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Posts tagged ‘Sophia Fabiilli’

Artist Profile: Ali Joy Richardson, Director

Interview by Hallie Seline

We’re all about hard-working #bossbabes being at the helm of the theatre we see, so it was such a joy to catch up with Ali Joy Richardson to discuss her latest directing project, Liars at a Funeral, why her directing mentors have been instrumental in assembling her own director’s utility belt, and the top three pieces of advice she’s living by right now. 

HS: Tell me a bit about your current directing project, Liars at a Funeral, and what caught your interest when deciding to direct it.

Ali Joy Richardson: Liars at a Funeral is set in a funeral home in Northern Ontario where a grandmother has faked her own death in order to get her family back together for Christmas. It’s a farce: 4 doors, 5 actors playing 9 characters, and a family curse of female twins who hate one another…but without the stale sexism that’s so often sprinkled in the genre. Sophia Fabiilli has revived farce with a refreshing dose of 2017 sexuality and three generations of very funny women. Sophia told me the plot of the play over a pint at Tequila Bookworm back in September and I was hooked. I immediately sent her a batch of imagery that resonated with the play for me (Edward Gorey illustrations, Wes Anderson stills, and some weird ‘70s family Christmas photos). I’m very grateful to have been trusted with this play.

Photo Credit: Neil Silcox

HS: What is the biggest thing you’ve learned so far in your experience directing?

AJR: It requires rigorous, detailed homework to be able to properly play jazz in the room.

HS: Do you have a directing mentor? If so, who is it and why do you think it’s important to have a mentor?

AJR: Thank heaven for mentors. I learned the fundamentals from assistant directing for Melee Hutton and Estelle Shook and script coordinating from Andrea Donaldson. Richard Rose has been my primary teacher for the last while (his process has totally re-shaped my practice) and Aaron Willis is my go-to emergency phone call for all things theatre. These directors have given me clarity and confidence in my practice. I’ve gratefully thieved tools from each of them to assemble my own utility belt.

Photo Credit: Neil Silcox

HS: You have a pretty #bosslady production team going on for this show with you (director/dramaturg), Laura Jabalee Johnston (producer) and Sophia Fabiilli (playwright/producer). How has it been working with this team?

AJR: DREAMY. Lots of late night 3-way calls, endless hustle, and masterfully colour-coded email threads. They’ve made me a better artist and collaborator. I’d trust these women with my car, child, or estate (if I had any of those things).

HS: What are you most excited for audiences to experience when they come see the show?

AJR: The rollercoaster – Liars at a Funeral is very funny and bravely truthful.
Also…casket comedy.

HS: Describe the show in 5-10 words.

AJR: Just one: unstoppable.

(For a complete list of the myriad of obstacles we overcame, from the Storefront Theatre closing to our casket hinges busting right before we opened, buy anyone on the team a drink.)

Photo Credit: Neil Silcox

Rapid Fire Question Round:

Favourite place in the city:
The Toronto Reference Library.

Where do you look for inspiration?
Conversations, naps, and the Toronto Reference Library.

What are you reading/watching/listening to right now?
Harry Potter and the Sacred Text (a deeply nerdy podcast by two Harvard theologians) and re-reading Patti Smith’s “Just Kids”.

Best piece of advice you’ve received or current mantra you’re living by:
“What is the next right move?” (Oprah)
“Follow the campground rule – leave the audience better than you found them.” (Neil Silcox)
“Stand up from your desk every hour, Ali.” (my Mom)

Liars at a Funeral

Who:
Playwright – Sophia Fabiilli
Director & Dramaturg – Ali Joy Richardson
Ensemble – Ruby Joy, Rhea Akler, John Healy, Danny Pagett & Terry Tweed
Producers – Laura Jabalee Johnston & Sophia Fabiilli
Stage Management – Lori Anderson
Set & Wardrobe Design – Lindsay Woods
Sound Design – Nicholas Potter

What:
A black comedy about a grandmother who fakes her own death in order to reunite her family in Northern Ontario.

