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Posts tagged ‘theatre’

“WHITE HEAT, Online Trolls & The Hustle of Writing” In Conversation with Graham Isador

Interview by Megan Robinson.

This year will be the fifth time that accomplished storyteller, Graham Isador, is presenting his work as part of the SummerWorks Performance Festival. Isador is well-known for his successful one-person shows, but, with White Heat, he’s written a traditional play that he hopes will succeed in having a life beyond the festival.

Based on real events, Isador’s new play draws on his insights from working as a culture writer and journalist (most notably for Vice, GQ, and CBC), as well as the challenges and dangers that many of his co-workers and friends have faced in their careers as journalists. In our interview, Isador continues to grapple with the seriousness of online harassment, wondering how we can determine the severity of a threat, and the problem of assuming it’s all just talk. It’s this curiosity that drove him to write the show, which is about a journalist who becomes targeted by an alt-right podcaster. The story of White Heat is relevant and thought-provoking, exploring what can happen when online threats become a reality.

We spoke with Graham about his ambitions for White Heat, dealing with online trolls, and the hustle of writing.


MR: Why SummerWorks?

GI: Laura (Nanni) has been pretty pivotal to my career in a lot of ways. It’s funny, I don’t really know her that well but I have immense respect for what she does and the dramaturgical questions she’s always asked about my work has elevated it in a way that has been super beneficial for how I think about my work and the way I want it to move forward. I think I owe SummerWorks a lot for anybody recognizing my work in theatre. So there’s that. And it’s a very conscious choice, to be completely transparent about it. This is the first time in the last couple years that I’ve put on a show that hasn’t been a one-person thing. This is me sort of shooting my shot. I understand why maybe my stuff hasn’t been programmed in the past, because it didn’t really fit within the context of theatre seasons or what not, but it’s sort of a chance to be like, ‘this is the crew I’ve assembled who are very talented, the script is good and relevant, and I want to get it seen by artistic directors’. I’m extremely proud of the crew we’ve put together to elevate this story and SummerWorks is a showcase, at this point, to be able to hopefully get it programmed somewhere else.

MR: When you wrote those other shows, did you think a theatre might pick them up? So is this you sort of like, acquiescing and saying, ‘okay no one wanted that so I’m going to play your game’ a little bit?

GI: I think that the stories I’m wanting to tell, on a personal level, is why I wrote those one-man shows. And because every once in a while I’ll get an ache and I’ll think I want to be an actor, but that’s not true. I don’t really want to say other people’s words or remember other people’s lines and be accountable in that way. But I do have a need to be on stage once in a while, so the one-man show is sort of a way to get that out of my system so I don’t embarrass myself in front of our community trying to be a different character than myself.

White Heat is built out of the fact that, in the past year, there’s a handful of colleagues, mutuals on twitter, and friends who are journalists who have been put on neo-Nazi kill lists. If I have an article that’s a hit, for a week someone will tell me to get hit by a bus, or that they’re going to beat me up, or that I’m a fag. So I started thinking about the relationship between those two things, and the people behind those comments. The extreme examples of all this is not stuff that has happened to me. The stuff I deal with in terms of harassment on a daily basis is peanuts compared to what a lot of my colleagues who are writing hard news deal with. But I wanted to be able to talk about what the reality is for me in those situations, as well as what the reality is when I’m having beers with friends and we’re talking about this stuff – that harassment part of our daily lives. And it’s all a joke and it’s all online until somebody gets shot.

The offices at Vice Montreal last year were occupied (for a lack of a better word) by bikers from the alt-right who came to the office because of an article that was written and offered threats to the Vice Montreal writers. A couple weeks after that, there was a shooting in Maryland at the Capital Gazette where five journalists were shot and a handful of others were injured because of things they wrote.

I mean I write about bars and buffets and abs and dumb culture shit and I get some of this as a blowback but the reality is that it’s feeling, even for me, a little more dangerous and a little more real lately. So it was like, ‘this is the story that I need to tell’, and I didn’t feel like doing it as a one-man show because it couldn’t really do justice to all the stories. It allowed me to dig into the themes and dig into the realities of what that is for friends, without having the burden of it all being 100% factually accurate.

Photo of Tim Walker in WHITE HEAT by Graham Isador

MR: So your play is about the most extreme case, the really violent and the more political version of it, but what you experience is mostly the bullying and the trolls?

GI: Yeah and I’m not a victim in this situation. I choose to put myself out there in a lot of these ways but it’s just interesting to me that it’s a reality of these things. And as the temperament of society changes, this becomes politicized regardless of what I do.

MR: What do you mean?

GI: Well, by writing for the CBC, by writing for Vice, people have narratives about what those institutions are. So it doesn’t really matter what I’m writing, I become an enemy to them based on this thing. I’m very fascinated with the idea that anything that gets written or anything that reaches a certain level of critical mass just becomes fodder for countless vile comments towards you. And what is it that we’re doing that it’s now just a by-product of doing work like this and what does it say for the larger societal context?

MR: Has it ever made you want to stop writing? Have you ever had an article go up and felt like you needed to take a break from it or take a pause?

GI: The only time that it’s kind of given me pause, at this point, is when it’s starting to affect people who aren’t me. I chose this, right? No one is telling me to write stuff.

MR: But you can choose it without knowing what it’s going to feel like.

GI: I think that’s true but I’ve also been doing this for seventeen years. I started writing about bands when I was thirteen. I kind of know what’s what at this point. One of the things I’ve been trying actively to do when I’m writing true personal stuff is get other people out of it as much as I can. Then it only becomes about me and not my friends or partners or whatever else, because they didn’t ask for this in the same way that I did. So that’s when I think about stopping. And then there’s times when you’re having a day that’s particularly hard for whatever reason, and then an article pops up that calls you names. And I engage with that stuff. I read the comments. I know you’re not supposed to.

MR: Why do you read the comments? What do you get out of it?

GI: Well if someone was saying something about you, wouldn’t you want to know?

MR: Personally, not always, no. Because it can still get under your skin even if you know they don’t have anything worthwhile to say, right? I guess you probably have thick skin, but I definitely have thin skin.

GI: I don’t know if I do. I go back and forth with it. I think part of anything with performance, with writing, with whatever, is a certain desire to make sure that your opinion is relevant. There’s a certain arrogance that goes along with it. To be like, ‘look, what I’m telling you is important and you should pay attention to me.’ I don’t think I would do this work in theatre, in journalism, if I didn’t feel that way. I think that’s the manifestation of why I do this stuff in the first place: I want my ideas to be important to other people, and I have something to say. Which also means that I am curious how people respond to that. It’s part of my temperament that I engage with those types of things. And sometimes I take them more seriously than others.

MR: How long has it taken you to write the play?

GI: Three months? I pitched this with an idea, and probably about two monologues and SummerWorks was interested in the themes and interested in some of the people that I’ve been working with. Jill Harper, who is directing it, is pretty incredible – she won a Dora for Pool (No Water). Tim Walker is mostly known as a comedic actor but this gives him a chance to show off his drama chops. And there’s Makambe Simamba – I think if this were a year from now I would not be able to work with her because she’d be booked for something huge. She’s going to be a really big deal.

MR: I’m curious what your end goal is. You do so many different things – is there one thing you’re reaching for more than anything else?

GI: No, I just kinda want attention… No, all this is the same thing to me. It’s all storytelling. Producing, writing, photography, all of it. It’s just the way to communicate ideas that are important to me. I look at who my heroes are, people like Jon Ronson or Anthony Bourdain, who are able to dabble in all this different stuff. All of it is facilitating this one idea that their life is also their art. There isn’t this big barrier between what I am and what I do and what I’m trying to bring to the world. Bourdain was a huge hero of mine. There was like eighteen different things that guy did and it was all playing to this bigger idea of using food to be able to talk about human experience and culture. For me, it’s how do we use all these different mediums to say, ‘these things are important’. More recently, I’ve been trying to figure out how I can use those same avenues that I have to be able to tell stories of people who may not be able to have their own voices. So that responsibility is something I’ve been thinking about recently. I’m exhausted all the time but I also don’t do anything I don’t want to do.

MR: I see your name popping up online all the time, and every time I see another article come up, I’m so curious about how you’re so productive… you seem overwhelmingly productive! How many articles did you write last year?

GI: Sixty. Maybe more. This year I’ve done fifty-four.

MR: That feels like a lot. Does it feel like a lot to you?

