Your contribution matters

Last week Calgary’s annual theatre awards, The Bettys, took place. It was a good night for Alberta Theatre Projects (ATP), which garnered eight awards, but especially for ATP Artistic Associate Vicki Stroich, who accepted an Outstanding Achievement Award for her work as a dramaturg and advocate for new work.

Word of the awesomeness of her acceptance speech has spread far and wide, so we were pleased to see it posted on the ATP blog, which we have reprinted below with her permission.

Click here for a list of all the Betty nominees and winners

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Vicki S

Vicki Stroich holds her Outstanding Achievement Award after giving an outstanding speech

I have a lot of people to thank because any contribution I have made has come with the support, guidance, encouragement and inspiration of the people around me.

First, thank you to the Betty Mitchell Awards Steering Committee and especially Adrienne Smook for this surprising and humbling honour.

I have to thank my teachers, my friends and my family. My parents (who are here tonight) for showing me the value of hard work and for supporting my choice to live a life less ordinary.

I need to thank all the collaborators and co conspirators I’ve worked with, all the playwrights, directors, actors, designers, stage managers and crew for the amazing and unique experience of creating new things together year after year, with all the challenges and triumphs that process brings.

I want to thank my fellow dramaturges, the ones in this room and the ones across Canada, across the border and in other parts of the world for reminding me what a vital role we have.

I thank the Canadian theatre community and most especially I have to thank this community of artists here. I grew up here in Calgary both as a person and an artist and every year I am reminded that this is a community of artists who make things happen. There is ambition and heart and an ingenuity here that is constantly inspiring. No matter how big and bold the idea, I know we will find a way to make it happen. And that’s rare. And I treasure it.

And I must thank Alberta Theatre Projects and the people who have raised me up in the theatre, who supported me, gave me not only the encouragement but the resources to foster the work and make things happen and who have done so with a great deal of love and a massive amount of good humour; Bob White, Dianne Goodman, Vanessa Porteous, Lyndee Hansen and all the great people I have worked with.

I can appreciate what goes into supporting someone or something. It’s what I have chosen to do. And as someone who has chosen to support and advocate for the vision and work of other people, it seems strange to be up here at the mic alone accepting an award for something that is meant to be behind the scenes.

But when people ask me what it is I do, exactly, I use that word “support” a lot. I also use words like listen and witness. On the surface these words might seem passive, but I have learned not to think of them that way. It has been my experience from working with artists that the act of listening, the act of witnessing is a powerful and rare contribution to someone’s work. I used to take it for granted. I don’t anymore.

The other part of that “support” is more vocal; I ask questions and advocate. I use my voice to help people understand their work better (at least that’s the goal) and if I can, I help them gather the resources and team together to make their project everything it deserves to be. I used to take that for granted, too; my voice. I don’t as much anymore.

I chose to support people because I wanted to make some contribution to the world they wanted to create, to the voice they wanted to express, to a vision they wanted to share. The unique quality of theatre to create an exchange of ideas and emotions and most of all, energy, captivates me. I didn’t think about what the result of 9 years of listening and witnessing and questioning and advocating day to day would contribute. I choose to do it everyday because, like you, I love the theatre. Because I wanted to contribute to it. Because it means something.

That I am standing here being given an award for the sum of those contributions (so far) is truly humbling. I will not take it for granted. It inspires me to contribute my eyes and my ears and my voice and my heart tomorrow and the next day and the next day and on and on.

Listening and witnessing and questioning and advocating is something we can all do. These are contributions that we can all make to our community, to our culture and to this art form that we all love. Please don’t take your own individual contributions day to day for granted. They mean something.

Click here to read the a longer post by Vicki on the ATP website for more context and inspiration!