Grandma Mavis stages her own funeral in order to reunite her estranged family… just in time for an ice storm to trap them all in a funeral home over Christmas. Can this eccentric clan of liars navigate the rocky road to reconciliation? Or will the next 24hrs be the final nail in this dysfunctional family’s coffin?

Featuring five actors playing nine characters, Liars at a Funeral is equally hilarious and heartbreaking. It’s also a teensy bit inspired by Hamlet.

Where:
St. Vladimir Theatre
(620 Spadina Ave, south of Harbord

When:
May 5-14 2017

Tickets:
$25
truthnliestheatre.com

Q&A with Darwin Lyons and Michelle Alexander, co-directors of Well Born

Interview by Bailey Green

BG: What about the script stood out to you?  

Michelle Alexander: Well, the first thing that comes to mind is the obvious answer: a woman haunted by a talking plastic baby. Can’t say I’ve ever come across that in a script before. As a director I’m most drawn to scripts that mess with audience expectation, i.e. scripts that make you think they’re a straight-up comedy and then stab you right in the gut when you least expect it. Celeste has taken subject matter that could easily be written as high drama and made it something special using her unique, twisted sense of humour and unapologetic approach to deep, uncomfortable, human truths.

BG: At the beginning of the play, where do we find the characters? Where are they, what obstacles are they facing?

Darwin Lyons: At the beginning of the play Elizabeth is five months pregnant. She and her husband Chris have just received the results of a test that tell them that their baby has a 50% chance of being born with some sort of incapacity. Elizabeth was adopted and never knew her birth mother and the results of this test make her question if she can handle the struggles of being a mother. Thankfully, she has a talking plastic baby to bounce ideas off of. Oh wait, that’s not so helpful. Elizabeth happens to be someone who likes to control everything, and she wants things to be perfect (I wonder what that’s like? Kidding… I know exactly what that’s like). This play is really the journey of Elizabeth trying to figure out how to accept the real version of life, even if it’s messy.

Photo of Sophia Fabiilli by Darren Goldstein

Photo of Sophia Fabiilli by Darren Goldstein

BG: What has the experience of co-directing been like? How do you navigate shared responsibilities and balancing a common vision of the production?

MA: Co-directing is the woooooorst. Never do it. KIDDING! Co-directing has its challenges, but with the right ‘match of minds’, two heads can truly be better than one.

Working in tandem with another director really forces you to ‘put the art first’ rather than your own ego. When you’re directing solo it can be easy to convince yourself your idea is definitely right and definitely brilliant. The act of bumping that idea up against someone else’s creative vision really forces you to evaluate whether or not it is the best choice for the story of the play.

How do we navigate co-directing? Honestly, I almost think of it like we are co-parenting a play-baby. Yeeeep, I said it! To raise our play-baby as best we can we have to commit to full, open communication, compromise and trust. If we get frustrated with one another we just throw our focus towards what decision will foster the growth and well-being of our play-baby.

*Side bar: I now fear the title of this interview will be ‘Michelle and Darwin made a Play-Baby.’

DL: Like all worthwhile endeavours and relationships co-directing with Michelle is awesome and also hard. The challenges come from the fact that we need to be really keyed into each other and communicate really well. We both work really long hours at many jobs, but we always take 30 seconds at the end of each rehearsal to check in with each other. We have an almost sign language type code—you good? Yes/no? Do we need to have a bigger chat? The joy of co-directing is that two brains are better than one. I believe that the more life experience to bring to the creation of a story the better it will be. Michelle and I have worked together a lot, and we know that our strengths and weaknesses really compliment each other. I don’t know what co-directing with someone else would be like, but I do know that what makes this collaboration work is that I trust her implicitly, I agree with her aesthetic, I think she’s incredibly smart and talented, and I know that we will be able to talk through any challenges.

Photo of Sophia Fabiilli by Darren Goldstein

Photo of Sophia Fabiilli by Darren Goldstein

BG: What has been the most challenging aspect of the process?

