We’ve got performers Jeff Hanson and Sarah Thorpe, who are well-known in the indie scene; Eric Miinch, Ned Petrie, Marsha Mason, and Steve Hobbs, who are known within the sketch and comedy community; Elizabeth Anacleto is a respected figure in the clown community; and Kevin MacPherson is a classically trained actor who has made his mark in the east coast Shakespeare scene. It’s a bit of a Swiss Army Knife of a cast in that sense, which I love because everyone brings something a little different to the table and makes for a more interesting production over all.

As for how we assembled it, I was already friends with half the cast, so call that the benefit of having a social circle filled with talented individuals. It wasn’t really a question of if we wanted to work with them, but just what parts they’d be good for. The other half were either actors that I or Sarah saw perform somewhere at some point and we made a note of their talent and that we should keep them in mind for future projects (that’s how we got in touch with Kevin and Marsha who I think were both kind of surprised to get messages out of the blue from someone they’d never met), or actors who were recommended to us, like Steve.

MMC: How do you find doing a site-specific show different from a more traditional theatrical venue?

JH: 

The biggest difference is the lack of tech – you are very much dependent on the concept, writing, and performance to get the idea across. In some ways this is a limitation, but I think it enhances the immediacy of the work. The less artifice on stage, the closer to a shared reality you are with the audience. There is also that magical element of seeing a room or space unexpectedly brought to life by performance; theatre in a theatre leaves no room for surprise or spontaneity, but theatre in a non-theatre setting still feels fun and oddly risqué.

Behold, the Barfly! 4 (Credit - Laura Dittmann)

MMC: You’re known for the cabarets Love is a Poverty You Can Sell 1&2. What can your audience expect from Behold the Barfly! that is similar? Or what sets this show apart from your others?

JH: Like LIAPYCS 1 & 2Behold, The Barfly! is set in a licensed establishment so one can expect the mood to be a bit more relaxed and a little more festive. We hope to give audience members more time than at a traditional venue to settle in, enjoy the atmosphere, grab a drink… maybe chat with some of the characters who will be floating around. I think the joyous atmosphere of the LIAPYCS shows and this one is the greatest common factor. I hope audiences will find the work to be intelligent but not labourious; the world is an increasingly dark and nutty place – I hope we can offer respite from it, even if it is only for 75 minutes.

What sets it apart is the fact that as a format and genre, this is totally unlike many of our past works which include Antigone and No Exit – Greek tragedy and existential drama this ain’t.

Behold, the Barfly!

Presented by Spoon VS Hammer as part of the 2016 Toronto Fringe Festival

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Behold, the Barfly! 1 (Credit - Laura Dittmann)

Photo by Laura Dittmann

Who:
Written By: Justin Haigh
Company: Spoon vs. Hammer
Company origin: Toronto, Ontario, Canada
Cast: The Spoon Vs. Hammer Players

What:
From the writer of the smash hit ‘Love is a Poverty You Can Sell’ (★★★★★ / NNNNN) comes a surreal and cerebral sketch spectacular featuring some of Toronto’s finest comedy talent! Peer into the pickled subconscious of a slumbering barfly and behold the wonders within: Mirth! Adventure! Mediocre Poetry! Sober contemplation of life choices! Dinosaurs?

When:
June 29-July 3 & July 5-10 @ 7pm; plus July 9 @ 3pm
12 Performances!

Where:
Monarch Tavern, 12 Clinton Street, Toronto



Tickets:

$12, here: http://fringetoronto.com/fringe-festival/tickets-and-passes/



Connect:
Web: www.SpoonVsHammer.com
Facebook: SpoonVsHammer
Twitter: @SpoonVsHammer
Instagram: @SpoonVsHammer
#BeholdTheBarfly

WARNINGS: Strobe Light, Nudity, Sexual Content, Mature Language

Artist Profile: Tanya Rintoul Talks Creation, Collaboration & the Rules of Being a “Good Girl”

Interview by Shaina Silver-Baird

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SSB: Tell me about your upcoming show Good Girl at the Toronto Fringe Festival.