Leacock Live: The inside story

Alison and Mom

Alison learned about life in the theatre from her Mom

By Alison Broverman

Last month my mother, Sue Foster, made her Toronto Fringe debut in Act Two Studio’s Leacock Live in the Tarragon Theatre Mainspace. She’s 59. I’m allowed to tell you that, because you probably won’t believe me anyway (especially if you happened to see her at the beer tent that one night when she was buying us all drinks).

A few weeks ago I trapped her in the car on our way back from a cottage and made her tell me all about her first Fringe experience. I have adapted that car ride into a short play for your reading pleasure. Please contact me regarding performance rights. Thank you.

Act 1: Inside a Toyota Highlander driving down the 400 on a hot August day. The air conditioner is on. Alison and Sue are eating Twizzlers. Sue is driving. Alison subtly – she hopes – pulls her digital audio recorder out of her purse. She feels awkward about what she is about to ask, but it is for the greater good of the Praxis theatre blog.

Alison:             So remember that night at the beer tent when you bought us all beer?

Sue:                 Yes…

Alison:             People want to hear about your first Fringe experience.

Sue:                 Who?

Alison:             Readers of the Praxis theatre blog.

Sue:                 Ok…

Alison:             So can I interview you?

Sue:                 Really? I guess so…

Alison:             So can we do it now that I’ve trapped you in the car?

Sue:                 Ok, sure.

Alison:             Ok, so…how was your first Fringe? As a performer? [My mother was instrumental my 2007 Fringe production of Expiry Dating, building and transporting the set, hosting the opening night party, and tap dancing at the fundraiser.]

Sue:                 It was fun! It made me feel like I was part of a special kind of club, even though I was a performer in a show with 15 other people. Which is kind of a big cast for a Fringe show.

Alison:             Not the biggest cast. I bet it wasn’t even the biggest cast this year.

Sue:                 I bet it was the cast with the most number of years, if you added up all our ages.

Alison:             I bet that is definitely true. [The entire cast of Act 2 Studio’s Leacock Live was over fifty, several were over 70, and at least two were over 80.] So what was your favourite thing about being in the Fringe festival this year?

Sue:                 Hm. My favourite thing about the Fringe festival. This is gonna sound strange, but…handing out the little flyers. [She laughs.]

Alison:             Why?

Sue:                 Because I got to say “come and see this show, I’m in it!” But without having the pressure of being the star or anything. And I thought our little bookmark/flyers were kind of cute.

Alison:             They were. [They really were.] Were you nervous at all before the festival, or worried about anything?

Sue:                 I was worried that it was going to be lame. That we were going to be lame. But I think we…weren’t. I hope we weren’t.

Alison:             I don’t think you were lame. [I’m a good daughter, obviously, but they really are not lame. Adorable, yes. Not lame.]

Sue:                 I was a little bit worried that we would be lame, but then once we got a bit of feedback from people who attended rehearsals, and from some of the members of Act 2 who were going out to help us publicize, I figured we wouldn’t be lame.

Alison:             You sold pretty well.

Sue:                 Yeah, we did. [Modestly] Best of the venue. So that’s pretty good.

Alison:             And what was the worst part? Was there anything that sucked?

Sue:                 Ummm…hm. Not really. Because the thing I don’t like sometimes about a big group of people is that somebody gets nitpicky and grumpy about things. But I was able to avoid them.

Alison:             Who were the nitpicky grumps?

Sue:                 Oh, just various people from time to time. Because they’re old, some of them, and some of them get tired easily.

Alison:             Did you read any of the reviews?

Sue:                 I did…but I tried hard not to take them personally.

Alison:             But some of them were very good.

Sue:                 Some of them were very good, yes. J. Kelly Nestruck was very sweet. One of our cast members responded to his first article about the Fringe, where he called us as “old actors”, and he called her back within an hour of her e-mailing him and apologized and said he was in a hurry when he wrote it, and then he gave us a really nice review once we were up and running. So that was pretty nice. The guy from…I can’t remember if it was Eye or Now, he was not very complimentary about some things, but whatever…I think I’d better take this exit and get some gas. The light just came on.