DL: This play jumps time, space and logic. Reading Well Born for the first time I loved how I felt like I was right inside of Elizabeth’s brain. It made me so excited because I feel like I get lost in my fantasy world and memories, it’s cool to see that reflected in a story. However staging that can be a bit of a challenge. How would you communicate to an audience that one second your in someone’s fantasy, then memory, then worst case scenario nightmare, then back to reality? Thankfully we have an amazing design team that is willing to really collaborate with us to help the vision of the show come to life.

MA: I’m an actor as well as a director, so I think my greatest strength as a director is working with actors, figuring out their characters, their moments. Staging is a whole other ballgame. Even thinking about staging complicated scene transitions or ‘fancy blocking’ gives me sweaty armpits. Celeste’s play requires a lot of fast scene transitions, many locations and some serious ‘theatre magic’. That has been the biggest challenge: How to fulfill the staging of this play in a fluid way while staying within an indie theatre budget.

BG: What has brought you the most joy in this process?

DL: Last week I ran into a friend and was telling her about the show and she launched into a story about how she struggled with something similar when she was pregnant. After sharing these intimate details from her life she sat back and said, “Sorry, I guess I just really needed to get that out.” It’s great to work on a story that people seem hungry for. I rarely hear women given the platform to talk about the real struggles and fears of being pregnant. I think the most important part of art is that it allows people an opportunity to say, me too! It allows them space to have their experiences shared, or for us to learn about an experience we might not have had. I love being a part of stories that are honest and also rarely told—this story is both. A huge benefit of that is that this story has attracted a wonderful team of actors, designers and production people to work with. Seriously, you would want to hang out with all of them if you got the chance to.

MA: The people! The cast and creative team working on Well Born are not only insanely skilled at what they do, they also work incredibly well as a team. Working on a new play is like following a moving target: the script is constantly changing, the design shifts as the script shifts, actors are given a new scene one day and then have it taken away the next… I know, you’re probably thinking ‘This is your joyful part of the process Michelle?!’ It is! Because when the whole team leaves their ego at the door, rolls up their sleeves and comes in with an attitude of ‘let’s find the guts of this thing!’ it’s not just ‘rehearsing a play’ it’s creating something new together. 

BG: What excites you the most about emerging female playwrights in Toronto? 

MA: That more and more are emerging every day! At Nightwood I get to read a lot of scripts by emerging female writers, and I must say, there are a lot of badass plays by women coming down the pipe! I’ve seen a lot of great scripts in the past few months that aren’t afraid to stand behind a strong point-of-view; that aren’t afraid to be messy and uncomfortable and that aren’t afraid to be funny! Celeste’s play is an example of the incredible, fierce and funny female writers in this city!

(Note: this Q&A has been edited for length and clarity)

WELL BORN

#WellBorn2016 produced by SoCo Theatre in association with Truth ‘n’ Lies Theatre

wellborn

What:

Mother-to-be Elizabeth is haunted by her inconclusive prenatal test results, the fact that she never knew her biological mother… and a talking plastic baby. Deeply personal and darkly comic, Well Born is a twisted dramedy about otherness, acceptance, and facing your fears by emerging playwright Celeste Percy-Beauregard.

Where:

Artscape Youngplace, Studio 109 (180 Shaw St.)

When:

Thursday March 3, 8pm
Friday, March 4, 8pm
Saturday March 5, 2pm
Saturday, March 5, 8pm
Sunday March 6, 8pm (Closing)

Tickets:

$25 general admission | $20 arts worker | PWYC on Sat Jan 27 at 2pm

*PURCHASE TICKETS ONLINE HERE!

*RSVP to the Facebook event to stay in the loop!