TR: I started writing last summer, after I did a 10 minute Alley Play in the Fringe called Change Room. I had watched a documentary about a serial killer named Aileen Wuornos. If you’ve ever seen the movie Monster with Charlize Theron, that’s her. And I was so interested in how little care there was in actually finding justice. Did justice mean someone being punished and that was it? I felt like no one actually took the time to figure out why she did what she did. So we’ll never know and no one will ever understand her point of view. She was put in dangerous situations and she responded by killing. And I don’t think that that’s someone who necessarily is a “killer.” But I don’t know that for sure. I still have a lot of questions and I’ve watched it over and over and over again.

I was also fascinated by the fact that she was imprisoned for years, and yet every time someone came to interview her, she would fix her hair the second she saw the camera. And she was a wreck; she didn’t have any sort of glamour left. But she’d smile as though she were a movie star, just because there was a camera in the room. Even when she was on death row, she still cared about how she was perceived. So, those two things: the concepts of justice and of perception, really triggered a lot for me and I started writing about it. The play itself is about a woman who’s committed a crime and she wants to figure out why she did it, because she didn’t plan to.

SSB: Where did the title come from?

TR: It came out of one of the stories the character tells in the play, about being told as a child that she’s a “good girl.” We tell children: “Good job! You’re a good boy” or “You’re a good girl.” As a society we’ve come up with rules for what it means to be good – what good people do; what bad people do – but sometimes good people do bad things and sometimes bad people do good things. So what does that even mean?

SSB: Why did you choose to do this piece in a site specific location? Can you talk a bit about your venue?

TR: When I did the first, 10 minute version in the Fringe last year, it was in a small shed. I could fit 12 people and they were closer to me than you and I are right now. It was really terrifying. But I loved that I could talk right to them. I could connect with different people at different times based on who they seemed to be or what they seemed to connect with. I also wanted her to have a world of her own. I thought of warehouses, garages, basements, anywhere really contained where you would go to hide. And I wanted the audience to come into that world. In a theatre the audience is coming into a familiar place. There’s a safety, a contract, an understanding of what’s going to happen and I wanted the audience to feel like they were coming into her space in a really visceral way.

My creative partner (director Elsbeth McCall) and I, were wandering around the Annex one morning around 9 am, and we came across this shop. We didn’t even pay attention to what the shop was selling. We were interested in the sketchy stairs that went down to a basement apartment that looked abandoned. So we started snooping around and this man came to the door and said: “Can I help you?” We told him we were looking for a space for a show in the summer. He seemed really interested in helping us but didn’t know how he was going to do that. We gave him my card and he called 5 minutes later and said “I think I might have something.” So we go back to this pawn shop that he was opening – he’d literally been there a week, he takes us to the back of the store, which is all industrial shelving and storage for his products: 20 stereos, an old coke machine and a robot, really weird things, and it was perfect. Ever since then, he has had everything we needed. I’ve worked in theatres where I haven’t been able to access things that he has. He had lights, chairs; he’s providing us with all the means. He was up on the ladder running cables and chords for us during tech. And he’s a lovely, generous man. He’s so excited.

SSB: Why did you decide to do this piece as part of the Fringe?

TR: I feel like it works because there’s a context for people – a festival is accessible. The Fringe does a lot for you. They set up a structure and ask you the right questions at the right times and that’s really great. It’s our second time doing the Fringe.

SSB: Tell me a little bit about barking birds theatre. Why did you start the company and what has it become for you?

TR: We (Elsbeth McCall and Tanya Rintoul) started the company because we really loved working together. I’ve never met someone who I just connect with on every level. I get really emotional talking about this. We literally say half a sentence and that’s the conversation. We are both on the same page. We met in theatre school and we continued to work together more and more as time went on. We see theatre through the same lens and we tell stories in a similar way.

We’ve always been really interested in people and character-driven story telling. We work in a very multi-disciplinary way as well – although this particular show is a little different. We like to take realism and deconstruct it. Use memory, image and storytelling the way the human mind works: in fragments and flashes.