A publicity shot for Leacock Live

A publicity shot for Leacock Live

Alison:             Ok.

Sue:                 I didn’t just miss an exit, did I?

Alison:             I don’t think so…no, look, there’s a rest stop up there.

Sue:                 Oh yeah, perfect.

Alison:             How did you come to be in Leacock Live in the first place?

Sue:                 Well, the director asked me to be in it. I think she did that because I’d done the part before…[they arrive at the gas station and fill up the car and eat more Twizzlers.]

Act 2: Back on the road

Alison:             You were in the middle of saying something about…something.

Sue:                 Yeah, something about how the director picked me…

Alison:             Oh yeah. And do you know why Act 2 chose Leacock Live for their Fringe show?

Sue:                 Yeah. One of the Act 2 members entered the Fringe lottery on our behalf, and she really wanted us to do Leacock Live. So we figured, since it was her entry that got us in, we did what she wanted us to do. She wasn’t able to be in it because of her work schedule, but she loved it, so that’s nice.

Alison:             And what were some of the follow ups to the Fringe afterwards?

Sue:                 One of the people in the cast decided to contact Orillia and invited their council to come. And they invited us to kick off their Leacock Festival at the Stephen Leacock Museum. So we did the show there on late July, and they loved it, and said “Bring this back every year!”

Alison:             And what else?

Sue:                 What else? [Sue looks at Alison quizzically.] Got any hints?

Alison:             Weren’t you invited to a high school in Aurora?

Sue:                 Oh yeah! We were invited to a high school in Aurora. It’s a dramatic arts high school and we’re going to show them some Readers’ Theatre, I guess…And expose them, maybe, to Leacock. I was astounded to discover that Leacock is no longer taught in public schools. And it’s very sad, because he’s a historic figure in Canada. So there were many people under 30 who came to our show who actually had never heard of Stephen Leacock. You’ve read Leacock, right?

Alison:             Of course! I read Leacock in grade 7. [At the nerd high school you sent me to, Mom.] So did you spend a lot of time at the Fringe tent during the festival?

Sue:                 I spent a few hours there…I at least passed through at least six days, and a couple of those days I stayed for a couple of hours. So yes, I guess I spent a good amount of time at the Fringe tent.

Alison:             And did you see anything else good?

Sue:                 Yeah, I think I saw about 12 shows. [They babble for awhile about how Craplicker was such a great show with such an unfortunate title.]

Alison:             Any other thoughts you’d like to add about making your Fringe debut at the age of 59? It is ok if I put your age in there, right?

Sue:                 Sure, I don’t care if you tell people I’m 59. They won’t believe you anyway. I just think it might be fun to do another Fringe show sometime, something different. It made me think anything’s possible.

Alison:             Do you feel differently about the Fringe now, having been in a show yourself?

Sue:                 Not really…I think I’m going to take Black Creek. We should go to the Danier outlet.

Alison:             Ok!

[Alison and Sue drive to the Danier outlet, where Sue buys Alison a blue leather jacket as a belated birthday present. You see what happens when you try to interview your mom?]

Act 2 Studios offers theatre training for people over the age of 50.

*  To see Alison’s new jacket, try to run into her sometime in the fall. It’s too hot to wear it yet.

Alison Broverman is a Toronto-based arts reporter and playwright whose mother taught her to drink at an early age

Toronto Mayoral Arts Debate @ The AGO

Mayoral Arts Debate

Next Stage 2011 Line Up Announced

The Next Stage Festival is a juried uber-fringe held each January at The Factory Theatre. It offers audiences and industry programmers the chance to see both new and reworked productions by successful Fringe artists as they take the leap into the Next Stage of their careers.