 

In Conversation with Sophia Fabiilli – Adaptor & Performer of The Philanderess in the 2015 Toronto Fringe

Interview by Hallie Seline

I had the pleasure of chatting with the Fabulous Fabiilli. I call her that as 1 – her twitter handle is FabFabiilli and I want it to catch on and 2 – she’s inspired me to think that should be her superhero name. Currently wearing the many hats of adaptor/writer, producer, actor etc. etc. in her show The Philanderess in this year’s Fringe Festival, Sophia shares her inspiration for the adaptation, the strength of her team around her and some very good advice for surviving the ever-necessary evil of wearing those multi-tasking shoes in indie theatre. #FringeFemmeTO power!

HS: What inspired you to adapt George Bernard Shaw’s The Philanderer for the 21st century?

Sophia Fabiilli: Want to know my little secret? I didn’t have a project when I applied for the Fringe (gasp!). I was trying to find the perfect play to produce, but nothing felt right and my gut told me I was trying too hard. So, I sat down in my front of my bookshelf and said: “What do you really like, Sophia?” (out loud, alone, and creepily in my apartment). And there was my copy of Shaw’s Plays Unpleasant. I loved working on a scene from The Philanderer in theatre school and I realized what I really like are plays that make me laugh and make me think. I’m also very passionate about the representation of women on stage and in the media, so thought it would be interesting to re-invent the play with a woman at the centre of a modern love triangle, while trying to let Shaw’s smart, funny, and witty writing inspire my own. Then I realized this idea would involve writing a PLAY, so I went around telling myself I couldn’t possibly do THAT. Then, I finally told someone the idea, they said “DO IT”, and I started writing (and I haven’t slept a full night since).

What resulted is a weird, little farce. Our tagline is “Open relationships, ballsy sexcapades, and weeping men… What would Shaw think of that?”. Laugh? Cry? Throw rotten tomatoes from the grave? Come see the show and tell me what you think over a Steamwhistle after.

HS: You have a great group of artists working on this play. What was it like bringing something that you had been working with so intimately as an adaptor to the team you have around you?

SF: My amazing director/dramaturg/work wife, Michelle Alexander, was the first person I asked to help me with this project and I will sing her praises to anyone willing to listen. It’s been her and I since the get-go and we have slowly built our mighty little team together.

HS: What’s it been like?

SF: As an actor and producer: AWESOME. Work with great people. They’ll make you look like you know what you’re doing.

As a writer: AWESOME. And, to be honest, a little overwhelming. If you hire smart actors, they will ask hard questions about your weird little play baby, which in the moment is challenging, but in the long run is invaluable. There were a few humbling rehearsals where discrepancies were pointed out and questions were asked and I had to go back to my laptop and figure it out. Overall though, everyone’s profesh (that’s how I say professional without sounding pretentious); they all know what they’re doing and they’re all invested. I’m extremely lucky to be working with them.

HS: As you mentioned, you wear many hats for this production – adaptor, writer, producer, actor – what was your experience taking on so many roles in this show and do you have any words of advice for others who are or might one day be in the same kind of multitasking shoes?

SF: Full disclosure: writing, acting, and producing this show is by far the most challenging thing I’ve ever done. It is as difficult as everyone tells you it is (Michelle and I answer each other’s calls “Hello! Panic Attack Central” which gives you an idea of what our lives have been like leading up to opening).

Even now that we’re open, I’m STILL working on trying to separate my different roles, but things always come up! For instance, once we started rehearsals, I was trying really to “hang up my writer hat”, but then… the ending needed a major rewrite. And then… the show was too long. And then… it was still too long. And then… it was still too long… Layer in a never-ending producing to do list and slaying my demons as an actor, and… yes, Panic Attack Central really should have been the name of my theatre company now that I think of it.

So, here’s my humble advice:

1) Just like in real life, wearing more than one hat isn’t a “good” idea. But wearing multiple hats in this crazy biz is often unavoidable, so: prioritize and carve out time in your schedule for the creative things. Often there are harder deadlines for the producer things and will take priority sometimes (okay, a lot of times), make time for the creative stuff (for writing, learning lines, warming up for your show)… because chances are the creative part is probably why you’re producing your own show in the first place.