GI: Yeah. I think at some point in the next couple years I’ll be able to calm down and focus myself to do less. But right now the reason I get to do stuff is because I keep doing stuff. It’s a hustle, right? And like, if you want these things for real, that’s what you do. But there’s something to be said, definitely, for taking your time and thinking about these things, but I’m not talented in the same way. I’m a worker, and I have a little bit of talent, I’m decently smart, but the difference between me and a lot of other people is that I will continue to keep doing things until I get better at them. There’s a handful of other writers in this city who I know are better writers than me but the difference is that I try to do it absolutely every day and by doing that you just gain enough experience to keep growing and growing and growing. Between all these things I can make an okay living for myself, just barely. I don’t want to do anything else except write. So I just write all the time.


White Heat

Who:
SummerWorks Performance Festival with Pressgang Theatre
Written by Graham Isador
Directed by Jill Harper
Performed by Makambe Simamba and Tim Walker
Sound Design by Christopher Ross-Ewart

What:
A revealed identity leads to an impossible decision.

Journalist Alice Kennings grapples with how to act after uncovering the identity of an alt-right podcast host calling for violence against the media. Based on real events, White Heat is a play about all the things we justify to ourselves. Written by Graham Isador (VICE, GQ) and directed by Dora Award winner Jill Harper (Pool No Water).

Where:
Longboat Hall at The Great Hall
103 Dovercourt Road, Toronto, Ontario

When:
Sunday August 11th8:30pm – 9:45pm
Monday August 12th9:30pm – 10:45pm
Wednesday August 14th6:00pm – 7:30pm

Tickets:
$15/$25/$35
summerworks.ca

Connect:
@presgang 

“Overcoming Creative Road Blocks, Cultivating Your Practice & The Power of The Movies” In Conversation with Vanessa Smythe, Co-Creator of THE TAPE ESCAPE

Interview by Megan Robinson.

Vanessa Smythe is in the middle of doing her laundry when she answers the phone. I can hear the beep of the laundry machine when she tells me that recently all her dreams have been about puzzle-solving. This definitely makes sense since The Tape Escape, which she co-created with Mitchell Cushman, is an immersive theatre experience that is a blend of puzzles and storytelling. Though it opened in July with Outside the March, Vanessa says they are still in the process of making tweaks here and there, adding pieces of content, and allowing ideas to evolve. The bones of the show have been solidified for a long time, but Vanessa is still so inspired by it and excited for all its possibilities that she says it can be hard to know when to stop working.

Even without the new tweaks and additions, The Tape Escape is an already complex show. For their track, “Love Without Late Fees”, they wrote sixty-five different scenes. I imagine it would be hard knowing some sections may never get seen, but Vanessa says part of the fun is letting the audience have agency over the ending. For her, it’s a bit of a lesson in letting go. Though she does admit to having favourite outcomes.

Vanessa and I spoke for an hour over the phone about collaborating with Mitchell Cushman, how this project has affected her as an artist, and what her advice is for getting through creative blocks.


MR: Let’s go back to the beginning of the project. So you and Mitchell walked into Queen Video, and you wanted to do something together. How long had you been having the discussion of wanting to do something? What was the first idea you had?

VS: I do a lot of solo shows and I had an idea to do a one-person show inside an old video store. I think what excited me was the idea of what these tapes had witnessed and someone taking you into their personal connections and the little moments of significance that are tangled into all these objects. I love collaborating with Mitchell, and he had worked at video stores before (he’s an enormous film buff) and has also always wanted to pay respect somehow to what video stores meant to him. We both had this emotional pull to the space. We began with the question, “what have these tapes witnessed?” and what could they tell us about the people who once held them, and cared about them, and shared them and exchanged them.

When we did our initial Kick And Push workshop the question was, “how can we tell the story of one couple’s relationship in six video rentals?” And that kind of lead into this almost-treasure hunt. I don’t know if when you were a kid you ever did treasure hunts with your friends but I always loved the idea of searching for something, so that was also a thematic interest.

Photo Credit: Neil Silcox

MR: Is this the sort of thing you want to keep doing more of or are you inspired to go back to something simpler?

VS: I love storytelling so it’s been a really exciting experiment to see how puzzles and stories speak to each other. I’m hoping it’s made my writing stronger. I’m excited to remove that puzzle component and see what influence that has had on my impulses creatively. [laughs] What a vague answer… I don’t know!

MR: That’s fine. You’re in the middle of it!

VS: It’s funny, I’ve been acting in a couple of film and TV projects this summer and I was always so nervous to do those things (and I still am sometimes). But I would depart from being this puzzle-creator, where I felt like I was doing seven different tasks, and then I would show up to set and say lines and I’d be like, “This is a single task. I have nothing to complain about”, so I don’t know it probably has been good.

MR: It’s definitely a testament to stepping out of your comfort zone and the perspective you gain afterwards.

VS: Mhm. I think Mitchell Cushman is such a talented person and he really doesn’t hesitate to do something. I really admire that. Some people are like, “I’m not sure, let’s not do it.” And he’s like, “Well let’s find out if it’ll work and let’s do it.” And I really hope that that’s rubbed off on me a little bit. It really is the only way to do something, I think. Because there’s always going to be doubt and uncertainty.

MR: I’d love to know how you get through creative blocks. I’m asking this a bit from a personal place, as well, since I feel like I’ve been stuck for like three months, and I find it so helpful to hear from other people what they do in that case. What do you do?

VS: Sure! I think it depends on the nature of “the stuck”. I mean, I can answer your question, but I’m also just interested in why you feel stuck?

I’m realizing I’m a really sensitive person. I feel like it’s actually a good thing a lot of the time. I feel that people like me, we can be very perceptive and can detect impulses in ourselves and sometimes follow those but I think the flip side is that it’s easy for our voices to feel muted when we’re around a lot of noise. So I find a lot of the times when I’ve been stuck I feel the part of me that is really certain and honest is a little bit obstructed and usually I think it’s because (whether I’m realizing it or not) I’m paying a lot of attention to the voices and impulses and noises and ideas surrounding me and it’s cutting me off from that genuine current that is open and flowing.

I find (and I don’t know if there’s a solution for it) that I really have to get on my own side again. Sometimes it’s not gonna happen the way that I think. I might need to stay up really late until four in the morning and watch old episodes of a bad show and then, like, go for a walk and eat a weird candy that reminds me of someone I had a crush on when I was eight and maybe that will make me feel more like myself and sort of collapse those obstructions that get in the way. I feel like connecting to joy is important. And more and more just really embracing how you do things. Because everybody does things differently and sometimes while working closely with other creative people, it can be tempting to try and mimic or participate in their rhythms when really your rhythms might be a little different.

It takes an effort to cultivate a habit of checking in with myself and trying to make sure that those pathways of creativity are as unobstructed as possible, but whenever I do I’m always so glad, you know? You really feel this relief. I really think one of the best feelings in the world is when you feel like yourself. When I’m talking to somebody and I’m like, “this is how we talk!” and it’s so good and easy, you know? Versus when you’re having a conversation and it’s taut and your cheeks hurt and you’re hearing yourself and you’re like, “what am I even saying?” And the gift or luxury or whatever you want to call it, of being creators is that we’re asked to return to our own voice – can you just believe in it and love it and spend time on it and see where it takes you? That’s my bread and butter. That’s the biggest joy to me. And it’s hard but if I continue to cultivate a practice that supports it then I feel like I’ll be okay.

MR: Oh yeah, that really hit me. That’s definitely it.

VS: I don’t know… It’s so funny how the things we tell other people are often the things we need to hear. Or the things we make are often the things we need to witness.

MR: My other question for you was going to be how do you tap into your honesty, but the other question I asked you brought us right into that.

VS: I’m so glad!

Photo Credit: Neil Silcox

MR: The last question I have is based off how you said earlier that you write to heal something in yourself or tap into something in yourself- was there something with The Tape Escape that you were healing or tapping into?

VS: Yes. When I was twenty-two I used to go to this acting class and there was this boy who would drive me home from acting class and we both were these like frightened human beings who loved stories and believed that movies were your guides in your life and he had seen every movie. He was a very nervous, cripplingly shy person. But it was almost like he had every movie in his coat pocket, and when he talked about them, they were his strength. I just have this memory of this time when we’re these two friends, driving home from our class together, and we were afraid of the world and we felt uncertain and lost and confused and like we didn’t belong anywhere but then we would talk about our favourite movies and we would imitate our favourite scenes from stupid comedies and we would laugh and it would be this really special time, and that’s gone now. He actually had a license plate, MOVIE MAN, and in initial phases of this project I wanted to call it that. I wanted this to almost be like a love letter to a friend. We found each other when we were both very lost and kind of used movies to feel okay. I feel like that is at the seed of the project for me.

MR: Has he seen it?

VS: We’re not really in touch anymore. But it feels like an extension of moments in your past that were special and you didn’t even maybe realize they were special at the time. And now they’re gone, kind of like how video stores are gone. I don’t know, I feel like just being in the store and letting yourself be drawn to certain tapes draws me closer to the people that I miss. I feel like for me that has been an emotional centre for what’s inspired this.

MR: Do you have any tips for audiences to maximize their experience at The Tape Escape?

VS: I think it’s really fun to come with another person or a group of people that you know. It’s really exciting to see people that know each other tackling these puzzles together. And do it with someone that you like (you also see tensions run high when people can’t solve puzzles). It’s also really fun to do two back to back. And to make an evening of it. We’ve had people come and they’ve rented out an hour and it becomes more of an evening, and a fun social event.


The Tape Escape

Who:
An Outside the March Experience
In Association with David Versus Goliath
Creative Team
Co-creators: Vanessa Smythe, Mitchell Cushman and Nick Bottomley
Production Designers: Anahita Dehbonehie and Nick Blais
Dramaturg: Griffin McInnes*
Assistant Video and Puzzle Designer: Allie Marshall**
Assistant Production Designers: Hans Krause, Julia Howman and Edith Nataprawira
Creative Technologist: Daniel Oulton
Sounds Designer: Bram Gielen
Interstitial Sound Designers: Christo Graham and Tucker Bottomley
Head painter: Edith Nataprawira
Head Carpenter: Andrew Chute
Escape Artists: Kayla Chaterji, Daniel Halpern, Madeleine Jung-Grennan and Bryanna Blackwell
Model Builder – Bryanna Blackwell

What:
Most video stores let you take the movies home. But at THE TAPE ESCAPE, the rentals happen to you, pulling you deep inside its collection of thousands of VHS Tapes. Disappear back into 1999 with this love-letter to the lost art of browsing. See if you can escape into (and out of) some of your favourite movies by selecting from our collection of “in store rentals”.

Where:
480 Bloor Street West
(former home of Queen Video)

When:
On now and extended until August 11th.

Tickets:
outsidethemarch.ca

Connect:
Vanessa Smythe – @vsmythe
Outside the March – @OutsideTheMarch

“And the Winner Is…” The 2019 Dora Mavor Moore Award Recipient List


GENERAL THEATRE DIVISION  


2019 DORA MAVOR MOORE AWARD
Outstanding Production

General Theatre

School Girls; Or, The African Mean Girls Play

Obsidian Theatre in association with Nightwood Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

General Theatre

Charlotte Corbeil-Coleman

Guarded Girls

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

General Theatre

Nina Lee Aquino

School Girls; Or, The African Mean Girls Play

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

General Theatre

Virgilia Griffith

Harlem Duet

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

General Theatre

Amaka Umeh

The Wolves

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

General Theatre

Scenic Design: Ken MacKenzie

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

General Theatre

Gillian Gallow

Orlando

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

General Theatre

Michelle Ramsay

The Royale

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

General Theatre

Thomas Ryder Payne

The Royale

 


INDEPENDENT THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Independent Theatre

The Runner

Human Cargo with the support of Theatre Passe Muraille

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Independent Theatre

Christopher Morris

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Independent Theatre

Daniel Brooks

The Runner

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Independent Theatre

Augusto Bitter

CHICHO

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Independent Theatre

Ensemble of The Wonder Pageant

Coal Mine Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Independent Theatre

Scenic Design: Anahita Dehbonehie

Hand to God

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Independent Theatre

Melanie McNeill

Space Opera Zero!

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Independent Theatre

Patrick Lavender

The Nether

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Independent Theatre

Ben McCarthy

The Scavenger’s Daughter


MUSICAL THEATRE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Musical Theatre

Next to Normal

The Musical Stage Company presented by David Mirvish

2019 DORA MAVOR MOORE AWARD
Outstanding New Musical

Musical Theatre

Writer: Sarah Wilson, Mike Ross; Composer: Mike Ross

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Musical Theatre

Chris Barillaro

Kiss of the Spider Woman

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Musical Theatre

Kerry Gage   

Mary Poppins

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Leading Role

Musical Theatre

Ma-Anne Dionisio  

Next to Normal

 

2019 DORA MAVOR MOORE AWARD
Outstanding Performance in a Featured Role

Musical Theatre

Peter Fernandes     

Rose

 

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Musical Theatre

Scenic Design: Lorenzo Savoini

Rose

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Musical Theatre

Anna Treusch

Under the Stairs

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Musical Theatre

Japhy Weiderman

Dear Evan Hansen


OPERA DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Opera

Eugene Onegin

Canadian Opera Company

2019 DORA MAVOR MOORE AWARD
Outstanding New Opera

Opera

Writer: Daniel MacIvor; Composer: Rufus Wainwright

Hadrian

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Opera

Robert Carsen

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Musical Direction

Opera

Topher Mokrzewski

Kopernikus

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Opera

Gerald Finley

Otello

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Opera

Ensemble of Kopernikus

Against the Grain Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Scenic/Projection Design

Opera

Scenic Design: Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Costume Design

Opera

Michael Levine

Eugene Onegin

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Opera

Christine Binder, based on the original design by Jean Kalman

Eugene Onegin

 


THEATRE FOR YOUNG AUDIENCES DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Theatre for Young Audiences

New Owner

Harbourfront’s Junior Festival presents The Last Great Hunt

2019 DORA MAVOR MOORE AWARD
Outstanding New Play

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Direction

Theatre for Young Audiences

Chanda Gibson

Les Zinspirés: L’âge de raison

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Theatre for Young Audiences

Makambe K Simamba

Our Fathers, Sons, Lovers and Little Brothers

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Theatre for Young Audiences

Ensemble of Les Zinspirés: L’âge de raison

Théâtre français de Toronto

2019 DORA MAVOR MOORE AWARD
Outstanding Achievement in Design

Theatre for Young Audiences

Scenic Design: Anahita Dehbonehie

The Little Prince: Reimagined


DANCE DIVISION


2019 DORA MAVOR MOORE AWARD
Outstanding Production

Dance

Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Original Choreography

Dance

Jera Wolfe

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Individual

Dance

Andrea Nann

A Crazy Kind of Hope (All of Our Dreaming)

2019 DORA MAVOR MOORE AWARD
Outstanding Performance of an Ensemble

Dance

Ensemble of Blood Tides

DanceWorks / Kaha:wi Dance Theatre

2019 DORA MAVOR MOORE AWARD
Outstanding Sound Design/Composition

Dance

Eliot Britton

Trace

2019 DORA MAVOR MOORE AWARD
Outstanding Lighting Design

Dance

Ėtienne Boucher

Frame by Frame


TOURING DIVISION


2019 DORA MAVOR MOORE AWARD

Outstanding Touring Production

Grand Finale

A Hofesh Shechter Company production presented by Canadian Stage

 

“Building on Your Work Over Time, Creating from a Place of Rage & How We Move Forward” In Conversation with Playwright Erin Shields & Director Andrea Donaldson on BEAUTIFUL MAN

Interview by Megan Robinson.

Originally performed as part of the SummerWorks Festival in 2015, Beautiful Man, written by Erin Shields, is taking on a new life at Factory Theatre, on stage now until May 26th. This feminist comedy, directed by Shield’s long-time collaborator Andrea Donaldson, promises big laughs, but also, provocation – with a narrative presented through the female gaze.

We spoke with Shields and Donaldson about this new iteration of their show, reworking the original script, creating from a place of rage, and what they find most inspiring these days.


Megan Robinson: The show was originally presented in 2015 at SummerWorks, so what was it that prompted this remount?

Andrea Donaldson: After the SummerWorks show we were really excited to find a partner to give it another life. There were some revisions that we were dreaming of, so we reached out to Nina (Lee Aquino – Artistic Director of Factory Theatre) and she was very enthusiastic. She threw it in her season and was quite generous to say, you know, “we want to be involved in the further development of it.” So they gave us a workshop last May, and now here were are. We have a brand new cast, and half of our design team is new, which is really exciting.

Erin Shields: And from a content point of view – 2015 was a very different time than right now in terms of how we’re talking about gender, gender equity, and about representation in film, television and theatre. 2015 was before #metoo. I don’t know that we’re post #metoo, but it’s been interesting for me revisiting the script in terms of that. In thinking, “okay, where are we now in this conversation?” And trying to address that with the revisions.

Ashley Botting, Jesse LaVercombe, Mayko Nguyen, Sofia Rodriguez. Photo by Joseph Michael Photography

MR: Why build on this show, as opposed to tackling these questions with a whole new show? Is this show speaking both to 2015 and now?

ES: Everything I make is feminist, so I’m always engaging in my writing with “where are we now and what’s going on and what’s changed.” I don’t want to give too many spoilers away but I wrote a whole other section that is another movement in terms of this play. Part of it was editing and going back in, and some of it is completely new.

AD: And if I can add on, it feels like the impetus to write more came, yes, from responding to the world that changed in four years but in our SummerWorks production we were learning a lot dramaturgically about the piece. In that brief study with an audience, Erin and I were scrutinizing it and looking where energetically it wanted to shift and asking the question of “what next”.

MR: I guess my question is about knowing when a show is done, if there is always inspiration to go further? Was that a question you asked or was it always clear that there was more to say?

ES: When we did the first show it was very fast and furious. I wrote the show in two or three days, and then it was on stage within five months. I think even going in we knew there would be more. It felt like a workshop in front of an audience. It’s a comedy, so trying to figure that out without an audience is really challenging. We knew it wasn’t a final draft. Often when I write a play, it takes anywhere between three and six years for it to get to the stage so you often have cycles of dramaturgy and cycles of workshops or readings. Even the early days, when Andrea and I worked together on Montparnasse, we did it three times. So I think we’ve always understood that for theatre, because it’s a live art, you need that feedback from other people… certainly I do… before I’m willing to say “this is it”. How do you know it’s ever done? That’s a good question.

AD: I feel like this play is now done. I have no question around that.

Ashley Botting, Mayko Nguyen, Jesse LaVercombe, Sofia Rodriguez-byJoseph Michael Photography 107

Ashley Botting, Mayko Nguyen, Jesse LaVercombe, Sofia Rodriguez. Photo by Joseph Michael Photography

MR: I read that the show was inspired by a sense of rage. Did working on the show allow you to process that rage, and did it make a difference for you? If so, how?

ES: Totally. Many of my plays start from a place of rage. From going, “that’s not fair” or “why is it like this?” I’ve often talked about how this came out of having a residue left in my body every time I watched popular television. I’d come away being like, “Oh, this Game of Thrones show is so great!” Then I’d be like, “Ew, all those women were sexually assaulted and I just watched it cuddling with my husband on the couch.” There’s something so weird about that. Doing this play has absolutely been cathartic. And I often heard the audience members say that after our SummerWorks production too, because it goes pretty far. There’s something I hope that is illuminating about it. I think we already know a lot of these things, but we don’t think deeply about them. We’re just so used to seeing women being raped on television, so we don’t think, “Oh my God, how many raped women have I seen in the last two months?” It’s ridiculous!

MR: What’s on your mind these days? Anything new that’s inspiring you?

ES: I’m thinking about how we move forward now. Especially with this wonderful moment we all experienced a year and a half ago, where we saw all of these giants being toppled in every industry. It felt like a real moment of triumph. It feels like, now, those massive figures have fallen and there are these gaps everywhere. And we’re looking around and thinking, what work do we still have to do, and what world do we all want to live in together? Those are very big questions. I think personally that’s where I’m at, and that’s what I’m working through with my work. And even on subjects of the play – we talked about Game of Thrones so much, and I remember seeing the first few episodes and it was all raping and fucking all the time, and really gratuitous violence against women. And in watching it now, watching this season, it’s so interesting to see how the women are treated has shifted. Even in this massive show, the female characters are super strong – the hero of the penultimate episode is an eighteen-year-old girl. When has that happened? Probably never, except in some young adult literature. But this is the most popular mainstream thing and that is who the hero is. It made me think. It made me wonder if there is change on the horizon.

Ashley Botting, Jesse LaVercombe, Mayko Nguyen, Sofia Rodriguez. Photo by Joseph Michael Photography

MR: What is a traditionally male role you want to see a woman play? Since your whole thing is flipping gender roles.

AD: How do I say this… I’m curious to see what are the capabilities of the female roles that aren’t still in reference to a patriarchal perspective. So not just switcheroos. It makes me think of when I directed Romeo and Juliet and I conflated the roles of the Capulets, the mom and dad, into a single mom, and found in that combination the depth of emotional range that was not afforded to Mama Capulet. And seeing that embodied, seeing her move through that, felt like the most satisfying role, in a way, because we don’t get to see a mom who is violent to her daughter and who has really high standards for her daughter. It’s not only seeing women in particular roles, but seeing unexpected ways of embodying those roles that, especially in TV and film, are rarely afforded to women.

MR: What was a theatrical experience that made you feel really deeply seen as a female-identifying creator?

ES: I think when I see work done by my peers and my contemporaries I get really excited. I haven’t seen these plays, but I’m excited by the ambition in the work Susanna Fournier is creating. It’s imaginative, it’s poetic, it’s destructive. It makes me excited that she has been supported and celebrated for this massive endeavour. I want more of that.

AD: What’s coming for me is Rose Napoli’s Lo or Dear Mr. Wells, which Vivien Endicott-Douglas performed in. I find that there’s this great attention that playwrights are bringing to writing younger characters who are having full and complex experiences and kind of damning the critics around what that singular portrayal might be reduced down to. As a young person coming into my own sexual life, I never felt that experience was represented or understood or handled with any kind of care or imagination or sophistication.

Jesse LaVercombe, Ashley Botting, Mayko Nguyen, Sofia Rodriguez-by Joseph Michael Photography 326

Jesse LaVercombe, Ashley Botting, Mayko Nguyen, Sofia Rodriguez. Photo by Joseph Michael Photography

MR: What’s an experience you have had recently that you could fit into your play Beautiful Man?

ES: Everyday! There are so many. The other day I went to meet a friend in a bar just down the street. And both myself and my friend are in our early 40s and the bartender kept calling us girls. And I just felt my rage. He must have been like 26 or 27. I thought to myself, “Should I say something and be like, we’re women?” He was so insistent on making me into a child. It’s a part of the popular language, but I had to ask myself if I wanted to say something and get something going with this dude or did I just want to ignore it and laugh about it with my friend afterward. Which is what I did.

AD: But it cost something.

ES: Yeah.

AD: A couple nights ago after rehearsal, Ashley (Botting), who’s in the cast, called an Uber. We were going to drop her off first and then me. And when the Uber showed up it was a guy, but there was a guy in the front seat as well. So Ashley was like, “Oh there’s someone in here, we didn’t call Uber pool, what’s up?” And the guy goes, “Yeah, he’s my bodyguard.” And Ashley and I were both doing that quiet awkward decision-making together. But we decided, no, we’re fine, we’re capable. So we get into the car and Ashley tries to make a joke about it, that doesn’t land. And we feel like there’s something sketchy going on. You know, we’re in a car with two dudes we don’t know, based on the trust of an app. So we’re kind of trying to perform normality. And then at a certain point, I was just like, “Ash, I’m going to get out with you.” It was just the whole thing of physical safety and trying to be cool, trying to not be scared, like, “I’m fine, I’m tough, I’m capable… people aren’t bad.” But then ultimately going, actually, what if people are bad, you know? That was my most recent physical safety thing.

MR: Right, but also them not helping you feel safe. There’s a world in which you would feel better if those people were conscious of how you feel and did the work to help you out.

AD: Right. So I either have to swallow that or perform that. There’s a cost to that.


Beautiful Man

Who:
A Factory Theatre Production
Written by Erin Shields
Directed by Andrea Donaldson
Starring Ashley Botting, Mayko Nguyen, Sofía Rodríguez, Jesse LaVercombe
Set Design by Gillian Gallow
Costume Design by Ming Wong
Lighting Design by Jason Hand
Music and Sound Design by Richard Feren

What:
A scathing satire about the portrayal of women in film and television, three friends take us on a whirlwind tour of an upside-down world where women are the hunters, not the hunted; the heroes, not the victims; the subjects, not the objects, all while gazing at the semi-nude Beautiful Man. You’ll never watch your favourite binge-worthy shows the same way again.

Where:
Factory Theatre – Mainspace
125 Bathurst Street.
Toronto

When:
May 4-26

Tickets: 
factorytheatre.ca

“Do you not know I am a woman? When I think, I must speak.” A Rapid-Fire Interview with the Women of Shakespeare BASH’d AS YOU LIKE IT

Indie darling Shakespeare BASH’d is gearing-up for their production of As You Like It, just in time for the spring! While the company has always put an emphasis on creating more roles for women in Shakespeare, As You Like It is one of the plays that already has a strong female role at the centre of it (the largest female role in the cannon). The show has, at its core, intelligent, powerful women and deep, important female friendships. The production has taken this a step further by changing a number of additional roles into female characters, adding more female voices to this beautiful story of growth and transformation in the Forest of Arden.

We sat down with the women working to bring this story to life and asked them some rapid fire questions about friendship, Shakespeare, and theatre.

They are from top left to right, then bottom left to right:

Jade Douris (Celia), Olivia Croft (Jacques), Hallie Seline (Rosalind), Hilary Adams (Lord, Wilma, Hymen, Co-Composer), Cara Pantalone (Adam, Corin, Oliver Martext), Lesley Robertson (Touchtone), Aubree Erickson (Oliver), Brittany Kay (Phoebe) & Bailey Green (Associate Director, Not pictured here).


Rapid Fire Questions:

Your female hero:

Aubree, Lesley, Cara, Hilary, Olivia: My Mom

Hallie: Honestly, I am constantly in awe of so many of the hard-working, loving, hilarious, talented, generous, intelligent, boundary-pushing, fierce, boss babes I have around me. So many female heroes. I see you. I am inspired by you. Keep shining.

Jade: AOC!

Brittany: Hallie Seline

Brittany Kay as Phoebe. Photo Credit: Kyle Purcell

A role in Shakespeare you’d like to see played by a woman:

Lesley, Bailey, Cara: Falstaff

Aubree: Lear or Titus

Olivia: Tybalt would be fun.

Lesley Robertson as Touchstone. Photo Credit: Kyle Purcell

Favourite pop culture/iconic female friendship:

Lesley: Anne and Diana (Anne of Green Gables)

Cara: The Golden Girls

Hallie: I agree with Lesley with Anne & Dianna (Anne of Green Gables), and I add: Cher & Dionne (Clueless), Lorelai & Rory (Gilmore Girls), Carmen, Lena, Tibby Bridget (Sisterhood of the Travelling Pants)… I could really go on…

Jade: Buffy and Willow

Jade Douris as Celia. Photo Credit: Kyle Purcell

Go-to pump up song/song that makes you feel powerful:

Bailey: “Born This Way” by Lady Gaga

Hallie: Pretty much anything by Beyonce, The Spice Girls, Laura Marling, Alanis Morissette, Tori Amos, Ani DiFranco… I could go on (I’m terrible at these “choose one” answers), but for this show, let’s go with “Run the World (Girls)”

Hilary: “Eye of the Tiger”

Brittany: “Feeling Good as Hell” by Lizzo

Hilary Adams: Lord, Wilma, Hymen, Co-Composer. Photo Credit: Kyle Purcell

Best advice you ever received/current mantra:

Lesley: “It’s your Jesus year!” (I’m 33)

Cara: “If you don’t love yourself, how the hell are you gonna love anybody else.” … can I get an amen.

Hilary: Love yourself for your mistakes and forgive yourself often. Try to accept your faults, they are part of you, and always try to be a better person, acceptance is a big part of that.

Olivia: Peace in the mind, harmony in the heart, love in every action. Sow and let grow.

Olivia Croft as Jacques. Photo Credit: Kyle Purcell

Favourite Shakespeare quote about women:

Lesley, Bailey, Cara: “Do you not know I am a woman? When I think, I must speak” (As You Like It 3:2)

Jade, Hilary, Brittany: “And though she be but little, she is fierce.” (A Midsummer Night’s Dream 3:2)

Hallie: I’m quite fond of both of those but there’s also SO MANY amazing, fierce quotes about women in As You Like It, like: “Make the doors upon a woman’s wit and it will out at the casement; shut that and ’twill out at the key-hole; stop that, ’twill fly with the smoke out at the chimney.”

“You shall never take her without her answer, unless you take her without her tongue.”

Aubree Erickson as Oliver. Photo Credit: Kyle Purcell

Favourite Shakespeare actress (film or theatre):

Aubree: Just one?! Emma Thompson in Much Ado. Though technically not a Shakepeare film, Claire Danes in Stage Beauty. Every woman in Julie Taymor’s Titus. Helena Bonham Carter in Twelfth Night.

Cara: Does Dame Maggie Smith count? I adore her.

Hallie: YES CARA! Maggie Smith for sure!

Brittany: Miriam Margolyes as the Nurse in Baz Luhrmann’s Romeo + Juliet

Cara Pantalone: Adam, Corin, Sir Oliver Martext. Photo Credit: Kyle Purcell


Finish these sentences:

“I am most creative when…”

Lesley: I’m happy and relaxed.

Bailey:  I have the pressure of a deadline.

Jade: I’ve had at least one cup of coffee.

Hallie: I’m surrounded by music, art, people, nature, new ideas.

“I feel happiest when…”

Bailey: it’s the summertime in Northern Quebec, and I’m with my family, partner, and a stack of books.

Hilary: I am on the beach, beer in hand.

Brittany: I’m with my nieces. They remind me that life is full of sweet discoveries and we can always be fun and silly! Also my dog Bruce, he’s endless happiness.

Hallie: I’m in the sunshine, and by the water… especially Lake Huron.

“I feel fired up when…”

Jade: I’m at the first read-through of any play. That moment the first time everyone’s in the room together and everyone gets inspired as a group.

Hilary: I see great talent, whether I see a great piece of theatre or live musicians – it gets me ready for anything and really inspired.

Olivia: The pre-show music is bumpin’!

“In the Toronto theatre scene, I want to see…”

Aubree: more interdisciplinary works – visual/sculpture artists, musicians, physical theatre, language, whatever!

Lesley: more avant-garde, risky, unusual forms and styles.

Olivia & Hallie: more arts funding, thus better wages or compensation for time spent.

Hallie Seline as Rosalind. Photo Credit: Kyle Purcell


As You Like It

Who:
Company: Shakespeare BASH’d
Directed by Drew O’Hara
Featuring: Hilary Adams, Daniel Briere, Michael Chiem, Olivia Croft, Jade Douris, Aubree Erickson, Kaleb Horn, Brittany Kay, Justin Mullen, Cara Pantalone, Lesley Robertson, Hallie Seline, Jonny Thompson
With original music composed by Kaleb Horn, and additional music composed by Hilary Adams
Associate Director: Bailey Green
Produced by Julia Nish-Lapidus and James Wallis
Designer: Catherine Rainville
Fight Director: Nate Bitton
Assistant Fight Director: Bailey Green
Graphic Design by Matt Nish-Lapidus

What:
Welcome to the Forest of Arden and Shakespeare’s comedy of joy, wit, and transformation: As You Like It. Relish in the adventure of shepherds and courtiers in love in this energetic barroom staging, full of original music. It is truly Shakespeare’s most exceptional journey through the pastoral world of pleasure and connection.

Where:
Junction City Music Hall (2907 Dundas St W)

When:
April 23-28, 2019
Showtimes:
Tuesday, April 23 – 7pm
Wednesday, April 24 – 7pm
Thursday, April 25 – 7pm
Friday, April 26 – 7pm
Saturday, April 27 – 2pm
Saturday, April 27 – 7pm
Sunday, April 28 – 2pm

Tickets:
Sold Out online. Limited available for $25 at the door (pending availability).

Find out more: 
shakespearebashd.com

 

 

“The Importance of Champions, Striving for that Spark & The Barriers and Biases Female Playwrights and Directors Continue to Surmount” In Conversation with Ali Joy Richardson on Writing and Directing A BEAR AWAKE IN WINTER at Next Stage 2019

Interview by Megan Robinson.

Ali Joy Richardson, the playwright and director of A Bear Awake in Winter, a new play premiering at the Next Stage Festival from January 10-20, is no stranger to the Toronto Fringe. For many years, the summer festival has provided what she considers a “perfect sandbox” for her personal projects. This year, however, with a show that’s larger in scale (a cast of seven, a runtime of 75 minutes, plenty of instruments) she’s ready to take on a new challenge. Next Stage is a step up in more ways than one; it’s also her first time being both writer and director of a show.

With inspiration drawn from plays like The Wolves and Concord Floral, this funny but dark play follows a high school band class in Dartmouth, Nova Scotia in 2007, taking a sharp look at bullying and the high stakes of adolescence.

We got to talk with Richardson, who’s only five years out of theatre school, about owning her roles as director and playwright, her creative opportunities thus far, and how the #MeToo movement inspired her new show.


MR: What was it for you that allowed you take yourself seriously as a writer in the last year? Was it a particular moment or a conversation with a friend? What did that look like? 

AJR: Directing aligned very quickly with the part of me that is organized and responsible and I approached the role of director in a very nurturing way. But I have this internalized notion that the role of the writer is kind of wild and dynamic and that there’s a sort of wildly creative side to the person generating the words and the world. It took me a really long time to believe that people would take me seriously in saying that I am both of those things. And all of that can exist in one woman, and especially a young woman.

The internal conflict for me was: am I allowed to be both? Can I be the person with the sticky notes and the highlighter who knows what time everyone needs to be where and be the one writing really good jokes?

MR: So you felt capable of doing both and ready to do both, but it was more of an external thing of how people would receive you?

AJR: Yeah. I thought one would dilute the other in someone else’s eyes. So for me, a really big turning point was getting into Nightwood’s Write From the Hip Unit. That was major. And I did a residency with Canadian Stage, as well. I was in their 2018 RBC Emerging Artists Program and their Director Development Residency. I got into that as a director and then about halfway through I was like, “Hey, can I work on something that is my own play?” And the two women running the programs, Lynanne Sparrow and Taliesin McEnaney, right away were like, “Absolutely. We picked you for you. So whatever you want to do, we are excited about.” So that was huge. To get that green light from Nightwood and from the folks who were supporting me at Canadian Stage, who obviously saw all parts of me and welcomed all parts of me and started to build my courage to do both.

MR: That makes me wonder about people who don’t get that green light from others. How do they generate that sense of validation?

AJR: I mean I totally agree with you, and I think it speaks to the importance of diversity within those leadership roles, within organizations, so there is someone to green light the person that they see themselves in. Because I think it’s human nature that we will always champion people who make us think of ourselves. For better and for worse. And so I was really lucky to cross paths with people who I suppose I had a kind of kinship with in those roles.

MR: I think we can say that things are shifting. Even that opportunity, I wonder if even five years ago you would have had it. Where do you see those shifts happening?

AJR: I mean, this is a well-known example, I was really inspired seeing Kat Sandler directing her own work on some of the major stages this year. Seeing her play Bang Bang at Factory, I sat in the front row and I must have looked wild to the actors on stage. I was grinning so hugely. But with every beat of that show, this little barometer of courage was rising in me. That was huge.

I graduated from theatre school five years ago and during that time, I’ve been working Front of House at Theatre Passe Muraille, where D’bi Young had a show a couple of years ago. She is another person that continuously breaks out of every mould that I find myself internalizing. She is also a constant reminder for me that an artist can be many, many things.

MR: Okay, so some people have opened doors to you, and I’m curious what doors you see that are still closed that you wished were open? 

AJR: I think the myth about directing your own work has got to go. I think we need to trust that artists know when they should be in both of those roles in a room, and to give people that agency to know themselves and know their work. I don’t think every show will be served by this but I think many will be and I think that people sometimes mistake it for a lack of trust in other creators.

MR: Particularly as a female playwright, what sort of limitations have you been working to push past?

AJR: I think comedy. I love comedy and it’s a thing in all of my work. I think we trust men much quicker as someone who understands what is funny in a room – as directors, writers and actors. I watch other women have to fight tooth-and-nail to be trusted in comedy. So, particularly as writers, I think that’s a big one.

I’ve also had some great conversations with Michaela Di Cesare, a celebrated playwright from Montreal who plays the character Flute (the young woman at the centre of the story). We talk a lot about the double-edged sword women have to dodge about whether or not your writing is inspired by your own life. If a man writes something from his own life it is seen as interesting and valid and if he writes fiction it is seen as interesting and valid but we haven’t sorted that out yet when it comes to women writers. For women, I feel like it is still a lose-lose situation, where if it is inspired from life they dismiss it as not really writing, but they also make that constant assumption about the work.

In Photo: Andy Trithardt, Hershel Blatt, Natasha Ramondino, Andrew Di Rosa, Bria McLaughlin, Danny Pagett, Photographer: Neil Silcox

MR: Your show is influenced partly by your life though right? Your experiences in band and in that community? 

AJR: Yes, every puzzle piece of this show absolutely comes from my life, but the finished puzzle is not a true story.

MR: Let’s talk about the writing of it. Did you always know you wanted to write this show? 

AJR: So I was writing a play over the last year called Fool, during my time at Nightwood. Fool is set in medieval times, and this is the play I cheated on Fool with (I think a lot of writers do that). There was one night where I was feeling constrained by the rules of the world I was writing in and I just really wanted to hang out with people I knew.

The first scene of the show, which is a classroom scene, is the first scene I wrote. It was late at night and I just started writing the voices of these kids because they are so familiar to me. They are me and they are my friends from home and they are my sister. The voices came right away. They started talking and they didn’t stop. And I know it’s such a cliché. This is the first time in my life that I actually felt that cliché, which I’ve always kind of rolled my eyes at, but I really felt it on this play. So there’s a violent conflict midway through the play, and I wrote up to that moment of violence. That came in a rush, and then I hung out there for a while, and I wasn’t sure what was going to happen next. It was really interesting because I wrote up to that point about a week before the #MeToo hashtag happened, and then the second half came quite quickly after that dialogue had started. 

MR: What brought you to write that violent act?

AJR: For me, that moment has always been a sort of provocation for the audience. Especially right now, I think we are asked to empathize with men who misread situations and act in a regrettable way and I’m really interested in finding out what happens if a woman reads a situation and reacts a certain way, will the audience feel that her reaction was out of proportion in some way, or will they extend that same empathy to her?

MR: Sometimes we write things to reframe experiences or live out a fantasy or an idea of a situation, and I don’t want to put that on you, but I am curious to know whether there is an element of that in this.

AJR: In this, that moment of violence came from frustration. People in my life responded to my frustration with cat-calling, or men following me at night, by saying I should just punch them or kick them in the balls or tell him to fuck off, as if those are accessible and easy solutions that aren’t going to come with a whole other world of troubles. I started to wonder what would happen if the next time I felt afraid I did just hit back in a big way? I don’t think that would go well for me in this world. It was also around the time I started to take boxing classes, and something about that started to cook in my head. As I learned to hit someone safely, I started to wonder what would happen if someone did fight back, in a moment of feeling a threat. So it’s certainly not a personal fantasy, but it was a kind of obsessive thought experiment.

In Photo: Natasha Ramondino, Bria McLaughlin, Hershel Blatt, Andrew Di Rosa, Andy Trithardt, Danny Pagett. Photographer: Neil Silcox

MR: Can we talk about supporting yourself in the arts in Toronto, and just like, how you do it? How do you do the job of a director and playwright here? Because you seem to be doing a lot! 

AJR: So first, I will say, I’m enormously privileged to come from a family who has means and who is there if I need them. I don’t rely on that support but, as an artist, knowing it’s there and to have that is an enormous privilege in terms of managing my mental health. Just knowing there is a safety net there if you needed it. I think it’s important to be honest about that.

MR: Do you think you’d be a playwright if you didn’t have that safety net? 

AJR: That’s a really good question and it keeps me up at night. I have a little fear in me about that. I don’t know the answer. Of course I want to think I would be but I also hold myself to a really rigorous standard around that. My life would definitely look different, I think.

MR: I do just want to say that the arts are so valuable, you know? And I don’t think there should be any weird guilt or shame around it, you know if you’re like, “I’m doing this just because I can” I just think, “Well thank God somebody can.” I just want to say that. 

AJR: (Laughs) Thank you. And like every artist I’ve worked a million different jobs, and done many strange gigs from standardized patient work to working for a nannying agency. So I’ve had a plethora of different side hustles. And finding ones that didn’t drain the life force I need to make art, that was key for me. It might not give you a mountain of joy but it can’t suck out the thing you need to make your art.

MR: What keeps you motivated? 

AJR: The feeling I have when I see or read something that makes me go “Oh my god, I didn’t know someone else knew that or felt that”. That spark, every time that happens, makes me want to put stuff like that out in the world.

Also, I come from a family of really, really hardworking people, none of whom are in the arts. And honestly, when I hear my sister talking about training to do an Ironman, I’m like, “you know, I can probably get up at six and write a few more pages.”

A Bear Awake in Winter

at the 2019 Next Stage Theatre Festival

In Photo: Andrew Di Rosa, Michaela Di Cesare
Photographer: Tanja Tiziana

Who:
Playwright & Director: Ali Joy Richardson
Cast: Michaela Di Cesare, Andy Trithardt, Andrew Di Rosa, Bria McLaughlin, Danny Pagett, Natasha Ramondino, Hershel Blatt
Assistant Director: Bryn Kennedy
Stage Manager: Lucy McPhee
Sound Designer: Neil Silcox
Lighting Designer: Steph Raposo
Producers: Ali Joy Richardson & Bryn Kennedy

What:
2007. Dartmouth, Nova Scotia. A high school band class. A new teacher from Toronto wants to be an inspiration to his jaded students but is afraid to come out to them. A boy bullies a girl in insidious ways until she takes matters into her own hands. An act of violence at a school dance fractures the community. This is a dark, funny, and difficult story about the fight to stand up for yourself.

Where: 
FACTORY THEATRE – MAINSPACE, 125 Bathurst St, Toronto

When:
Jan 11 – 9:45pm
Jan 12 – 3:45pm
Jan 13 – 1:30pm
Jan 15 – 8:45pm
Jan 16 – 12pm
Jan 18 – 7:30pm
Jan 19 – 5:45pm
Jan 20 – 7:30pm

Runtime:
75 Minutes

Tickets: 
fringetoronto.com/next-stage/

 

 

 

“Freelancing, Finding Balance in Collaboration & Taking Ownership in Creating Opportunities” In Conversation with Annie Clarke and Emma Westray on Co-Producing CANNIBAL by Thom Nyhuus at Next Stage 2019

Interview by Brittany Kay.

Producers are some of the hardest working people in our business. What they lack in sleep, they gain in the never-ending pursuit of fully realizing a production.

Both Annie Clarke and Emma Westray are two producers who are no strangers to our theatre community. They have been part of such incredible shows and projects in the last year and they’re only gaining momentum. Their next play, Cannibal by Thom Nyhuus, is part of this year’s Next Stage Theatre Festival. We chat about what it’s like to be female producers, the balance and strength they find in collaboration and how they are able to prioritize stories about women. (Thank you for your tireless efforts to make sure the work gets seen. You are truly wonder women) 

Brittany Kay: Women have been at the forefront of today’s theatre scene. What has it been like to be female producers amongst the current theatrical climate? Do you find yourselves wanting to work with certain companies?

Annie Clarke: Most of the producing I’ve done for theatre – beyond just one-night-only events – has happened in the past year, so in a way I feel like my only producing experience is in the context of this climate. I think a big thing that it means is that I don’t need to explain my interest in, and prioritization of, women’s stories. But of course if it’s easier than ever to have that focus, it also means that we are standing on the shoulders of so many women who have fought for space for our voices on the stage (and off it), so I have a lot of gratitude for those who have paved the way for where we are right now. I definitely gravitate towards artists and companies who share those priorities, both in the work that I do and the work that I pay to see.

Emma Westray: I think the conversations that are continuing in our community about women in theatre and representation in theatre have forced me to reflect on my responsibilities as a producer, specifically in the role of hiring artists and putting together a team at the early stages. Sometimes working at the independent level, it can feel like you don’t have the power or resources to change the culture at large, but I’ve realized that every project I work on is an opportunity to set an example for my peers. Every time I work with collaborators to create a safe and respectful work environment, and every time I make a thoughtful effort to hire a diverse, representative team of artists, it shows audiences and peers alike that it is possible and it is necessary. I love being a producer because it gives me the chance to give opportunities, not only to women, but also to BIPOC, LGBTQ+ folx, and other marginalized artists, and now more than ever my priority is to work with companies who are like-minded in this regard.

Photo of Justine Christensen, Michael Ayres by Haley Garnett

BK: Do you find the project or does the project find you? How do you know which projects are the right ones and who/what is worth your energy to invest in? 

AC: I feel very lucky because I have not really “applied” for any of the producing work that I’ve done – it’s come to me through relationships I’ve built. From what I hear from my peers, that’s not uncommon, and I think it just comes from a place of knowing that no one is it in for the money, very often we’re in it for the people, so if we know people who are as passionate as we are and will work as hard as we will, that’s who we end up asking to come on board a project. Every project is a passion project in indie theatre, right? That being said, it took me years to build the network and knowledge of the indie community in Toronto that has enabled me to work as a producer. And I was, and am, very privileged to have been able to devote a lot of time to unpaid work, volunteer work and just general network-building when I first moved to Toronto three years ago.

In terms of deciding which projects to take on, I think I’m still learning about that. I’m definitely still learning what my capacity is. I feel like I say no to things and yet I also constantly feel like I’m too busy to function, so surely there’s a balance to figure out there! The projects I’ve worked on have mainly been motivated by the people involved, but I don’t think you’re going to do a good job producing a play if you don’t genuinely love – let alone like – it. Things I’ve thought about in the past when projects have come up have been: do I love this script? Will I get to work with people I’ve been wanting to work with? Will I be able to learn a lot from a mentor (e.g. Assistant Producing)? Will I be able to stretch my limits and do things I haven’t been able to do before?

EW: I have been fortunate enough to have all of my producing work thus far come to me from the incredible network of people I have met since moving to Toronto nearly 5 years ago. There is something interesting in the way that projects find their way to you when you’re the right fit. Whether it’s something you’ve always wanted to work on, or peers that you’re excited to collaborate with, I’ve learned that trusting my gut when a project feels like it “clicks” is the best way for me to know that I should pursue the opportunity. I am fortunate enough to be a graduate of Generator’s Artist Producer Training program, which has linked me to a group of alumni who are always hearing about and sharing producing opportunities. For this, I am very grateful!

There isn’t really a science to how I choose projects. That buzzing excitement you feel when you sit down with an artist for the first time and hear them explain an idea, or you read a first draft of a script, is how I know that I want to be a part of the team. Conversely, I can say that the few times that I have worked on a project because I thought I should, despite not feeling connected to it, are the times where I found myself not doing my best work and just getting it done because it was a job. Knowing that difference has helped guide me in choosing what I take on as a producer, and it has helped me build a resume of work that I am truly proud of. I choose the passion project that could take years to develop instead of the remount of a classic play everyone has seen before.

Photo of Annie Clarke, Thom Nyhuus & Emma Westray

BK: What has it been like working together? 

AC: I have been fan-girl-ing Emma for the past year, and I have been delighted to find that working with her is even more wonderful than admiring her from afar. We joke that we have been co-parenting Cannibal – I was knee-deep in another show, What I call her, in the fall, so Emma was taking the lead, and then I took over when she went to Europe for three weeks (although she did far more work from Europe than one would have thought possible, probably because she is a real-life superhero), and now we are inching towards the finish line together. It’s been kind of like a months-long game of hot potato. Honestly it’s made me think I should never produce alone again. Just having someone to bounce ideas off of, share panic with, and remind you not to work yourself into the ground, is more valuable than I could have dreamed of.

EW: The amount that we had interacted on social media as a myriad of different theatre companies over the years made it kind of laughable that we weren’t acquaintances in real life. Annie has claimed several times that working together was a way for her to learn more about producing from me, but I am constantly in awe of her leadership and vision for this project. I am a big fan of producing partnerships, and Annie and I fell into a rhythm very early that made it easy to share the role. There is something about a female partnership that feels particularly comfortable in that there has been empathy and compassion built into every stage of this process. Not to say that isn’t possible outside of working with women, but it felt as though it was a given that there would be support and encouragement not because there had to be, but because we cared enough to take care of each other while taking care of the rest of our team. It has been a dreamy process and I would do it again in a heartbeat! 

BK: What has it been like working with an all female creative team? Was the assembly of this creative team a conscious choice?

AC: My personal mandate is to work on stories that put women at the forefront. I also am in love with working with women. Can’t get enough of it. One of the great things about being a producer, depending on what stage in the process you come on board, is the ability to put a team together. Deciding whose voices you’re showcasing, how you’re showcasing them, who’s sitting at the table – that is some kind of power, even when you’re talking about a teeny tiny indie show. I know that at this stage in my career it won’t be possible to be in that level of driver’s seat for every project, but I am so proud of the team we assembled for Cannibal. As Courtney Ch’ng Lancaster (our director) puts so eloquently, “I love competent people!”

EW: I don’t think anyone in my life would have a hard time telling you that feminism is a driving force of my personality, and also my work. I prioritize creating opportunities for women, but I also think that we are spoiled in our Toronto theatre community with talented women in all kinds of roles, so it wasn’t difficult hiring women to fill so many of the positions on our team. It had already been decided when I joined the team that the director would be a woman. Beyond that, the priority was, and always is, to build a team that can service the needs of the script and the director’s vision, and in this case our director Courtney was able to communicate her ideas to Cosette [Pin] and Julia [Kim] and they understood and wanted to join in bringing that vision to life. We also had two female stage managers (Lucy McPhee and Julia Vodarek Hunter) who were able to work together, and with Courtney, to create a safe and welcoming rehearsal room for our actors. It’s exciting to hire these women not only to give them the platform to share their skills and talents, but to give them a chance to collaborate with each other.

Left to right: Joella Crichton, Michael Ayres, Justine Christensen, Thom Nyhuus. Photo by Haley Garnett.

BK: What has it been like working with a male playwright on a play that has a predominantly female POV?

AC: Thom Nyhuus, the playwright, is an absolute dream collaborator – he is so open to feedback and perspectives that differ from his own, and yet he has such a clear vision for the play. In addition to the work he did with our dramaturg, Paolo Santalucia, he also spent a lot of time working on the script with Justine Christensen, who plays Bridget, over the spring and summer, before we started rehearsals. The intention was always to have a woman director, and I still can’t believe that Courtney Ch’ng Lancaster said yes, but we are beyond lucky to have her. We wanted her voice not only in the room, but shaping the room, and she has done the most beautiful job throughout the entire process.

EW: I would also add that when talking about #MeToo, and how we move forward in order to give women a platform to speak and share their stories, that there is also a conversation about what role men will play in pursuing equality. In the same way that we talk about men needing to be allies and how they need to work alongside us to make equality a reality. It was refreshing reading Cannibal knowing that it was Thom’s first play and discovering a female-driven plot featuring two complicated, yet very different, female characters. Bridget Walker is in every scene and the story is hers. I think having male playwrights who want to write interesting stories that feature women, women who are recognizable in their intricacies and flaws, is valuable in the pursuit for more female representation. It’s exciting to think about the possibilities that come from artistic collaborations where artists are open to hearing feedback and learning about one another in order to craft the best story.

Photo of Justine Christensen by Haley Garnett.

BK: You are both freelance producers with multiple jobs on the go like so many of us. What are the ways you manage your time and properly prioritize each project so that they equally get the proper attention? 

AC: I would say that I’m still aspiring to properly prioritize each project so that they each get the attention they deserve. Basically for the past year I have felt like I’ve been in triage mode, so it’s been about which deadline is the most pressing, which fire needs putting out today. I do a lot of planning out my time in detail (iCal is my best friend), but then inevitably things come up and some things just end up landing at the bottom of the priority list. One thing I’ve tried to do is to identify when each project gets to be priority number one (I tend to think of this in terms of, what does my number one focus have to be this month? What about next month?) When Thom and I found out we got into Next Stage, I was absolutely thrilled, but then a new contract came my way in August and I knew that I was over-capacity, which is where Emma came in! There is no way we could have done this show without an Associate Producer, and I am unbelievably grateful to her for her patience and her willingness to give us her time because, like so many of us, it is in seriously short supply.

EW: I definitely wouldn’t claim to be an expert in time management! I am fairly new to being able to consistently work as a freelancer, so I’m still learning how best to manage the different projects I’m working on in order to be productive, but also so I can avoid burning out. My best tip would be to take the time for yourself to look at each of your projects at a distance, by which I mean zooming out and creating a plan from start to finish so that you can identify what you’ll need to do, when you’ll need to do it, and when it needs to be your priority. I would say the biggest lesson I’ve learned recently is being honest with myself when I’m in over my head and addressing it before it becomes a major issue. In the arts sector, we’re aware that everyone is making do with the few resources they have, so it can be hard to admit to the people you’re working with that you need more: more time, more funding, more access, more support. The thing is, if you don’t ask for what you need, no one will know that they should be trying to give it to you. It seems simple, but it’s been a huge game changer for me! Any good collaborator will do what they can to make adjustments so that you can be productive instead of feeling overwhelmed.

BK: Any advice for upcoming producers? 

AC: Know what kind of theatre you want to be a part of putting into the world. That doesn’t mean you’ll get it right every time, or that every project will be birthed into the world exhibiting the beautiful intentions with which it was conceived, but you have to know what you care about. Also: talk to other producers and theatre makers. Read programs, and figure out who’s doing work you love. Send your programs to the Toronto Theatre Database so that we can all help make that resource as rich as possible! See theatre. And get training. I work at Generator so this is me disclosing my bias, but they have incredible workshops geared towards producers throughout the year, as well as an annual Artist Producer Training program. When I first moved to Toronto I was pretty sure it was to act and do nothing else, so I am very grateful to programs like Nightwood Theatre’s Young Innovators and Toronto Fringe’s TENT (Theatre Entrepreneurs Networking and Training) program for opening my eyes to what else was out there, and how I could use my other skills to make theatre.

EW: I think the best thing about producing, but also the most frustrating thing when you’re first starting out, is that there is no one way to produce. For the longest time, I felt like if someone would just send me their blueprint for producing, it wouldn’t feel like such a big task every time I started something new. The more experience you get, and the more you interact with different artists and collaborators, the better you’ll be at knowing how to identify and provide what a project needs. This goes for pretty much anything you’re interested in pursuing, reach out to people doing work that you are interested in and ask if you can take them for coffee. Finding mentors can be hard, but it is one of the most beneficial things you can do for yourself and your career.

Photo of Emma Westray and Annie Clarke by Haley Garnett.

BK: Why should we come and see your show? 

AC: Cannibal is a very, very good play. It is sharp, surprising, thrilling, and utterly unexpected. Thom says that, with Scrap Paper Theatre, he wants to make plays that his brothers won’t sleep through. As someone whose own brother gave up on theatre after seeing me in a very ill-advised one act in 2006, I can really get behind that. And yet, for all of its watchability, Cannibal does not sacrifice depth. I’m really interested in what it’s exploring about womanhood, intimacy, motherhood, love, debt, and what happens when we make art out of life.

EW: There is something about Cannibal that sneaks up on you. It happened when I first read the script last year, and it has happened every time I’ve seen it since. It is not what it appears to be, or at least, it is much more than it appears to be. I love complicated, unraveling, imperfect women and this play delivers one in Bridget Walker, and another in her best friend Liza. I love Thom’s writing, and my favourite part of the script is the depiction of female friendship. It doesn’t have a pink, frilly ribbon tied around it – it’s messy and raw, and it is the core of the emotional relationships, despite the presence of romantic relationships in Bridget’s life.

Cannibal

At the 2019 Next Stage Theatre Festival

Photo of Justine Christensen by Tanja Tiziana

Who:
Company: Scrap Paper Theatre
Playwright: Thom Nyhuus
Director: Courtney Ch’ng Lancaster
Producers: Annie Clarke & Emma Westray
Cast: Michael Ayres, Justine Christensen, Joella Crichton, Thom Nyhuus
Dramaturg: Paolo Santalucia
Sound & Lighting Designer: Cosette Pin
Set & Prop & Costume Designer: Julia Kim
Stage Managers: Lucy McPhee (Rehearsal), Julia Vodarek Hunter
Intimacy & Fight Choreographer: Scott Emerson Moyle

What:
When you survive the unsurvivable, who do you become? Bridget Walker has written a play about the abduction of her son and it’s a smash hit. Critics are raving, but those closest to her are sent reeling. ‘Cannibal’ explores grief, the cost of sharing your story, and what it means to be indebted to someone you love.

Where:
Factory Theatre Studio – 125 Bathurst Street, Toronto, ON, M5V 2R2

When:
Thurs. Jan. 10 (9:30pm), Fri. Jan. 11 (5:00pm), Sat. Jan. 12 (6:45pm), Sun. Jan. 13 (8:45pm), Tues. Jan. 15 (8:30pm), Thurs. Jan. 17 (9:15pm), Sat. Jan. 19 (6:00pm), Sun. Jan. 20 (3:00pm).

Runtime:
90 minutes

Content Warnings:
This show contains strong language, sexual content, and discussions of mental illness, grief, and coping with losing a child.

Tickets:
General Admission – $15.00
Buy tickets or passes in advance online: www.fringetoronto.com or by phone: 416-966-1062