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Good Girl by Tanya Rintoul

SSB: How was it balancing the roles of writer and performer? Is it hard to relinquish to your director’s vision?

TR: I found it easier than I thought I would. I try to treat them as if they’re two roles. There are things I do in the show that, as an actor, I feel very uncomfortable doing, but as a writer it is really important to me that they be done. So, in a way, I really do have to separate those things. On the other hand I’ll get distracted by the wording of something while I’m in the middle of working on a scene and I’ll have to stop and think about it and say: “Can I cut this?” It’s a weird feeling that I’ve never experienced: the level of distraction that I go through. I literally slow down as I’m speaking to try to process it. But they’re really patient with me, my director and stage manager. They let me figure things out as I need to.

SSB: If you could assemble your dream team for your next project – including any celebrated artist you can think of – who would be in it?

TR: I really want to work with Graham McLaren, because the Hamlet that he did with Necessary Angelchanged the way that I saw theatre. I don’t know if I even understand how my work has changed since I saw that show. The experience I had in that audience definitely changed the way I approached this piece.

SSB: I noticed in the trailer for your show you have some suggested nudity. How do you feel about women showing their bodies in film and theatre?

TR: I think that as a society we’ve forgotten how powerful nudity can actually be because it’s everywhere. I remember when certain words and certain things weren’t shown on TV before a certain time and that’s completely over. And I think it’s too bad, because it has the potential communicate this vulnerability and television has ruined that. In theatre it can be uncomfortable because the people are real and they’re right there, naked in front of you. If an actor is self-conscious you know it, and if they’re not, you start thinking about why, because it’s not “ok” to be naked in front of a room of people. It’s one of those things we just don’t do. I’m certainly interested in the power of it and examining how we use it. It adds to the belief that we’re watching someone in a private moment.

SSB: What’s your favourite thing to do in your time off?

TR: Surprisingly enough, I love seeing my friends. I feel like I should want to be by myself and do something really glamourous. But the thing I miss most when I’m too busy to do anything but work, rehearse and sleep, is calling up someone last minute and making plans. I love spending time with people that I care about… or being here in my house. This interview is the longest I’ve been here, awake, in forever.

SSB: What are you most afraid of?

TR: I have definitely have a fear of being the only person left, which is a very real thing in my family: I’m an only child, I have my parents and that’s it. My extended family is very small. And I have this knowledge and understanding that eventually I will be the only one. And that is something I think about a lot and am afraid of. And I’m afraid of windows at night.

SSB: What is your character most afraid of?

TR: Everything that’s happening to her in the play. Specifically, her biggest fear is being wrong and doing the wrong thing.

SSB: What inspires you, as a person and as an artist?

TR: People. I love learning about people and watching people. I watch documentaries endlessly because I find different points of view so incredible. I’m especially fascinated by people who aren’t anything like me. I grew up in a theatre family. I’m really interested in people who know nothing about theatre. I work at a restaurant and I talk to all these people who come there after their 9 to 5 job and I realize I will never know what that life is like. And I want to know, I want to look in other people’s houses. When I walk down the street at night I’m always looking into people’s windows. Someone said to me once: “You’re afraid of windows? It’s like you’re afraid of being seen.” And that’s terrifying. There could be someone over there and you can’t see them. That’s what the fear is based on. Because I’m always seeing and watching, I feel like someone could be seeing and watching me. It’s a weird cycle. What do we present versus what is actually there? That is a huge part of this play as well. The character really tries to figure out how she’s supposed to be. I’ve been told my whole life I should change things about myself because it’ll be easier. But if I do that, then what will I lose because of who I actually am?

CRASH COURSE on Tanya

Favourite book: Fall on Your Knees and The Time Travellers Wife. I hate that they made that awful movie out it.

Favourite playwright: I have a really hard time with this question, because I have seen so many good productions of bad plays and really bad productions of good plays. Theatre is supposed to be seen so it’s hard to judge a piece without all the other elements. It isn’t simply the words that define it for me.

Favourite vice: I’m not going to say the first thing that comes to mind. But, beer.