Next Stage in the Factory Theatre Mainspace:

At The Sans Hotel
Created & performed by Nicola Gunn Designed by Nicola Gunn with Rebecca Etchell, Gwendolyna Holmberg-Gilchrist and Luke Paulding

In a deserted Hotel strewn with familiar remnants, a woman is marooned in a bathtub. She suggests something terrible has happened or is about to happen…

Duel of Ages
by True Edge Productions (with a cast of 21)

This anthology of duelling scenes begins in the 16th century and goes, all the way to its impact on the modern psyche in the age of cinema.

Fairy Tale Ending: The Big Bad Family Musical
Presented by Role Your Own Theatre from Toronto
Music and Lyrics by Kieren MacMillan & Jeremy Hutton

Fairy Tale Ending is a topsy-turvy yet touching tale of a young girl coming to grips with loss and the reality of growing up. NSTF’s first family show for kids and grown-ups – matinees and kids pricing TBD.

The Grace Project **World Premiere**
by Judith Thompson & the ensemble

The Grace Project features courageous young adults sharing their true, life-shaping experiences living with chronic illness.

Next Stage in the Factory Studio Theatre:

The Apology
by Darrah Teitel
Directed by Audrey Dwyer, Performed by: Brendan McMurtry-Howlett, Natasha Greenblatt, Sascha Cole and Daniel Chapman-Smith.

Teenage sexuality coupled with inspired political ideology fan the flames of this anachronistic work set in early 19th century British high society that discusses the tensions between maternity and feminism, ideology and love in an original story of sexual revelation.

Eating with Lola
Presented by Sulong Theatre
Written and performed by Catherine Hernandez, Directed by Ann Powell

Part confession, part revelation, Lola’s epic tale unravels the entire modern history of Manila from the time of the Thomasites to the second wave of Filipino migration to the United States – one spoonful at a time. A one woman (and one puppet) tour-de-force.

Swan Song of Maria (A Tragic Fairy Tale)
By Carol Cece Anderson
Directed by Mark Cassidy, Music Performed by Hilario Duran, Featuring Lili Francks, John Blackwood and Bridgett Zehr

Inspired by Swan Lake, the piece combines Afro-Cuban-Latin-Jazz, various dance styles and story to navigate a the forty year relationship.

Tom’s a-cold
By David Egan
Directed by Daryl Cloran, Featuring Shane Carty & Brendan Gall

In 1845, HMS Terror and Erebus set sail from England seeking the Northwest Passage through the Arctic. Neither ship was ever seen again. Three years later, two men sit in a lifeboat.

Variation #23: Laurel Green

TEXT:

“It’s the cliches that cause the trouble. A precise emotion seeks a precise expression. If what I feel is not precise then should I call it love? It’s so terrifying, love, that all I can do is shove it under a dump bin of pink cuddly toys and send myself a greeting card saying, ‘Congratulations on your Engagement’. But I am not engaged I am deeply distracted. I am desperately looking the other way so that love won’t see me.”

IMAGE:

IV-A-19[1]

SOUND:

(don’t watch…just listen!)
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summerworks

Laurel Green is an Associate Producer with the 2010 SummerWorks Festival. She is spending her summer vacation helping to organize their first-ever Performance Bar: a collision of theatre, music, and performance hosted by improv heroes The National Theatre of the World.

Fiasco Playhouse runs August 5 – 14th at 9PM on the Ground Floor of the Lower Ossington Theatre (100A Ossington Avenue). PWYC. Full Bar. Air Conditioning

Variation #21: Eve Wylden

TEXT:

Beautiful girls make the best wives….

We need to educate our boys to know real beauty, to go beneath the paint and powder and look at features, the shape of the face, the poise of the head.  We ought to teach them to know real beauty like a horse man knows a thoroughbred.

When a woman has a beautiful face and figure, she is sure to be healthy and intelligent.  Beautiful figures are becoming obsolete to-day and a real beauty is as rare as genius.  There is only one beautiful woman in every four thousand.