2) Ask for help. This one is so hard! It’s hard to trust other people with your weird play baby (no one understands her like you do). Surround yourself with awesome people and let them help you. My stage manager, Laura Paduch, offered to take on producer-y things from the get-go and I will forever love her for that. I also ended up bringing on my awesome co-producer, Vikki Velenosi, who keeps forcing me to give her items off my to do list, which she then magically accomplishes. I will love her forever, too. And then there is my small army of friends who I call for advice, for help postering, or for free therapy sessions. Oh, and Mom built my set. So, yes, I would definitely recommend having handy (and retired) parents.

3) Think less, just do it. This became my weirdo Nike-inspired mantra. It’s very easy to get overwhelmed. Do one thing at a time. Make a to do list and start checking things off. Just do it.

4) Budget extra time. For everything. Yep.

5) Take care of yourself. Take breaks. Take your vitamins. Sleep. Eat well. Call your mom (especially if she built your set).

Please note: I did not do these things unless we count eating Nutella off a spoon at 2am as “eating well”.

6) Remind yourself to enjoy the process. Half way through rehearsals I realized I was stressing so much about making a play. A PLAAAY. Even though I am totally the CEO of Panic Attack Central, making theatre isn’t heart surgery, so I tried my best not to stress about it like it was (and failed, but this sounds like excellent advice, doesn’t it?).

HS: Tell us about your favourite aspect of the Fringe Festival.

SF: The lottery system. “Breaking into the scene” is really daunting and can feel impossible, but anyone can get into the Fringe! It doesn’t matter what’s on your resume!! I just love that. And the beer tent is pretty fun, I guesssss…..

HS: Describe The Philanderess in 5 words.

SF: Silly. Sexy. Weird. Ridiculous. Unicorn.

HS: We’re loving the #FringeFemmeTO hashtag you ladies started! As Femmes who are Fringing, any other shows you think we should check out?

SF: It caught on! Woohoo! I feel like an old lady who got her DVD player to work! Honestly, I have a very on-again/off-again relationship with Twitter, but this really is evidence of its power to connect people.

So many #FringeFemmeTO shows to see and so little time! Here are just a few in no particular order:

In Case We Disappear, Bout, Hanger, Adventures of a Red Headed Coffee Shop Girl, Morro and Jasp do Puberty, Waiting for Alonzo

The Philanderess

Presented by Truth ‘n’ Lies Theatre as part of The 2015 Toronto Fringe

PHILANDERESS G1

Meet Charlotte. She has a PhD in feminist philosophy, just asked her lawyer boyfriend to be her life partner, and authors a wildly famous blog about sleeping with men on the side. She has it all!
Until one of her lovers – and his entire family – crash her engagement party.
An outrageous, sexy, fast-paced farce inspired by G.B. Shaw’s ‘The Philanderer’!

By: Sophia Fabiilli
Company: Truth ‘n’ Lies Theatre
Company origin: Toronto, Ontario
Director: Michelle Alexander
Cast: Amos Crawley, Seth Drabinsky, Jakob Ehman, Sophia Fabiilli, Deborah Tennant and Suzanne Bennett
Creative team:
Stage Manager: Laura Paduch, Co-producers: Sophia Fabiilli and Vikki Velenosi, Designer: Laura Gardner, Fight Director: Nate Bitton

Where: Annex Theatre

When: 
July 02 at 07:00 PM  buy tickets
July 04 at 11:00 PM  buy tickets
July 06 at 01:30 PM  buy tickets
July 08 at 07:30 PM  buy tickets
July 10 at 05:45 PM  buy tickets
July 11 at 12:30 PM  buy tickets
July 12 at 04:00 PM  buy tickets

Warnings: Sexual Content, Mature Language

Tickets: fringetoronto.com

Connect with them: @truthnlies
@FabFabiilli

#FringeFemmeTO

sophiafab.com

Connect with us: @intheGreenRoom_
@HallieSeline

#GetYourFringeOn

Sophia Fabiilli – Assistant Producer of One Little Goat Theatre Company’s “The Charge of the Expormidable Moose” Shares her TOP TEN THINGS She’s Learned About Producing

 Sophia Fabiilli is a Toronto-based actor and budding theatre producer. This spring she had the opportunity to work with One Little Goat Theatre Company, assistant producing their current production of ‘The Charge of the Expormidable Moose’ (on stage NOW at the Tarragon Theatre Extra Space until May 26th).
 