If I was to pick up your Ipod right now what artist would be playing: Nina Simone

GOOD GIRL, A barking birds production presented as part of the 2013 Toronto Fringe Festival
Written & Performed by Tanya Rintoul
Directed by: Elsbeth McCall
Stage Managed by: 
Jade Lattanzi
Sound Design by: 
Hallie Seline 
 
Runs: July 3rd-July 14th
Wednesday July 3rd – 8:30pm
Thursday July 4th- 8:30pm
Friday July 5th- 8:30pm
Saturday July 6th- 8:30pm
Sunday July 7th- 8:30pm
Monday July 8th- 8:30pm
Wednesday July 10th- 8:30pm
Thursday July 11th- 8:30pm
Friday July 12th- 8:30pm
Saturday July 13th- 8:30pm
Sunday July 14th- 8:30pm
 
Where: 1044 Bathurst Street (Annex Pawn) Enter through back ally off of Vermont Ave. 
Tickets:  $10 at the door/ $11 in advance at https://www.fringetix.ca/scripts/max/2000/maxweb.exe?ACTION=ORDER
 
For more info on Barking Bird Theatre: https://www.facebook.com/pages/Barking-Birds-Theatre/187191241329340
Or check out their facebook event page: https://www.facebook.com/events/147961018727546/?fref=ts

A Play-Within-a-Play-Within-A-Church: We Chat with Rosamund Small, Writer of Genesis & Other Stories at the 2013 Toronto Fringe

Interview by Hallie Seline

I met up with Rosamund Small, writer of Genesis & Other Stories, one of the site-specific productions that you can (and should) check out as part of the 2013 Toronto Fringe Festival July 3rd to the 14th. Contrary to what the promo pictures might suggest, should you have seen them tantalizing your facebook walls and twitter accounts, she was fully clothed in a lovely summer outfit, with no cheekily-playful shrubbery keeping her modest. We talked craft beers, excessive amounts of hummus and the world of theatre school and life after on the patio of Grapefruit Moon in the Annex. And then when our hummus plate finally was left bare, we talked about the play she’s been developing for four years and is still apparently re-writing a week before show-time, Genesis & Other Stories…

Genesis Poster

HS: Let’s begin. Talk to me about Genesis & Other Stories.

RS: Genesis is a show that I actually started writing when I was really young. I started writing it when I was seventeen. I had just written my first show that I was really proud of, which is hilarious because I was about fifteen/sixteen at the time, but it had like three jokes in it and people really, really laughed and I thought…

HS: “Am I funny?”

RS: Yeah! Exactly. And I mean, you know, it wasn’t some work of genius but that was in high school and I had never really experienced that very specific high of sitting in an audience, and the moment when every body laughed, you could really know, “oh wait, they are really listening”. So I determined that I wanted to write a really balls-to-the-walls comedy. (She laughs.) It was a really long time ago when I wrote the first version of Genesis & Other Stories and did a performance of it in high school. After that, I continued to work on it for the first time through the Paprika Festival with Damien Atkins as my mentor, who, may I say, is just the most wonderful person. He has such a specific sense of humor, which makes me laugh so much all while he’s being incredibly serious. He was such an inspiring person to work with. All of this was, believe it or not, about four years ago. We did a staged reading at Paprika and the improvements I had made on the script and having done the staged reading with a really solid group of actors, meant that I felt like there was something I could clock about that success.

After that I put it away and didn’t really read it, in fact I didn’t read it for about four years. When I finally looked at it again, all I could think was, “Ah, this doesn’t make any sense. This is dreadful!” I had thought it was so funny and cleaver and then four years later you read it and you’re just like “oh god!” But still, we did a table read of it and by just sort of happenstance, Vivien Endicott-Douglas, who was in the table read playing the main character, who is actually supposed to be a man, (she was great, obviously), was really enthusiastic about it. I don’t know, just her response to it… the fact that she, who is so smart and able to analyze scripts in a very thoughtful way, still really loved it… which for someone who thought after four years that this play didn’t make any sense, it was incredibly inspiring.

