tag:blogger.com,1999:blog-33308108756481601712024-02-20T16:41:58.461-08:00SurfacingHMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-3330810875648160171.post-43225461111820409782011-03-29T22:23:00.000-07:002011-04-06T09:03:40.951-07:00Show Notes<div style="background-color: transparent; "><span id="internal-source-marker_0.32052929955534637" style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >The following is a companion piece to Episode 5 of <a href="http://ottawatheatreconfidential.podbean.com/">Ottawa Theatre Confidential</a>, which is a podcast I host with local bon vivants Andrew Snowdon and Tania Levy. </span></div><div style="background-color: transparent; "><span id="internal-source-marker_0.32052929955534637" style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;" >This is something I hope to do more regularly, as our podcast content develops, and when there are particular ideas I feel I want to expand on. These companion posts will all be named 'Show Notes'. Feel free to add your own opinions in the comments section. </span></span></div><div style="background-color: transparent; "><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;" ><br /></span></span></div><div style="background-color: transparent; "><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;" >Without further ado...my random thoughts on a few shows I have seen recently...</span></span></div><div style="background-color: transparent; "><span id="internal-source-marker_0.32052929955534637" style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span id="internal-source-marker_0.32052929955534637" style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><a href="http://www.gctc.ca/plays/next-season/the-shadow-cutter">Shadow Cutter</a></span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><br /></span></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >The main thing I would say about Shadow Cutter is that while new work is interesting and exciting, especially when it is homegrown, I don’t think this piece was ready to be a mainstage show as part of the GCTC season.</span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span class="Apple-style-span" style="background-color: transparent;"><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">In general what I found problematic about "Shadow Cutter" was the narrative structure. We are introduced to Andy Massingham as the magician Dai Vernon at some kind of conference or lecture, so we as the audience are cast as the aspiring magicians/attendees of the lecture. Pierre Brault’s entrance is as a magician pulled out of the audience. He is set up as someone who knows a lot about Dai Vernon and as such begins to take on different characters from Vernon’s life. The narrative then moves back and forth through time and a picture of Vernon’s life develops. But even though we come back to the conference a couple of times during, at the play’s end we are not brought back to the conference. To me, that is like leaving a hanging thread. When you cast the audience but you don’t go back and release them, they are left unsure of who and where they are at the end of the story. </span></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">I think there was a lack of focus on what in this story was important. The title, “Shadow Cutter” refers to Dai Vernon’s vocation as a silhouette cutter, and while that makes for some fun and interesting stage bits, it is not Vernon’s passion and does not play a central role in the story. The program makes it clear that this is not meant to be a biography of Vernon’s life, and yet so much time is spent showing us the biographical elements of his life. We are told over and over that learning this card trick, the centre deal, is what drives Vernon, and yet that quest and it’s ultimate completion is not what is most interesting. What stands out from the various strands of Vernon’s life we are given, are the relationships between Vernon and central figures in his life. </span></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >While Andy Massingham plays only Dai Vernon at various stages of his life, Pierre Brault plays 19 different characters including Harry Houdini, and Vernon’s wife, and these are the exchanges that are the most compelling. Brault and Massingham are both incredibly good at what they do, and I loved seeing them play off one another, but I admit that for the first time during a Pierre Brault show, I found myself wishing there was a woman. I was really interested in his relationship with his wife and his son, and that as well as his relationship to Houdini, however brief that was, provided the most interesting/the only conflict in the play. </span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >This might be because Vernon’s relationship to magic is never actually clear. We know he is talented, and particularly obsessed with card tricks, but he has no interest in performing which means his sexiness as a magician, especially compared to Houdini, is diminished. He seems to have a cerebral relationship to magic, that compels him to follow and observe and learn, but he also seems to use it as a way of keeping people at a distance - hence why his relationships seem to be the central issue of the play. </span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">I did think that the ‘close up magic’ used in the show worked, which would not have been easy to accomplish and I really liked the design on this show - the stark lighting design was amazing - however some of the staging seemed to serve the design more than the story. </span><br /><span class="Apple-style-span" style="background-color: transparent;"><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span></span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><a href="http://www.nac-cna.ca/en/theatre/event.cfm?ID=6286">Saint Carmen of the Main</a></span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><br /></span></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >The simple way to state my opinion of this show is to say that without any strong attachment to either the play’s original concerns: an oppressed Quebec, or the concerns of Hinton’s re-telling, which people have said are more generally urban struggles and standing up for those in society who are marginalized - I find there is no way into this play. </span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">The opening scene is one of the most beautiful things I have ever seen - the curtain rising to reveal a series of red platform heels and nylon-clad calves... (It is interesting that both St. Carmen and Shadow Cutter used the palette of bright red, black and white - this must be what is ‘hot’ in terms of theatrical design at the moment.)</span></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "> </span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">While I can appreciate the form and the different ‘readings’ of this play, from an intellectual perspective, my experience of sitting through this play was one of utter boredom. Again, while intellectually I can appreciate the Greek tragedy, I do not enjoy a slow Greek chorus style show. What I experienced was a slow-moving play, made up of monologue after long-suffering monologue. And the shiny costumes and funny wigs could only sustain me for so long. </span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">What I did like: the amazing Diane D’Aquila as Harelip. I watched her every time she was on stage and followed her every word. And Jackie Robertson - what a force of nature - the final scene where she sings is one that will stick in my brain for a very long time. </span><br /><span class="Apple-style-span" style="background-color: transparent;"><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "></span></span><br /><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; "><a href="http://www.thirdwall.com/about/whats-on/show-2/">Antigone</a></span></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "><a href="http://www.thirdwall.com/about/whats-on/show-2/"></a></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">And what do you know? Another Greek tragedy. Must