What does an indie assistant producer do? How was it been transitioning from acting to life on “the other side of the table”? Sophia shares her top ten lessons on producing thus far.
 

1) Input does not equal output

My first experience as a producer came last spring when the Amy Project facilitated an internship withSeventh Stage’s production of ‘Stockholm’, in partnership with Nightwood Theatre. I was lucky enough to be an intern producer and worked under the guidance of the magnificent Melissa Jane Shaw, Artistic Producer of Seventh Stage. One of my focuses was educational outreach. I called ninety-one high schools in the GTA and booked zero school groups. Zero. This was a crushing blow to my rookie producer ego…

If you work hard, it’ll pay off, right? It doesn’t always work that way when building new audiences. It’s extremely difficult and you must brace yourself with patience. Lots of patience. Remember: even if it doesn’t work out this time, reaching out to new people will somehow pay off down the road.

2) Cold calling perseverance

Let’s be real: people are busy and inevitably think that you want their money/will waste their time. From my experience, know exactly what you’re going to say before you pick up the phone, but don’t sound like a robot. Be concise. Spark their curiosity. And if they’re not interested, be polite and thank them for their time.

Once in a while, you’ll call someone who is absolutely thrilled that you’re not a pre-recorded message announcing that they’ve won a phony free cruise. “You’re inviting me to your play? Awesome!” You willconnect with people who will be excited to hear from you (and you’ll be happy that you made the call).

3) Know what you’re talking about

This spring, I was fortunate to be hired as the Assistant Producer for One Little Goat Theatre Company’s English language world premiere of ‘The Charge of the Expormidable Moose’ (on stage at the Tarragon Extra Space NOW until May 26th – go see it!). I assisted Artistic Director/Executive Producer/my incredible mentor, Adam Seelig, with everything from securing rehearsal spaces to sourcing insurance to locking down cross-promo deals to brainstorming ways to spread word about the show.

At one point, Adam suggested that I contact some local galleries that showcased surrealist artwork. Claude Gauvreau, who wrote ‘MOOSE’, was part of a radical group of surrealist artists and political activists in Montreal, called Les Automatistes.

This was a brilliant idea on Adam’s part, but when it came time to make the cold call, I got cold feet. I realized that I didn’t know enough about what our project and these galleries had in common. I was going to look like a fool… and worse, make One Little Goat and ‘MOOSE’ look second rate.

I confessed my concerns to Adam and put myself through a crash course on the core and content of the play’s cultural history. Moral of the story? Be an expert on your show. You need to be able to speak passionately about your project and tell people why they shouldn’t miss it.

4) Get organized

This one sounds like I’m running out of ideas, but it could easily be my #1 piece of advice. Keeping track of a thousand details can be overwhelming, especially when you have other projects, a ‘Joe’ job, and a semblance of a social life on the go as well…

The following is completely stolen from Arts Planner Extraordinaire, Sue Edworthy, who did the marketing for ‘MOOSE’ and from whom I’ve learned lots… (do yourself a favour and read Sue’s blog –www.sueedworthy.ca)

In order to keep our Expormidable team on the same page, we created a shared Google calendar and a giant grid of all our reciprocal deals in DropBox. Everyone kept the calendar and the grid up-to-date with deadlines, show openings, and important dates. We scheduled everything (e v e r y t h i n g), even down to our social media postings. It worked brilliantly.

5) Reciprocals are your best friend

What’s a reciprocal anyway? Basically, it’s an agreement between two companies to help promote each other’s shows. If your shows run at the same time, you can trade postcards or program ads. If they don’t, get creative… Offer shout-outs in your e-blast or on your website, free tickets, social media or blog posts, whatever you got!

Advertising is expensive, my friends. What better way to pump your shows than to connect with each other’s audiences?

The Charge of the Expormidable Moose - One Little Goat Theatre Company

The Charge of the Expormidable Moose – One Little Goat Theatre Company

6) Use social media wisely

Remember last July? Remember receiving 12,000 notifications a day about Fringe shows? Remember how much you loved that? …Yeah. Social media is a powerful tool, but it won’t do squat if someone stops following you or turns off notifications about your event.

I’m going to take a page from Sue Edworthy again. For the ‘MOOSE’ event page we posted: “IMPORTANT: We will not be posting to this page. To keep up-to-date about the show, please “like” One Little Goat Theatre’s page. Thanks!

SUCH a great idea! By directing people to “like” your page instead of “attend” your event, you retain those Facebook followers after your show closes… and have them on hand for your next project. LOVE. IT.

7) Be thoughtful about online etiquette

I was in charge of social media posting for ‘MOOSE’ and my first thought was “everyone is going to think it’s Adam posting, not me”. It was really important that I wrote in a style and tone that suited the aesthetic of One Little Goat Theatre.

Being the voice of someone else’s company is a huge responsibility! Go the extra mile and triple check… This is important to remember when it’s so easy to tweet or send off a quick email in a matter of seconds. Careful that what you’re writing won’t be misinterpreted or, quite frankly, sound rude. And while you’re at it, respond to correspondence in a timely matter. It makes a HUGE difference.

8) Get your hands dirty!

AH YEAH! This one sounds like fun!

When Adam and I were planning in January, I suggested that we create a promo video. Great idea, Sophia! Fast forward to April, when I shot and edited seven one-minute videos interviewing our incredible cast members (here’s an example: http://onelittlegoat.org/blog/2013/5/6/video-actor-sochi-fried-talks-moose).

I have neither shot nor edited a video in my life, but let me tell you… iMovie and I are intimate partners at this point. I also catered our opening night reception. Sometimes you just need to jump in and get a job done.

9) Ask questions

Holy hell, I asked a lot of questions! You can ask Adam. Actually don’t… that poor man needs a rest.

I’m new to this and didn’t want to screw up. So, I asked a bunch of questions and learned a lot (although I still have so many more to ask…). If you’re new to producing like I am, get out there and talk to people who’ve done it. There are incredible people in this community who are happy to share advice (and war stories).

10) Praise to producers everywhere!

Producing is an all-encompassing (and sometimes thankless) job and your work is never totally done. There’s always another post to be writing or another invite to send. Honestly, it has been a challenge to balance the workload with my other life as an actor.

Struggles aside, it has been fascinating to see a show come together from the “other side”. I had expected to find it artistically unsatisfying; I wondered if I would envy the cast, wishing that I were up there instead. I am happy to report the opposite! There is a creative side to this job and, let me tell you, sitting in a full house on opening night of the show you helped to produce feels DAMN GOOD.

So far, producing has been an eye-opening experience for me. The next time I work as an actor, I’ll remember that my director, producers, and designers have been working on the production for months(maybe years!) before I came onto the scene. The show cannot go on… without everybody’s efforts.

 
THE CHARGE OF THE EXPORMIDABLE MOOSE
by Quebec visionary Claude Gauvreau 
“A tour de force” -GLOBE AND MAIL
“A production not to be missed” -STAGE DOOR
“An unforgettable performance” -CHARLEBOIS POST 
 
Runs: May 10 – 26, 2013, Tue-Sat 8pm | Sun 2:30pm
Where: Tarragon Theatre Extra Space, 30 Bridgman Avenue Toronto
Tickets: $25 | $20 student senior artist + $3 final week | Fri & Sun rush tix $13
Buy your tickets over the phone: 416-531-1827 (no service fees!)or 
In person at the Tarragon box office: 30 Bridgman Ave. 
 
For more info go to One Little Goat Theatre Company’s Website – onelittlegoat.org/moose/