So I decided that I would ‘fix’ it, and that’s why we brought it back to Paprika. We teamed up together, Vivien and I. It was really her enthusiasm that made this show go back into development. We worked on it last summer and did another staged reading in January and a production with Paprika in March and even now we are still…

HS: Re-writing?

RS: Yes.

HS: Still?

RS: Yes! Oh my gosh, the obsessive re-writing of this show is… crazy. Like it’s crazy. It’s crazy!

HS: And the show is going up in the next week?

RS: Yup.

HS: Alright!

RS: Well it’s really different now. At first it was like, new scenes and new elements, but now it’s really just about clarifying little tiny moments. I think it’s a testament to the actors and to Vivien and to the fact that we’ve all worked so long on this project together, that usually when the change happens we all think “Oh, good! There it is. That makes more sense” and everyone is on the same page about it.

The Cast of Genesis & Other Stories: Jared W. Bishop, Tess Dingman, Hayden Finkelshtain, Katie Housely, Wesley J. Colford

The Cast of Genesis & Other Stories: Jared W. Bishop, Tess Dingman, Hayden Finkelshtain, Katie Housely, Wesley J. Colford

HS: So the cast you have now, you’ve been working with them throughout your development with the show for the past year?

RS: Yes, since November, so they’ve played a really valuable part of the show’s development of where it is today. I think when you trust your actors, I mean you always have to let them try things out and see what works, but when they ultimately don’t know what they are doing, it’s incredibly helpful for the development of the script.

HS: It gives you a chance to see it fleshed out in front of you and realize when the script really isn’t working.

RS: Yes! Totally.

HS: So, let’s talk about the origin of Genesis & Other Stories. Where did the idea for this play come from?

RS: You mean, why would I write about a Christian play within a play? Well, religion and theatre, I think, are really the two obsessive, kind of crazy, kind of amazing things that I see people really dedicate their whole lives to, so I thought, why not put them together. (She laughs). For example, the idea that when you go on stage, you know, if you fail it’s just terrible and it’s often thought of as being just the worst for an actor. So I thought, well great, let’s talk about that. We have some characters who are all about that, who think “Oh I’ll just look stupid” and that fear underlines everything for them, while we have other characters who are working on this play and thinking “Well if I fail, it’s for the grace of God” and “I care about this play because it’s a part of the other thing that people really dedicate their lives to”. The idea of really having to put yourself on the line and having faith in something is a real unity between a lot of the ways that artists think and the ways that many people who are religious think.

HS: You know, I have never really thought of it like that, but it’s kind of true. It’s funny, we were discussing earlier how theatre can be a little cult-like sometimes and it can almost consume you.

RS: Totally.

HS: Well and I guess with both that and religion, there can be a fine line.

RS: Yeah, I think there is. And I also think that there is a really great parallel of following a script, you know, following text, which you don’t realize as having that kind of power. Which is so funny, because I’m a writer, and in our rehearsal room, the writer is present, you can ask me about the text. But ultimately, the writer isn’t present for most theatre and you’re just supposed to trust how you think and interpret it for your time, which is very similar to a lot of bible conversations. So for this to be a bible play, and for the characters to be arguing about how they should literally be following this bible play was just a very appealing little dynamic for me.

HS: So in a description of the show, it’s labeled as a “romp to get you thinking”…

RS: Oh my. Sounds exciting!

HS: Very! Specifically it’s described as follows: “Slapstick, satire and meta-theatre frame a surprisingly complex story about lonely people trying to fill roles that do not suit us.” Can you talk to me about the roles that humor and pain play in Genesis & Other Stories and about your thoughts on using humor to get to something a little more poignant in your writing?