be hot this season. </span></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >In usual Third Wall Theatre style, this show has an interesting cast with Emily Pearlman, Richard Gelinas and Simon Bradshaw joining the much touted duo of John Koensgen and the age-defying Kristina Watt as Antigone. This production was a modern adaptation of a classic, starting with the text which was adaptated by Henry Biessel. There was contemporary dress in the costumes provided by Sarah Waghorn and the characters had modern cadence and speech patterns, as led by director James Richardson. </span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >The chorus was adapted by having actors trade off these large ceremonial looking robes and dollar store Halloween masks; this was something that was only marginally effective, as one was given the impression it was done as much to save the logistics of having a 5-person cast as it was a vision for how to present the chorus. The staging, which was in the round, was also only marginally effective as it seemed to make the scene transitions slow and awkward and the members of the chorus kept simply circling the playing area. There were an awful lot of entrances and exits for theatre in the round, and again I think this was evidence of a director struggling with how to present this play with only five actors. </span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">One thing I loved about this production was the scenic painting on the floor done by Stephanie Dahmer. It was so detailed and gorgeous I wanted to reach out and run my hands along the tiles. I’m not sure what was happening with the Greek columns that made up the rest of the set. There was a top and a bottom of one column (with the middle part missing, seemingly so we could see through to the action) and then just the bottom of another column. Because these were the only set pieces, characters used them as a place to sit, except the bases were too small to support even the small-framed actors in this show. </span></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">The lighting design, by Rebecca Miller, was beautiful - rarely do I not love everything Rebecca Miller does. Because they chose to put spotlights on chorus members when speaking, the lighting cues were never as sharp as they should have been, and the actors weren’t always hitting their mark, but still the effect of the lighting made up for what the show lacked in set.</span></span></div><div style="background-color: transparent; "><span class="Apple-style-span" ><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; "></span><span class="Apple-style-span"><span class="Apple-style-span" style="white-space: pre-wrap;"><br /></span></span><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; ">There were some good moments in this show, and I felt that each actor had at least one. Watt had some fierce moments as Antigone, Gelinas as the gaurd provided the only humour in the show, and I think the best scene of the play was the one of confrontation between King Creon played by John Koensgen and his son, played by Simon Bradshaw. </span></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><a href="http://www.centaurtheatre.com/42_instructions.html">Instructions to Any Future Socialist Government Wishing to Abolish Christmas</a> </span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " ><br /></span></div><div style="background-color: transparent; "><span style="background-color: transparent; font-weight: normal; font-style: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap; " >I briefly mentioned on the podcast that I saw this show in Montreal in March. What I failed to mention is that this show also has a link to Greek tragedy, the running theme of our episode. There is probably much more to say about why creators/producers are drawn to Greek tragedy right now, and what relevance it has for us, socially and politically. But for now I just want to point out that "Instructions" playwright Michael Mackenzie created a cautionary tale inspired by Greek classics that wrestles with issues of modern morality by telling a story that is in some ways very old. </span></div><div style="background-color: transparent; "><br /></div><div style="background-color: transparent; "><br /></div>HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0tag:blogger.com,1999:blog-3330810875648160171.post-42784932835480238282010-04-16T12:28:00.000-07:002010-04-16T13:04:46.430-07:0004/12/10: My Week in Review<p class="MsoNormal"><br /></p><p class="MsoNormal">1. The Great Canadian Theatre Company unveiled their <a href="http://www.gctc.ca/box-office/next-season">2010-2011 season</a>, and for once I am really excited about it. I had already read about the Jennifer Tremblay play "La Liste" when it was announced as part of the <a href="http://www.nac-cna.ca/en/theatrefrancais/#1011.cfm">National Arts Centre's French Theatre season</a> for next year. And I'm so glad I'll be able to enjoy the English translation of this play, directed by the fabulous Brian Quirt. "Vimy" by Vern Thiessen looks promising; if nothing else it is a much larger cast than most shows programmed by the GCTC, and the partnership with the NAC English Theatre acting company is an interesting collaboration. "Strawberries in January" definitely caught my eye as the kind of "fizzy comedy" (in the words of Lise Ann Johnson) that totally appeals to me. As a huge Pierre Brault fan, I am looking forward to his new show "The Shadow Cutter" (with double the usual cast size!) and who wouldn't be excited about the new Daniel McIvor piece, "This is What Happens Next". Equally exciting for next year is the new Undercurrents Festival that was announced; featuring, among others, the fabulous "This is a Recording" by Simon Bradshaw and Kelly Rigole. First seen at the Ottawa Fringe Festival in 2009, this is a verbatim theatre piece and I'm so glad the show is being remounted and will be seen by a wider audience. </p><p class="MsoNormal"> 2. <a href="http://crushimprov.com/">Crush Improv's Tuesday Make 'Em Ups</a> featured Crush members AL Connors and Cari Leslie and local actor Richard Gelinas. This pared down cast of players kept things simple for this show, and instead of their usual sequence of improvisational games they did some free-form long form improv that was truly enjoyable. This is exactly the kind of improv I enjoy: character-based storytelling where the performers spend time establishing a character and then they explore different scenarios and really play with one another. I felt these three had great onstage chemistry and Cari Leslie in particular had a stellar night. Also worth mentioning: Richard Gelinas' donair maker character. Priceless. </p><p class="MsoNormal">3. <a href="http://www.cbc.ca/politics/insidepolitics/2010/04/guergisjafferwatch-and-that-prime-minister-is-how-you-submit-an-official-request-to-the-ethics-commi.html">Guergis-Jaffer watch</a>: uncharacteristic for Canadian politics, this week there has been a media shitstorm surrounding former MP Rahim Jaffer and his wife, Conservative MP Helena Guergis that has involved a private investigator, and claims of cocaine-fueled parties with high priced hookers. At this point it's hard to work out what actually happened that is relevant to Guergis losing her cabinet position, but with the NDP's formal request to the ethics commissioner, there will now be a formal inquiry. What strikes me is that once again Stephen Harper looks sneaky - and that's saying something when we're dealing with characters like <a href="http://www.cbc.ca/canada/story/2010/03/09/jaffer-case.html">Rahim Jaffer</a>. Why did Harper publicly state that the ethics commissioner and the RCMP were investigating Geurgis, but not give any reasons why? Why does every move he makes seem like it's all cloak and dagger? Quick, media! Look over there! </p><p class="MsoNormal">4. Also in the news this week, the City of Ottawa is looking to <a href="http://www.ottawacitizen.com/life/City+seeks+female+minority+firefighters/2914994/story.html">recruit more female fire fighters</a>, in an effort to "reflect the people of our community". I am definitely all