The highlights:
- Theatrophy's "Moribund" in the Irving Greenberg Studio Theatre. The artistic collaboration of Nick Di Gaetano, Jesse Buck and Aron De Casmaker is unlike anything else happening in this town. "Moridbund" seemed more like a seed than a flower, but it had all the elements: interesting design, movement and original music - and most importantly, good storytelling. I am told the company is now on hiatus, but I definitely look forward to following their respective solo endeavours.
- Pierre Brault. And I hear you: I hear you groaning "what, that guy again?". Yeah, well, that guy did two, count 'em, two, one man shows in 2008. 5 O'Clock Bells told the tragic story of Lenny Brault - another visually stunning collaboration between Pierre Brault and Brian Quirt. Catalpa, produced by Seven-Thirty Productions, was storytelling of epic proportions. A bedroom, occupied by a man in his pajamas is transformed into a ship on the high seas - loved it. And it's not about the ability to do different voices, or even the slight physicalities brought to each character - although both of these things are part of Brault's impressiveness. It is the storytelling that gets me every time with the projects that he chooses. I am a sucker for a good story, and not only does he choose great material, but he has the ability to bring that material to life in beautiful and entertaining ways. I understand he is working on a new show with GCTC and I can't wait to see what he does next.
- Colleen Sutton in Seven-Thirty Productions "Iron". Now, I am a huge Margo Macdonald fan - probably her biggest - and what impressed me about this show was Sutton's ability to go toe to toe with the best and hold her own. Before this, Sutton was in danger of being typecast as the dumb blonde. With this role, she was able to prove she has depth and range. And work ethic - guarunteed this role made her work. I will also wait to see what she does next.
- a Company of Fools "Romeo and Juliet". AL Connors directorial debut pushed him into a whole new phase of his career. My impression is that Connors set out to make the kind of theatre he wants to see - and I wish more people had the courage to do this. His ability to direct physical comedy shows his appreciation for the form and his innate sense of comic timing pays off in ways the actors themselves don't get until opening night. On top of this, his ability to reign in a cast of clowns (literally) demonstrates an ability to get things done. I don't think Connors is going to win the emerging artist award tonight because it is a tough category - but I do think his nomination demonstrates a growing respect towards the work he, and the Fools, are doing and this is well and truly deserved.
- Andy Massingham: in 2008 I discovered this fabulous performer named Andy Massingham. He is nominated for his performance in "How the Other Half Loves" but that is really the tip of the iceburg in terms of what this guy can do. I look forward to his 2009 nomination for "Peer Gynt". Come on, we all know it's coming.
- My Name is Rachel Corrie: Vision Theatre. Sarah McVie took what is barely even a script (the story is taken from a series of journal entries, and was edited by Alan Rickman) and turned it into the most moving performance of 2008. Period. I was moved to tears when I saw this show, and I can't say enough good things about McVie. Actually, I can't help but wonder what her roles in 2008 did to her: playing two dying characters in one year (the other being GCTC's "Zadie's Shoes"). Her work is lovely and understated while at the same time she has a powerful, commanding presence. This was Vision Theatre's first show after taking a year hiatus: I can only hope they take the hint from this nomination and do more work that involves artists of this calibre.
- Speaking of calibre, Annie Lefebvre in "Danny and the Deep Blue Sea". I have no idea how Chamber Theatre snagged her, but Lefebvre, in my mind, toe to toe with Sarah McVie for the absolute best female performance in 2008. I first fell in love with this actor when she terrified me as "Medea" a couple of years ago, and I was so thrilled to find her again in this gem of a show. The venue - the Elmdale Tavern - helped in make this one of the best theatrical experiences of the year. The fact we were all so close to two such powerhouse performances was breathtakingly awesome. These two actors can sweat and spit on me anytime. (In fact, I hope they do)
- "Rabbit Hole", Gladstone Productions: in my mind this probably the most underrated show of the year. I thought Maureen Smith's performance as a woman dealing with the loss of her child was gripping and real. And I think she did it despite the lack of support from her fellow actors. Director Janet Irwin always makes such bold and interesting casting choices and this particular mish mash almost worked. I loved Michele Fansett as Smith's mother and Nancy Kenny didn't have to reach to play the loveably sarcastic sister. But Brie Barker really struggled with his role as the father and as a result the audience was unable to connect to the relationship between the parents in the way they needed to in order to make this script successful. And that, I guess, is as good as any segway into what I see as the low-lights of theatre in 2008.
The lowlights:
- This is a Play: Evolution Theatre. Now, I admire the courage of these young upstarts - making a company, putting themselves out there. But the most uninteresting thing for me as audience member is to watch a group of artists tackle material that is completely beyond their capabilities and that was so the case with this show. If it is presented by students, and the object is to reach beyond the grasp as a learning experience, then fine. But these guys present their work as professional. I didn't see everything the company did in 2008, but if this show was any indication I really hope that in 2009 they seek some outside advice from professionals with a little more experience than what they have. I also hope they will start choosing their projects more carefully and work within their capabilities - I have no doubt these guys have talents but so far they are not working to their strengths.
- "The Triumph of Judith Shakespeare", Ottawa School of Speech and Drama. Bruce Bissonnette actually did a decent job of directing, but the material was weak (writing in rhyming couplets is an interesting challenge but in no way replaces the need for a compelling narrative) and the performances were uneven.
- "Without a Clue" Enigma and Garkin Productions: Cute, but only at first. Material mostly stolen from the movie "Clue", the talents of the performers in this show would be better served doing something else. 'Nuff said.
- "Look Back in Anger", Third Wall Theatre. I do actually look back in anger when I think about how my time was wasted by this show. Like much of what Third Wall produces, I find myself asking why. Why should I care about this particular script, at this particular time? The mandate of Third Wall has to do with engaging with the present through the classics. I cannot figure out how that applies to this show. This script belongs to a particular period in our history and I think a large part of my problem with it has to do with how women are written. And I can't figure out how this play helps me to engage with the present. Kevin Orr brought some modern staging to it - but that's not enough for me. Kristina Watt and Amanda Kellock both did okay jobs despite the limited characters written for them. I expected more from Richard Gelinas and Stewart Matthews. The design work by the impeccable Rebecca Miller and the amazing Sarah Waghorn at least gave me something to look at it.
So that's it. Another year over - and tonight I get to find out who we've chosen to recognize. On the whole, an amazing year for theatre. In 2009 I am looking for a deeper engagement between artist and audience (are you listening, GCTC?) and I hope that people will not only go out to see theatre, but they will talk about it, blog about it, share in the experience. Too often this becomes an insular process, and unfortunately tonight may be part of that. Professional artists creating work for other professional artists. But my wish, if I had one, for professional theatre in Ottawa is that it can grow to become a two-way relationship.