The very slim, boyish figure, so much desired by the girls of to-day who are willing to suffer endless dieting, is not beautiful.  The trouble is that fathers and mothers have tried to make their offspring look for other qualities first and to leave beauty alone, till, simply from ignorance, the saying ‘Beautiful but Dumb’ has sprung up and persisted.”

Another failing is that the beautiful young women of this generation do not desire to become mothers and it is largely the biologically unfit who are having children.”

Professor Albert Edward Wiggam

IMAGE:

Miss Toronto 1954 big

SOUND:

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Miss Toronto Promo Image

Eve Wylden stars in Miss Toronto gets a Life_in Parkdale, an exciting site-specific multi-media performance on hijacking the history of beauty pageants in Toronto.

Presented by The DitchWitch Brigade, Miss Toronto gets a Life in Parkdale previews July 20 and runs July 21-25 @ 8 p.m. at The Theatre Centre, 1087 Queen Street West.

Praxis @ Press Club is tonight!

duke of york pics

Previous Praxis parties have been full of interesting people and occasionally Artistic Directors impersonating each other with unconvincing disguises. Doors at 6:30, first set by the band around 8, we’re there till midnight.

Everything you need to know is here

Lets Take This Show on the Road (to Press Club on Thursday)

Freeman Dre and The Kitchen Party play Praxis @ Press Club this Thursday

Best of Toronto Fringe 2010

Fringe Flyers

Over the past four years, The Best of Fringe has provided extended runs to some of the biggest hits from the Toronto Fringe Festival and returned nearly $50,000 in box office revenue to Fringe Festival Artists.  All shows are at Canadian Stage’s Berkeley Street Theatre.

A Freudian Slip of the Jung
By Sean Fisher
Wednesday, July 14th at 9pm and Thursday, July 15th at 7pm

Fairy Tale Ending
Music and Lyrics by Kieren MacMillan & Jeremy Hutton, Book by Jeremy Hutton
Saturday, July 17th at 5pm and Saturday July 24th at 5pm

Oy! Just Beat It!
by Anita Majumdar
Wednesday, July 21th at 9pm and Thursday, July 22th at 7pm and Friday, July 23rd at 7pm

Short Story Long
By Joel Fishbane
Wednesday, July 14th at 7pm, Friday July 16th at 9pm and Saturday July 17th at 7pm

Sia
By Matthew MacKenzie
Wednesday, July 21st at 7pm, Thursday July 22nd at 9pm and Saturday July 24th at 7pm

[sic]
By Melissa James Gibson
Thursday, July 15th at 9pm, Friday July 16th at 7pm and Saturday July 17th at 9pm

Silent City
By Stagehands
Friday, July 23rd at 9pm and Saturday July 24th at 9pm

Call 416.368.3110 to book tickets in advance.

PRAXIS @ PRESS CLUB – Featuring Freeman Dre and The Kitchen Party – Thursday July 15

Live tunes, original artwork, sweet patio - good times await at The Press Club next Thursday  July 15

Live tunes, original artwork, sweet patio - good times await at The Press Club on Thursday July 15

Hey remember how much fun it is when Praxis throws a party? No? Refresh your memory with these pics here and here.

This year there are perfromances by Freeman Dre and The Kitchen Party, complete with work by visual artist Andrew Shay Hahn in an event called PRAXIS @ PRESS CLUB.

We’d love to see you there so open up your iCal, or get out your Daytimer, or whatever it is that you do when you decide to go to a place at a certain time – and write us in.  We’ll be there from right after work, till late in the night.

All proceeds go to the ongoing development of Section 98. Exciting new details to be released on this show soon!

Everything you need to know:

Date: Thursday, July 15, 2010 at 6:30pm to Midnight
Tickets: $10 @ door
Location: The Press Club. 850 Dundas Street West, Toronto.
Music by: Freeman Dre and The Kitchen Party MySpace Page
Visual Art by: Andrew Shay Hahn’s Website
Facebook: Event Page