for gender equality, but this statement made me think. Is it really important that fire fighters reflect their community? I understand this argument when it comes to other community-serving careers such as police, or front line health workers. But as far as who is behind the big coat and helmet of a fire fighter, does diversity really matter? I know this campaign is partly about convincing young women that becoming a fire fighter is a legitimate option for them, and that part I can get behind. But I guess I always bristle a bit when when there appears to be a 'gender quota' that doesn't seem to make sense. </p><p class="MsoNormal"> 5. <a href="http://www.nhl.com/scores/">NHL Playoffs</a> started this week and the good news is that all 3 Canadian teams won their first game in round 1. Only the Ottawa Senators, Montreal Canadiens, and Vancouver Canucks made it to the playoffs this year. The last time a Canadian team won the Stanley Cup was the 1993 Montreal Canadiens. The 2010 Habs don't look so good; having limped into the playoffs this year, but one never knows...As a big Sens fan, I am looking forward to Ottawa beating Pittsburgh in this round...sweet revenge. </p><p class="MsoNormal">Coming up this weekend: </p><p class="MsoNormal"></p><ul><li>Sens vs. Pens: Game #2 Friday night, Game #3 Sunday night. Go Sens Go!</li><li><a href="http://cubesalon.ca/">Cube Salon</a>: Saturday night at the Cube Gallery, the uber-handsome Jonathan Koensgen is presenting a sneak-peek at his one-man show "Procrastini". The ever-popular John Carroll will also be there - making this an excellent line-up for Cube's final Salon of the season.</li><li>The 3rd Annual <a href="http://www.rideauawards.ca/">Les Prix Rideau Awards</a> is this Sunday night at De La Salle - I am as excited to find out who the winners are as I am to see what everyone will be wearing! If you don't have your ticket for this yet, you should still come - there will be some tickets available at the door. This will be a super fun tonight - although for me it is also work - I will be the Front of House Manager for the evening, and my date will be the DJ for the awards ceremony. Business drunk, anyone? </li></ul><p></p><p class="MsoNormal"><o:p></o:p></p> <!--EndFragment--> <!--EndFragment-->HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0tag:blogger.com,1999:blog-3330810875648160171.post-17247613597605718602010-01-09T15:36:00.000-08:002010-03-04T08:20:41.131-08:00'Twas the Last Day of Christmas Vacation, or, Another Travel Nightmare Story<span class="Apple-style-span" style=" ;font-family:Verdana;font-size:11px;"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">It was the last day of our Christmas vacation. A ten day loungefest at my parent's farm that included healthy doses of fresh air, snowshoeing, eating and drinking. Having finished stuffing all our ill-gotten gains into our suitcases, AL and I jumped into my sister's car to be driven to the Edmonton airport. We were flying Edmonton to Calgary, then switching planes and flying the rest of the way back home to Ottawa.<br /><br />Did I mention this was on December 27?<br /><br />Remember that whole Christmas Day terrorism thing? Yeah, that. Well, two days later there were a number of security delays affecting a lot of people's travel itinerary. On top of that, quite literally, was a blanket of fog over the city of Edmonton.<br /><br />The drive from my parent's house to the Edmonton airport is two hours, so, when it's time to go, it's time to go. So even though there was this very thick fog surrounding the airport, I was utterly convinced this would not affect our plans. Famous last words. When we checked in we were told our flight to Calgary had been delayed, but not to worry, the flight out of Calgary had also been delayed. Quick check on the board: yup, flight delayed by one hour. No biggie. This gave us time to stop in at the airport Montana's for some nachos and beer - good times. Emerging from the Montana's just in time for what we think will be the pre-boarding announcement...we check the board again. This time? Flight is delayed three hours. Well, there's no way we're making a Calgary connection now. Better check in with an agent and find out what our options are...<br /><br />As we approach the gate, we start to notice things are a little, um, frantic. People are cueing up at their gates, not to board their planes, but to pepper the agents with questions. For one thing, the boards throughout the airport tell one story, the signs at the gate quite another. You see, the electronic signage at the gate is on auto-pilot. It cycles through the announcements based on what time it is. Meaning that passengers were seeing boarding announcements and even take off announcements for planes that never even made it to the gate. This was only the beginning of that day's frustrations.<br /><br />We managed to find a very helpful agent at the gate who at that point presented us with two options: a) we take the delayed flight to Calgary and then a red eye out of Calgary to arrive in Ottawa first thing the next morning. Or b) we give up the ghost, right here and now, collect our luggage, and try again tomorrow morning. This was the proverbial crossroads. In retrospect, everything is so clear. I had a bad feeling about what was happening (or more importantly, not happening) in the Edmonton airport, and getting out of there was a very sane option. On the other hand, AL was scheduled for his first day of Danish Play rehearsals. And obviously, an actor can't exactly 'call in sick' - you're either there or you're not - and AL wasn't about to 'skip' the first read of his new show. (And rightly so!) So, standing in the middle of the airport we made what would turn out to be our fatal mistake - we decided come hell or high water, we were getting back to Ottawa in time for AL to make rehearsal.<br /><br />Granted, even if this had worked, it was a crazy plan. The option they had presented us with was to take a red eye flight out of Calgary, which meant that AL would basically have to go to rehearsal straight from the airport in who knows what kind of shape. But we would make it work. So we waited.<br /><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">And waited. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">I decided that the only way to survive a long layover was to give in to the temptations of the airport. Namely, trashy women's magazines and candy. Luckily, my grandma had given us a tin full of homemade goodies, so, I managed to find a comfy spot, dug into my goodies, and caught up on the latest 20-something fashions and celebrity gossip. When I emerged from my cocoon, the scene around me had got worse instead of better. The crowds were getting larger. And angrier. No flights were taking off - and more distressing than that - passengers were not being given any explanations. One man near me was actually yelling out his frustrations at anyone who would listen; how the airline was a bunch of jerks and poo-poo heads and they would pay for this (he may have been using stronger language). </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">But we were going to be spared. The boarding announcement for our flight to Calgary may as well have been a chorus of hallelujahs. We were going to escape the Edmonton airport. Or so we thought. We were loaded on to a plane, where we sat and waited. They re-routed a bunch of passengers from this flight to another, so there was all sorts of confusion about who was supposed to be on this flight and who wasn't. There were a few roll calls by frazzled looking flight attendants, and then, we waited. We were on this plane for about an hour before they told us it was cancelled. Nothing is taking off, they said. Please pick up your luggage downstairs and consult a ticket agent to make alternate arrangements. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">This is where the chaos began. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">AL, sensing what was about to go down, suggested we split up. He would go and collect our bags, and I would head straight to the ticket line-up. Reluctantly, I agreed. It had already been a long day at that point, especially when you add the two hour car ride from my parent's house that morning. And I didn't feel particularly able to make good decisions. But I knew his suggestion made sense, so we parted ways. This ended up being very wise. By the time I followed the stream of people heading to the customer service desk, there was already a sizeable line-up. This line up continued to grow for the next hour or so, until it snaked two or three times through the airport. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">It was standing in this line up where I experienced what I consider to be the ugliest side of humanity. A lot of people, like us, had been experiencing delays and long line ups all day. They were tired and frustrated. And no one knew what was going to happen to their travel plans. I guess the one thing AL and I had working for us is the fact we were headed home. Those who were just beginning their holidays were the most irate. If you plan a 4 or 5 day vacation somewhere, only to lose one entire day in a lousy airport, that is a significant chunk of your vacation gone. And in many cases, the cost of one day's vacation evaporates as well. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">What I noticed is what happens when you put a bunch of tired, frustrated, confused people in one confined area. They speculate. They become paranoid. They pass around horror stories and half-truths and add the confusion and frustration until the crowd becomes one seething mass of anger and resentment. I was in that line up for two hours. And during that time, all sorts of things happened. People were on their cell phones trying to book alternate flights through airline 1-800 numbers because the rumour was there weren't going to be enough flights the next day to get everyone out of the city. People were talking about how much their time was worth, preparing themselves for when they got up to the agent, preparing to ask for the compensation they are clearly due - including compensation for the time spent standing in line. There was a rumour going around that all of our luggage had been lost, or that it had been sent somewhere else. I understand there was a quite a scene in the luggage area where AL was; people running from carousel to carousel, worrying they would never see their bags again. AL had pretty much the same strategy I did - to keep my head down, reach way down deep and find every ounce of patience possible, and survive this ordeal without absorbing any of this incredibly negative energy. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">I looked around in the line-up. There were people with babies and little kids, people travelling with their elderly parents in wheelchairs. Here was what disgusted me: the people in the line up who decided their life was way more important than everyone else's. The ones who demanded to know each airline employee's name and employee number. The people who prompted a call to the RCMP because they were yelling and threatening airline employees. As frustrated and as tired as I felt, I could not comprehend this level of selfishness. I mean, really? There are literally at least a hundred people standing behind you in line, and you are going to stand there and take up the time of not one, not two, but three customer service agents and an RCMP while you engage them in some inane argument over what hotel you will be staying at tonight, and exactly how much you expect the airline to pay you for your time, and exactly the kind of transportation you expect to and from the hotel? </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">I mean, I get that people were upset about having their vacations interrupted. And I too experienced the lack of communication from the airline staff regarding exactly what was happening. I agree the whole thing could have been handled better. But at 10 o'clock at night, after we've all suffered a long day, and there are many many people who have to get their itinerary sorted out for the next day - that is not the time for puffing your chest and grandstanding. The rational, humane thing to do in that situation is to make your arrangements as quickly as possible and get the hell out of that airport so you can give everyone else a chance. Then, later, make a formal complaint. Make all your ridiculous demands for compensation and villify all the employees. If it's that important to you, you should be willing to go through the proper channels at an appropriate time. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">Seriously, there was a total lack of compassion in that airport that night. I also looked around at the employees. They looked just as, if not more, exhausted than the passengers. They too were trying to make the best out of a terrible situation and they too were not functioning at full capacity - everyone was having to work overtime and scramble around to accommodate for these delays. One of the managers was berated so terribly by a passenger, that she started to cry. The man laughed at his power over her, I guess it made him feel big. She disappeared only for a brief moment, and then was back, hauling luggage and answering questions and looking at people through her puffy red eyes. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">When we finally got the heck out of there and to a hotel (we struck a deal with the agent - they would pay for a hotel if we paid for the cab) there was nothing left for me to do but cry. I think we had a total of 5 or 6 hours until we had to be back at that airport. Honestly, I've never felt so affected by so much negative energy. I had tried all day to avoid it, to shut it out, but when AL and were finally alone I completely collapsed. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">The good news at the end of this story is at least we had our luggage with us. Not only did I have my own pajamas and my toothbrush, but we had a bottle of rum in one of our bags. Straight rum out of a hotel cup has never tasted so good. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">Early the next morning we were back at that airport, and back in long line-ups. I recognized many of the people we had seen the night before, although all of us were much quieter in the daylight. Just following along in the line ups, grateful to be moving, to be going anywhere at all. </span></span></div><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span></div><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';">We finally made it, and so did our bags. And I have never ever been so grateful to be home. </span></span></div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><br /></span></span><div style="margin-top: 0px; margin-bottom: 0px; "><span class="Apple-style-span" style=" ;font-size:x-small;"><br /></span></div></span>HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0tag:blogger.com,1999:blog-3330810875648160171.post-73473704807471672082009-11-17T08:52:00.000-08:002009-11-20T07:48:57.979-08:00Who Are These Sexist Arbiters of Culture?<span style="font-style: italic;">I was unable to access the comments section under this article posted (Cult)ure Magazine. So, I have decided to publish my comments here. The article I am responding to can be found </span><a style="font-style: italic;" href="http://www.culturemagazine.ca/cinema/titanic_to_twilight_how_sexism_determines_whats_cool.html">here.</a><br /><br />I'm afraid I find the point of this article to be rather arbitrary and I am wondering on what the conclusions about popularity and gender are based. Who are these arbiters of culture? It seems the author's conclusions are based solely on perception as opposed to any actual analysis of gender and cultural trends.<br /><br />Clearly, I have a different filter of experience because I remember when "Da Vinci Code" came out and how the critics laughed during the premiere of the film at Cannes. The book, and particularly the film, were panned by most and I certainly don't remember that happening along gender lines.<br /><br />If you want to talk gender issues; how about the fact that there was a huge backlash against "Da Vinci Code" for being a "radical feminist" text, celebrating ideas of the 'sacred feminine' and 'goddess worship'. Women, such as <a href="http://www.womensenews.org/story/commentary/060712/da-vinci-offers-chance-discuss-gender-battles">this Christian feminist</a> saw the controversy surrounding the book/film as an opportunity to discuss the history of women and Christianity.<br /><br />If you want to talk about sexism and its effect on popular culture, then it is far more interesting to examine actual content and reflect on what about it creates mass appeal (or, the desire to admit appeal, which seems to be the focus here).<br /><br />"Twilight" is fascinating because while I agree it is targeted towards women, the narrative contains a classic escape fantasy for both genders. For women, it is to indulge their inherent selfish desires and for men, it is to ignore their baser instincts and strive to be, well, better men.<br /><br />There actually seems to be interesting conversations happening on both sides when it comes to "Twilight": on the one hand it seems to reinforce stereotypical gender roles and this can both attract and repel (some women argue it is offensive the men get to do all the good ass kicking). On the other, there are discussions about the gender bending in "Twilight" - I think this centres around the film - Robert Pattinson, <a href="http://bitchmagazine.org/post/more-adventures-in-twilight-and-gender-bending">some would argue</a>, is not your typical male heart throb.<br /><br />All of this to say, I think the cultural landscape is a little more colourful and a little less simplistic than what this article presents.HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0tag:blogger.com,1999:blog-3330810875648160171.post-29869217024645027442009-11-01T12:58:00.000-08:002009-11-04T13:18:41.992-08:00Haunted on HalloweenI like being scared. In a <a href="http://ophelia23-surfacing.blogspot.com/2009/10/moments-and-feelings-or-time-i-played.html">previous post</a>, I talked about how I most enjoy that which moves me; and let's face it, scary stories can provoke the most visceral of responses.<br /><br />Halloween night for me this year was indeed a spooky night. Thanks to some wonderful friends of mine I was able to see a show in Montreal called "Haunted". Written and directed by Paul Van Dyck, "Haunted" is the alleged true story of Esther Cox, who, in 1878 was the victim of a poltergeist. The Great Amherst Mystery, it is called, and apparently its one of the most famous and most documented accounts of a poltergeist occurrence in Canada.<br /><br />Esther was a 19 year old girl who, after suffering an incident of attempted rape, began to see and hear some very strange things. It started with a voice, that would whisper her name, and then it was rapping or banging noises that would vary in volume and could last for hours. Sometimes lit matches would appear out of nowhere and fall on the floor. Things happened to her physically as well; apparently one time her body began to swell up and then deflated just as suddenly.<br /><br />There were witnesses to these events; Esther Cox lived with her sister and her sister's husband, and although these occurrences started in their home, weird things were eventually happening when she would leave the house. Most famously, the knocking sounds once interrupted a Baptist church service and didn't stop until an embarrassed Miss Cox left the building.<br /><br />What caused this haunting? We have no way of knowing, but there are a few interesting theories. One is that Esther was either orchestrating these events, or imagining them, because of the trauma she had experienced. Another is that the man who assaulted her, Bob MacNeal, was possessed by some kind of demon spirit, that was then passed on to Esther.<br /><br />Van Dyck's play is told from the perspective of Walter Hubble, an actor who actually travelled to Amherst in June of 1879 to convince Esther to take her 'talents' on tour. Believing she was a master illusionist, he thought the two of them could make a lot of money by doing a lecture circuit. Crowds however, were skeptical, and at one such 'lecture' when Esther couldn't produce evidence of the ghost on command, the crowd turned on her and all-out riot drove her to return to her sister's. Hubble went on to collect evidence of the poltergeist, which he later published in a book called "The Haunted House". This book reportedly includes an affidavit signed by several Amherst citizens who witnessed the hauntings.<br /><br />Walter Hubble was played by the very compelling Paul Van Dyck. He is clearly a very talented guy and although I am having trouble finding information on his company, Rabbit in a Hat Productions, I would certainly see something of his if I had the chance again. The story Van Dyck created is based on available facts, and has the necessary elements of a scary show, but also has well established characters and a sense of humour. In one of the funniest kind of 'meta' moments near the end of the play, Van Dyck as Hubble laments the fact there is no satisfying conclusion to this story, which is wink to the audience about the difficulty of ending the play.<br /><br />In the actual story, the hauntings did stop eventually but again there is no known reason why; one theory is that Esther visited a Mic Mac Medicine Man and that he exorcised whatever demons she possessed. Catherine Berube played Esther Cox in this production and I have to say she really stood out; such an amazing energy on stage. She aptly portrayed a young woman who was at once brave and headstrong, but also a victim of terrifying and tragic circumstances.<br /><br />What really made this evening was the setting. The St.James United Church right in downtown Montreal is old and creaky and has lots of levels and entrances; the perfect place for a scary story. The designers for this show did an excellent job of working within the space: lighting designer Jody Burkholder was able to focus in on the action, leaving much of the surroundings in deliciously spooky darkness. Helen Rainbird's costume design helped put the audience in the 1870s. The computer animation (Jeremy Eliosoff) and sound design (Jesse Ash) made the hauntings both real and spectacular. But what really brought it all together for me was the live music provided by fiddler Daniel Giverin and cellist Trevor Smith.<br /><br />During the show, I admit to jumping in my seat several times, as well as biting my nails and grabbing my date's leg as if for safety. This was a perfect show to see on Halloween night and it was complimented nicely by the spooky wind, dark clouds, and almost full moon courtesy of Mother Nature.HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0tag:blogger.com,1999:blog-3330810875648160171.post-1324517111866773872009-10-12T14:30:00.000-07:002009-10-15T13:42:45.046-07:00Moments and Feelings, Or, The Time I Played a Dog in the School PlayTheatre has been part of my life for as long as I can remember. As a kid I was always involved in doing community Christmas concerts and performing skits at family gatherings; but the first 'real' piece of theatre I remember being a part of is when I was in grade 3 and I was asked to be in the junior high production of "Rip Van Winkle". I was a good student who clearly enjoyed music class, but the reason my music teacher (who was the director of the show) cast me was because I was the only one small enough to fit into the dog costume. That's right, my first big break was as Rip Van Winkle's dog.<br /><div><br />For anyone who doesn't know the story of Rip Van Winkle, here's a quick synopsis: Rip is a likeable but lazy farmer who has a cantankerous wife, a daughter, and a loyal dog named Wolf. One day Rip and Wolf take a walk into the mountains where they meet a man who gives them a strange liquor that makes them sleepy. Rip and Wolf fall asleep under a tree, and when they wake up 20 years have passed. Rip and Wolf, now old and grey, end up moving in with Rip's now grown daughter. They resume their idle ways except now they are free from Rip's nagging wife. Rip Van Winkle is not really a redeemable character, and there isn't much of a lesson to be learned from his story. In fact, I remember it being some sort of musical comedy... And yes, it is crazy that the dog survives the 20 years, but it meant I had the added acting challenge of playing the senior citizen version of a dog. Trust me, it killed. People found it very amusing.<br /><br />Oh, but don't get me wrong: this was a serious role. I had to learn blocking and practice my bark, as well as my growl. I had to remember when to make noise and when to be still, and what the appropriate facial expression was for each moment. My costume had knee pads so I could crawl across the stage on all fours and it had these big floppy ears and I had to get make-up done to look like a dog. AND - I was excused from class so I could attend rehearsals with the junior high kids. I loved it. I loved the rehearsals, I loved being with the big kids and I especially loved performing in front of the audience. I felt special. </div><div><br /></div><div>While this experience didn't quite inspire me to become an actor, it definitely made a huge impression on the 8-yr old me; and it sowed the seeds for a life long appreciation of live theatre. At that age, theatre to me was 'a big deal', and certainly being in a show was a very big deal. And not as much fun as I initially thought - it was actually quite serious and quite a bit of work. Oh, but the payoff! That feeling of making people laugh...I'm fairly certain I was warned not to upstage Rip Van Winkle with my antics.<br /><br />When I try to recall the first piece of theatre I watched, there is one show that stands out in my mind. It was a local production of "Anne of Green Gables". I don't remember how old I was, but I was young enough that seeing "Anne" on stage was very exciting, and yet old enough that I remember what it felt like to be part of the audience. <div><br /></div> <div>There was a particular moment in that production that is the reason I have such a clear recollection. This was the type of production where a curtain was used to open and close each scene. The memorable moment came just after the death of Matthew Cuthbert. A sad moment in any telling of "Anne of Green Gables", this one was rendered poignant by a simple mistake. Matthew Cuthbert had a rocking chair. And when the curtain opened for the scene following his death, his rocking chair was still moving. It was the only movement on stage and probably lasted about ten seconds which was enough to make the whole audience feel it was a moment. In reality this happened because no one noticed the chair was rocking before they opened the curtains. And yet that moment ended up symbolizing Matthew's death (and obviously I'm imposing meaning in retrospect - I wasn't ever <i>that </i>precocious); physically he was gone but he made such an impact, particularly on Anne, that he would always be there. It was also a symbol of mortality; the slow rocking motion leading to the eventual stillness. It was beautiful. </div><br />What I think has always stayed with me about theatre are these two things: moments and feelings. To experience live theatre is to share a moment with a group of people that can never be duplicated. And sometimes those moments are the happy accidents, like the rocking chair in "Anne of Green Gables". When I think about why I see theatre now I have to say it has to do with how it makes me feel. Of course I am drawn to a good story, and I'm able to intellectualize the various facets of a particular production, but when it comes down to it I'm always looking for those moments that will move me. Life goes by pretty fast, even when you're not sleeping, and those rare little moments are the ones that really stick.<br /></div><div><br /></div>HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com3tag:blogger.com,1999:blog-3330810875648160171.post-19732827316129760762009-06-18T20:33:00.000-07:002009-06-19T22:30:38.938-07:00Top Ten Reasons Why I Love the Ottawa Fringe Festival (and Why I Think You Should Too)<div>On Monday the <span style="font-style: italic;">Ottawa Citizen</span> published <a href="http://www.ottawacitizen.com/entertainment/fringe-festival/Financing+fringe+habit/1696208/story.html">this article</a> by Patrick Langston as a preview to the <a href="http://www.blogger.com/www.ottawafringe.com">Ottawa Fringe Festival</a>. While I enjoy the fact he briefly profiles a few of the artists participating in this year's Festival, I did not enjoy that this was another article about poor artists struggling to make money. The subtle (and I'm sure unintentional) implication is that these artists could not get work anywhere else - and not only that but it smacks of desperation: please buy tickets or these artists will literally starve!<br /><br />There are so many positive reasons to see shows at the Fringe, it is beyond me why a journalist, especially one with the kind of reach the <i>Ottawa Citizen</i> has <span style="font-style: italic;font-size:85%;">(The Citizen, unlike other smaller publications, is sure to reach people who may not know what a Fringe Festival is and I would argue this is not a good introduction),</span> would choose such a narrow and somewhat negative angle. <span style="font-style: italic;font-size:85%;">(The only quote from the article that really resonated with me was from Emily Pearlman, ""You don't do it to make money," she says. "You do it to get your work in front of an audience and develop it and to see work from other cities." Right on, sister! This is much more to the point. )<br /><br /></span>As an enthusiastic patron of this year's Festival, I have been thinking a lot about how incredible, from an audience perspective, the Fringe really is. And I know that if too many people actually figure this out, it will be a lot harder for me to get into the shows I really want to see, and the <a href="http://www.ottawafringe.com/tent-events/">Courtyard </a>will be way too crowded, so in a way I guess I am relieved that the <span style="font-style: italic;">Ottawa Citizen</span> doesn't quite get it...<br /><br />So, partly in response to this article I have decided to present my own preview of the Fringe. Of course the popular way of previewing is do a list of "Fringe picks" as <a href="http://www.ottawafringe.com/jessica-ruano-with-balm-for-your-theatre-withdrawal-pains-992/">Jessica Ruano</a> and <a href="http://nancyjkenny.wordpress.com/2009/06/18/nancys-must-see-list-at-the-ottawa-fringe/">Nancy Kenny</a> have done. As a twist on the top ten must-see list, I submit to you my Top Ten reasons why I love the Fringe, and why I think you should too:<br /><br /></div><div><span style="font-weight: bold;">1. The Fringe Courtyard.</span> This is something the Ottawa Fringe does really, really well (props to <a href="http://twitter.com/waghorn">Kevin Waghorn </a>who has spent years perfecting the formula). Never been to a Fringe Festival before? Start in the Courtyard. There is great food, great music, great beer and all in an outdoor patio-type setting. In fact, it is entirely possible to hang out in the Courtyard and never even see a show. However, each night Bradriona <span style="font-size:85%;"><span style="font-style: italic;">(read: Chats with Cat, hosted by Brad)</span></span> presents previews of what is on offer at this year's Festival, and I dare you to watch these previews and not feel curious enough to see at least one show. This is <span style="font-style: italic;">the </span>see and be seen centre of activity and with Bradriona running the show, you never know what might happen. Good times are a certainty. <span style="font-size:85%;"><span style="font-style: italic;">So are awesome giveaways...</span><br /></span><br /><br /><span style="font-weight: bold;">2. Access.</span> Having trouble deciding which show to see next? No problem, while you're waiting to get into a venue, chances are there's an artist there ready and willing to tell you about their show. Love something you've seen? Chances are, the performer who was on stage earlier will be in the Courtyard later. And in such a casual, fun atmosphere, there's no reason to be shy about chatting with a performer about their show. It's really easy to feel isolated from most theatre: you sit in the dark house and it is presented to you but all you have for context is whatever the company has chosen to put in their program. And if you're not the kind of person who religiously attends the fancy opening nights or the scheduled talk backs, you rarely get a sense of the people behind the shows. But with the Fringe, it's all right there in front of you <span style="font-style: italic;font-size:85%;">(warts and all),</span> and this makes for a much more overall satisfying experience.<br /><br /></div><div><span style="font-weight: bold;">3. Influence. </span>A product of this all-access environment. Your influence as an audience member can help to make or break the experience for a particular company. Your recommendations will convince others to see <span style="font-style: italic;font-size:85%;">(or not)</span> a particular show. Your vote will determine who gets to put the "Best of Venue" tag line on their poster. At the Fringe, the audience is king. Oh, the power...<br /><span style="font-style: italic;font-size:85%;">(just remember, with great power comes great responsibility...)</span><br /></div><div><br /></div><div><span style="font-weight: bold;">4. New work.</span> As Ms. Pearlman pointed out in the aforementioned <span style="font-style: italic;">Citizen</span> article, the Fringe is an excellent venue for testing out new work. A Fringe production is a step above a workshop presentation; as it can be the first public presentation of a shiny new show where not only is the script being tested, but it's the first chance to try out the related technical elements. What is really cool about this is you can watch Canadian work as it develops and then be able to say "I saw it when..." Also, and this goes back to #3, as a kind of test audience you have a direct impact on how that show might change - based on your honest reactions to it <span style="font-style: italic;font-size:85%;">(and maybe that conversation you had with the director in the Courtyard...)</span><br /><br /></div><div><span style="font-weight: bold;">5. Touring Shows/Artists.</span> I don't know about you, but I don't often get the chance to see what theatre is happening in <a href="http://www.ottawafringe.com/category/performance/company/destination-ink-productions/">Victoria,</a> or <a href="http://www.ottawafringe.com/category/performance/company/tricklock-company/">Albuquerque</a> or <a href="http://www.ottawafringe.com/category/performance/company/fancy-molasses-productions/">Winnipeg</a> or <a href="http://www.ottawafringe.com/grandpa-sol-and-grandma-rosie-399/">Australia</a>, so the fact that artists from all over the world are brought to me, and I can see them for only $10 - that is an incredibly great deal.<br /><br /></div><div><span style="font-weight: bold;">6. The Game. </span>With only ten days and 57 shows on offer, the Fringe Festival is kind of like the <a href="http://www.cbs.com/primetime/amazing_race/">Amazing Race</a> of theatre. How many shows can you see? How many must-show sees can you get into? How many days into the Festival will the passes be sold out? Who will emerge as the person who has seen the most stuff while retaining the most sanity? This is a fun game, but be forewarned: like any <a href="http://www.missmaud.com.au/Portals/0/restaurant/SmorgLunchNewLge.jpg">smorgasbord </a>, the Fringe can inspire an overindulgence of stuff you love so just remember to pace yourself.<br /><br /></div><div><span style="font-weight: bold;">7. The Danger. </span>This goes along with playing the game: sometimes all you have to go on is a brief description in the program or maybe a 30-second pitch from an earnest artist. So let's face it, you are taking a risk when you choose what shows to see. But doesn't this add to the intrigue? The danger exists that you may see something you really don't enjoy - but without the risk, where would be the joy when you stumble into something you love? Let's be honest; danger is sexy.<br /><br /></div><div><span style="font-weight: bold;">8. The Conversation.</span> While on site at the Fringe, whether you're running into people you know or strangers waiting outside a venue; there is a running conversation that bonds all Fringe patrons together: "What have you seen?" , "What did you think?" "What are you seeing next?", "What are your picks?", and my personal favourite, "Do we have time for a beer before the show?"<br />At the Fringe, there is no need for boring small talk. It is all business. <span style="font-size:85%;"><span style="font-style: italic;">Well, business and beer. </span></span><br /><br /><span style="font-weight: bold;">9. Fringe Crushes.</span> Ever heard of this phenomenon? Anyone who attends the Fringe regularly will tell you, the Fringe Crush is real. And it's hardly surprising if you think about it. The Fringe Festival attracts some <a href="http://media.metronews.topscms.com/images/9e/f3/d5a0951942f1a5feed58d5b09889.jpeg">beautiful people</a>. And when you see these talented amazing performers strutting their stuff on stage <span style="font-size:85%;"><span style="font-style: italic;">(or in the Courtyard, or maybe both)</span></span> I dare you not to fall in love with at least one of them. And as long as this doesn't lead to a boom of Fringe babies or Fringe-related divorces, it's all good.<br /><br /><br /></div><div><span style="font-weight: bold;">10. You know where your money is going.</span> Okay, I know I started this post by saying I didn't want to focus on the economics of the Fringe, but it wouldn't be fair to do a top ten list without at least mentioning ticket prices and the unique box office philosophy. Part of the accessibility I was referring to earlier when it comes to the Fringe is economic accessibility. At $10 a show (or $70 for 10 shows with a pass!) most people can afford to at least test the waters of this Festival. But the best part is, you know when you lay down that $10, it is going directly to the artists involved in the show. How often when you see theatre are you paying convenience fees or facility fees...theatre tickets can be prohibitively expensive and sometimes you get the feeling you're supporting the 'institution' rather than the work. Well, not at Fringe. A one-time $2 pin is your pledge to the organization, and the rest is for those who have worked their butts off to bring you something that makes you laugh or makes you think or leaves you with that little lump in your throat. It's a beautiful thing, don't you think?<br /></div>HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com6tag:blogger.com,1999:blog-3330810875648160171.post-67952026671733119892009-05-26T12:53:00.000-07:002009-05-27T13:38:21.717-07:00Future of JournalismYesterday <a href="http://sterlinglynch.wordpress.com/2009/05/25/why-blog/">Sterling</a> wrote about the reasons people blog. His post was inspired by <a href="http://www.artsjournal.com/lifesapitch/2009/05/good-for-nothin.html">this entry</a>, from "Life's a Pitch". I was particularly struck by this last paragraph:<br /><blockquote><i>I like to think that artists and industry folks with blogs constitute an important aspect of the broader cultural conversation, but I don't pretend it's journalism. Where would be be if all of our news came from people with "real"/"day" jobs? Someone has to be an unbiased reporter of the facts. Someone, I guess, with family money?</i></blockquote>The digital age has provided not only the means to publish your own work, but free and easy access to an audience. This has created the debate around what it means to be a journalist. US Senator John Kerry recently brought attention to this debate with his "Future of Journalism" hearings. David Simon, creator of the HBO series "The Wire", testified before the Senate Committee and his comments can be found <a href="http://reclaimthemedia.org/journalistic_practice/wire_creator_david_simon_testi0719">here</a>. What Simon tackles in his statement is traditional high-end journalism versus new media, such as blogs.<br /><br />He raises the question - and this is comes back to the "Pitch" quote - what is the validity of the so-called cultural conversation if people are not able dedicate enough time and energy to the pursuit; in other words, if they are not able to make writing their profession?<br /><br />The defense of traditional forms of media usually includes an argument such as David Simon's about the importance of the profession. And the argument against new media has to do with the struggle to monetize it. <a href="http://www.artsjournal.com/culturegrrl/2009/02/blogger_bailout_the_culturegrr.html">Culture Grrl</a> is clearly actively engaged in this struggle. And I have complete respect for someone who just wants to make a living doing what is important to her. This connects to David Simon's argument: if you are being compensated for your time, then conceivably you can spend more of it engaging with your subject matter.<br /><br />What happens when we lose experienced and well connected journalists (because there is no longer money to pay them) and information instead comes from sources such as blogs, written by those with potentially less training and experience?<br /><br />This debate happens in theatre all the time: there are those who will not take on a project (or cannot, if they belong to a union) if it is not professional - and yet community/amateur theatre has always existed and continues to thrive. The assertion of the professional artist is that they should be paid a living wage to engage in the work in which they have trained and have experience; it is their profession.<br /><br />As in theatre, the important question in journalism is how does it serve the community? Simon argues that a disconnect from the newsroom leads to a disconnect from the community. <a href="http://opinionator.blogs.nytimes.com/2009/05/07/why-david-simon-is-wrong-about-blogs-and-local-reporting/">Here</a> is a response to Simon from "The Opinionator" Eric Etheridge. He points to a number of civic-minded bloggers who are dedicated to covering their community, their 'beat'.<br /><br />Now, what I like about <a href="http://sterlinglynch.wordpress.com/2009/05/25/why-blog/">Sterling's piece</a> and it's connection to the debate, is this kind of revitalized definition of what it means to profit from one's writing. Sterling's point, and I'm totally paraphrasing/extrapolating here, is that there is a measurable gain from accessing and engaging a particular community, and that in the long run this has more advantages because it develops a stronger sense of community and helps advance the cultural conversation.<br /><br />The larger idea here is about developing ways of engaging one another that doesn't include a financial transaction. I agree with Sterling that there is a different kind of payoff in building "a community with words". This implies and in fact demonstrates the kind of civic-mindedness that David Simon argues must be preserved.<br /><br />I also think there is beauty in mixing together many different voices, and that insight can be gained when more people participate than what was possible in traditional journalism. The traditional media machine or 'gatekeeper' would keep all but the most elite voices from being heard. Jan Phillips over at the Huffington Post wrote <a href="http://www.huffingtonpost.com/jan-phillips/reframing-the-crisis-a-wi_b_203985.html">this</a> about the interesting threshold of capitalism where we find ourselves. She argues that this is a time for "community engagement and community inquiry". And she warns against the kind of system we have had, where we focus on profit alone. "The questions now," she states, "are bigger than profit, bigger than returns on investment, bigger than individual success."<br /><br />So, how do we engage with these questions? Are journalism and the cultural conversation mutually exclusive as "Pitch" suggests? How do we keep the ideals of high-end journalism, which include the commitment to challenge authority (David Simon); without the salaried positions for said journalists, without begging money from readers (Culture Grrl), and without "family money" (Life's a Pitch)?<br /><br />Being new to blogs and to blogging, I am intrigued by these new(ish) forms of two-way (or multi-way?) communication. I have been following a number of blogs for a few months now and am only just starting to wrap my brain around the concept that these writers don't just want me to read their posts, they want feedback. Being a lover of words, I am used to taking in without ever having to give back. I am a consumer. I am trained to consume. I also grew up with the belief that only opinions to be trusted were those expressed by individuals with 'credentials'.<br /><br />Perhaps the elimination of the kind of journalism that David Simon admits has only existed for about the last 50 years, is part of the wildfire Jan Phillips is talking about. Perhaps a clean slate is what we need in order to re-start the conversation. And I'm realizing it is a conversation, as it affects all of us. The message, it seems to me, is to stop merely consuming; to stop measuring the value of something by how much it costs or the validity/importance of work by how much you are getting paid. And instead, to measure the powerful reach of ideas as they are shared, shaped and re-shaped by those with the passion to engage with their beat.HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com3tag:blogger.com,1999:blog-3330810875648160171.post-8233684157376828272009-04-05T09:38:00.000-07:002009-05-19T17:27:26.191-07:00And So It IsIt so happens that my first post is happening the day of the second annual Rideau Awards. That being the case, I've decided to share my own theatre year in review.<br /><div><br /><div>The highlights:</div><div><br /></div><div><ul><li><a href="http://www.theatrophy.com/">Theatrophy's</a> "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.<br /></li><li>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. <a href="http://www.sleepingdog.ca/sdt08/bells.html">5 O'Clock Bells </a>told the tragic story of Lenny Brault - another visually stunning collaboration between Pierre Brault and Brian Quirt. <a href="http://thegladstone.ca/?page_id=54">Catalpa</a>, 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. </li><li>Colleen Sutton in Seven-Thirty Productions "<a href="http://www.seventhirty.ca/archive.html">Iron</a>". 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. </li><li><a href="http://fools.ca/RandJcastbios">a Company of Fools "Romeo and Juliet"</a>. 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.<br /></li><li>Andy Massingham: in 2008 I discovered this fabulous performer named Andy Massingham. He is nominated for his performance in "<a href="http://thegladstone.ca/?page_id=50">How the Other Half Loves</a>" 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 "<a href="http://www.thirdwall.com/coming-soon/whats-on/">Peer Gynt</a>". Come on, we all know it's coming.</li><li><a href="http://www.visiontheatre.ca/Rachel_Corrie.html">My Name is Rachel Corrie: Vision Theatre</a>. 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 <a href="http://www.gctc.ca/play02.html">GCTC's "Zadie's Shoes"</a>). 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. </li><li>Speaking of calibre, Annie Lefebvre in "<a href="http://chambertheatrehintonburg.ca/pastproductions/">Danny and the Deep Blue Sea</a>". 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)</li><li><a href="http://thegladstone.ca/?page_id=52">"Rabbit Hole", Gladstone Productions</a>: 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.</li></ul><div>The lowlights:</div><div><ul><li><a href="http://www.evolutiontheatre.ca/images/posters/ThisIsAPlay.jpg">This is a Play: Evolution Theatre</a>. 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. </li><li><a href="http://www.ottawafringe.com/the-triumph-of-judith-shakespeare-232/">"The Triumph of Judith Shakespeare", Ottawa School of Speech and Drama</a>. 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. </li><li>"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. </li><li>"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. </li></ul><div>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. </div></div></div></div>HMhttp://www.blogger.com/profile/16874919894612876720noreply@blogger.com0