RS: For sure. I mean up until very recently, and I really mean like February, I thought that comic relief was important in a dark story or it’s important to have pain and comedy next to each other, like there should be a moment of pain and a moment of comedy. We went through these drafts of Genesis & Other Stories where everything would just sort of stop, all of the ‘funny’ would stop and we would have our moment of ‘pain’, then the comedy would start again, and I’ve just really shifted my thinking on that. I think that a real comedy is pain, like it’s all mixed in together. It’s not like you inject the drama or place it in other scenes. Anything that really makes someone laugh from his or her gut is probably about pain. So I’m not equipped or interested in, at this moment in time, writing something that makes anyone in the audience want to cry. That’s not where I’m at right now, particularly. But at the same time, I don’t think comedy is a real escape, at all. It’s like facing something in a way that you feel you actually can face it. It’s the fun-house mirror version of reality, but that doesn’t mean that it’s not completely real.

So the fact there there’s a lot in the play about being in the wrong place, not being able to live up to expectations, not being able to be who you are, like there’s queer themes and gender themes and a lot of things about people being in the wrong role and then literally, on stage in a role where they don’t fit or can’t do, those situations can be funny, even though they can be awful or poignant at the same time.

Genesis & Other Stories - Promo Pic #7

HS: So you are performing at Trinity St. Paul’s United Church. Are you rehearsing in the church, as well, or are you just performing there for the duration of the Fringe Festival?

RS: We’ve rehearsed on and off a few times in the church, but we haven’t been able to be there every day.

HS: Being labeled as a site-specific show, how has being in the church with the show affected your actors or the play, itself, as you’ve said you’re still re-writing?

RS: I think it forces you to face exactly what you’re talking about, you know? I mean it makes you think, “What church is it? Where are you? What’s out the window? How old is it?” All of those hyperrealism elements come into play with site-specific and that has been really great. But it’s also meant that we can’t get away with anything cheap. I’m not interested in making fun of all religion and I’m not interested in making fun of Christianity, in particular, even. You really want to make fun of a very specific moment and a very specific character with a specific belief and so performing in an actual church has really heightened that kind of specificity for this story. In terms of the actors, I think to have them doing a play in an environment where plays aren’t really ‘supposed’ to be done, they’ve had to work so hard just to make that work, which they do, I think. It’s going to be totally theatrically valid, especially because of Vivien’s work, but it’s just because they are so used to thinking “Well, the lights will light me in a way that draws attention to me” and now it’s like, no, if you’re not good enough, no one will even know what you’re doing. So, yeah, they’ve really risen to that challenge in a fantastic way.

HS: What do you think someone can hope to get out of seeing Genesis & Other Stories that that they, perhaps, might not be expecting?

RS: I think probably that it will be really inclusive, I hope. I only say this because Performing Occupy Toronto, which was my last play, most of the response that I received from people is how they really expected it to be incredibly preachy or politically, it would be really one-sided, and I didn’t speak to anyone who felt misrepresented or angry or that their perspective was really left out of the show, so I hope that I am able to repeat that. I really hope that this play incorporates respectful perspectives from very religious people, from atheists, from somewhat religious people. I hope that will be what people can walk away with, unexpectedly, maybe… that everyone feels included. I think when you’re satirizing something, especially something like religion, or politics et cetera, it gets people’s backs up quite immediately, and I really like people to be surprised by the fact that you can have a thoughtful conversation in art and it doesn’t have to be anger-inducing. It can be thoughtful and enjoyable. I really think this is the case.

HS: Fantastic. Lastly, what song would you encourage your audience members to listen to before coming to see Genesis & Other Stories?

RS: William Tell Overture.

HS: And with that, we’ll see you at the Fringe in a church!

RS: See you at the Fringe in a church.

Genesis & Other Stories - Promo Pic #3

 
What: GENESIS & OTHER STORIES by Rosamund Small, directed by Vivien Endicott-Douglas, a production by Aim for the Tangent Theatre
 
When: The Toronto Fringe Festival – July 3rd to 14th, Weeknight and Saturday shows at 9pm, Sunday shows at 8pm
** With a special Pay-What-You-Can Preview Performance Friday June 28th at 8pm.**
 
Where: Trinity St. Paul’s United Church, 427 Bloor Street West
 
For more information visit http://www.aimforthetangent.com/genesis-other-stories/
 
Tickets: Purchase by phone or online – 416-966-1062 or http://fringetoronto.com/ 
 
Check out the trailer for Genesis & Other Stories here: