Praxis Theatre is currently on hiatus! Please find co-founders Aislinn Rose and Michael Wheeler at The Theatre Centre and SpiderWebShow, respectively.

Author: Michael Wheeler

November 23, 2012, by
Comment

This Onion Talk reveals some of the aspects we won’t be looking at in the workshop.

by Michael Wheeler,

Next week I am leading a workshop with Theatre Ontario on online tools and how they can complement and integrate with live performance. It is designed to be useful to staff at arts organizations as well as artists interested in these ideas and concepts . You know how they say spots are limited and filling up fast? This is also true in this instance.

Looking at examples from work with The Electric Company, Volcano Theatre, The Shaw Festival, The Theatre Centre, Praxis Theatre and The Wrecking Ball, this workshop investigates imaginative expression and best practices in performing arts and online integration.

Praxis Workshop @ Social Media Week 2012

Questions the workshop poses:

  • Where does your social media content come from?
  • What ‘voice’ should you use to represent your work or organization online?
  • What’s the latest with live-blogging and live-tweeting?
  • How can online tools and presence assist instead of distract from the work?

Participants will emerge with:

  • A better idea of your relationship to social media
  • A clearer idea of what approach to social media is right for you.
  • Information to inform your social media strategy.
  • Ideas for social media content and where to look for/create them.
  • A better understanding of trends and developments.
    HASHTAG: #THEATREON
    WHERE: 215 Spadina Avenue, Suite 210. Toronto
    WHEN: Tuesday November 27, 6:30pm to 8:30pm
    RSVP: Theatre Ontario Registration
November 8, 2012, by
14 comments

by Michael Wheeler

Benskin's Bill C-427 was defeated by HarperCons

Yesterday, Bill C-427 came up for second reading in Parliament. A private member’s bill proposed by the NDP’s Tyrone Benskin (previous Artistic Director of Montreal’s Black Theatre Workshop), Bill C-427 was an Act to amend the Income Tax Act to allow income averaging for artists.

These changes were “designed by neutral tax experts at the Library of Parliament to achieve the desired tax fairness for artists and cultural entrepreneurs.” It failed 142 to 121. All of the votes against it were by Conservative MPs, including Heritage Minister James Moore.

The tax codes in Britain, Germany, The Netherlands and France have all made similar adjustments to encourage cultural production by independent producers. Corporate tax rates has been lowered by one third (22% to 15%) since Harper took power. Certainly cultural tax rates could be amended to reflect a level playing field. Unfortunately the Conservative Government couldn’t appreciate the value of a tax code that allowed entrepreneurs in cultural industries to be taxed at competitive rates with international trading partners and competitors.

From Benkin’s website:

WHY IS BILL C-427 NECESSARY

Due to the irregular hours and inconsistent incomes frequently associated with their work, artists are nearly always disadvantaged both by punitively high taxation during years of high earning and by virtue of their ineligibility for a number of Federal programs such as Employment Insurance (EI), the Canada Pension Plan (CPP) and others. C-427 will begin to level the playing field by allowing them to average their income over an elective period, achieving considerable tax savings over two to five years.

The critique of the Bill was presented in a recent Globe and Mail op-ed by Kevin Milligan, which levels three charges against income averaging: 1) Last time we tried it was complicated. 2) Last time there were more tax brackets. 3) Last time tax rates were higher.

These reasons not to act to support Canadian culture through a fair tax structure, frankly, are awful. They can be summarized by two statements: “Why do you guys want to make everything so complicated?” and “Come on guys, it’s not so bad.” None of these standards are applied to corporate interests in the myriad of ways they have been accommodated and caressed by the government. They are not particularly compelling as arguments go either: Even meagre savings, when you are living on the poverty-level income of many artists, would be significant.

Heritage Minister spoke and voted against C-427

When the Minister was asked if he would support the bill for Second Reading yesterday, he said he would not. Moore listed new museums, programs and a recent visit by members of The Canadian Arts Coalition as signs the government was doing a great job with culture. He did not address at any time the financial realities of being an artist or the particulars of the bill, preferring to recite the institutionally-based initiatives he controls the funding for. He did not address why the government won’t support a tax system that allows our cultural workers to compete on a level playing field.

If the Harper Government doesn’t want to work to support culture and the economic paradigm that defines it, that’s cool. We kind of knew it all along. Let’s not pretend this was a decision made out of anything but partisan interest however. This bill would have made a major impact on the viability of being an artist in Canada. It begs the question whether culture not tied to The War of 1812, or the major institutions it controls, is something this government wants to encourage.

You can follow Michael on Twitter at @michaelcwheeler

October 25, 2012, by
Comment

by Michael Wheeler

Tomorrow, The Theatre Centre will host an official TEDxToronto viewing party. This is a no-cost event with FREE LUNCH to watch and discuss the Ted Talks that will be broadcast live from The Sony Centre.

Anytime from 9am – 5pm you can drop by throughout the various talks. We’re hoping to learn something new, meet other interested people, and just hang out to think and chat about the concepts a day of exploring challenging ideas inspires in us.

The Theatre Centre will also be live-streaming TEDx tweets at the venue and on The Theatre Centre blog for people who want to know what we’re talking/thinking about, but can’t make it.

TEDxToronto Salon Series

Our stream will include tweets using #TEDxToronto as well as our venue specific tag #TEDxTOTC – for if you want to say something specific to The Theatre Centre crowd or experience.

If you ARE coming by at lunch time (noon -1:30pm) – we ask that you register so we know how much food to get. If you aren’t coming at lunch –just drop on by.

You can register by clicking here. Be sure to select “The Theatre Centre Pop-Up” from the pop up menu at the bottom of the page.

Here’s the list of speakers with intro videos.

Here’s the schedule for the day.

Here’s where we’ll be all day long (1095 Queen St West at Dovecourt)

Hope to see you there!

October 22, 2012, by
Comment


Trey Anthony speaks at TEDxTO 2010

by Michael Wheeler

There are two upcoming events I am organizing that emphasize conversation and online interactivity in a performative context. You are invited!

One is free and includes lunch – the other is very reasonably priced and perhaps you work for an organization that has a budget for there types of things anyhow…

1
Working with The Theatre Centre to create an interactive and friendly space to engage in dialogue surrounding TEDx Toronto: an independently-organized, one-day conference, designed to give communities, individuals and organizations an opportunity to stimulate meaningful exchange. TED Talks bring top minds from technology, entertainment and design together to share ideas, inspire movements and ignite change.

This year’s TEDx Toronto is on October 26th, 9am-5pm and The Theatre Centre will be hosting a Live Viewing Party at the POP-UP. Join us as we live-stream the conference, bringing the TED experience to you by providing an opportunity to engage with other viewers and share ideas online and in-person.

This event is FREE and lunch will be provided – BUT you have to RSVP if you’re going to be there around lunchtime (so we know how much food to get):

HASHTAGS: #TEDxToronto for city-wide conversation & #TEDxTOTC for location specific conversation.
WHERE: The Theatre Centre POP-UP @1095 Queen West
WHEN: Friday, October 26, 9-5pm
RSVP: Viewing party RSVP form (please select The Theatre Centre POP-UP from the list of locations at the bottom of the page)

Praxis workshop @ Social Media Week

Praxis Workshop @ Fringe Creation Lab for Social Media Week 2012

2
Partnering with Theatre Ontario to create a workshop on Live Performance and Community Engagement.

Looking at examples from work with The Electric Company, Volcano Theatre, The Shaw Festival, The Theatre Centre, Praxis Theatre and The Wrecking Ball, this workshop investigates imaginative expression and best practices in performing arts and online integration.

Questions the workshop poses:

  • Where does your social media content come from?
  • What ‘voice’ should you use to represent your organization online?
  • What’s the latest with live-blogging / live-tweeting?
  • How can online tools and presence assist instead of distract from the work?

Participants will emerge with:

  • A better idea of your organization’s potential relationship to social media
  • A clearer idea of which social media is right for your organization
  • Information to inform your social media strategy
  • Ideas for social media content and where to look for them
  • A better understanding of trends and developments in social media
    HASHTAG: #THEATREON
    WHERE: 215 Spadina Avenue, Suite 210. Toronto
    WHEN: Tuesday November 27, 6:30pm to 8:30pm
    RSVP: Theatre Ontario Registration
October 17, 2012, by
Comment

Doc Wuthergloom wants you to avoid your inevitable destruction at the demonic hands of the vile phantoms, which plague your soul unseen – by clicking here!

by  Michael Wheeler

Surprise! The theatrosphere has been a busy place with a number of interesting conversations to take note of:

  • The Canada Council is launching “a dialogue about how the arts bring value to the lives of Canadians”. Vice Chair, and No Culture, No Future author Simon Brault has written a blog post about this policy initiative titled, “Arts For All!.
  • U of T Prof Holger Syme continues to put out complex posts that challenge conventional wisdom driving TO theatre. In his post “Theatre does not tell Stories” he summarizes his critique as, “theatre can’t tell stories, because stories are always necessarily retrospective. And theatre isn’t about the past. It’s about the present.

    Howard Shalwitz speaks on theatrical innovation

  • Meanwhile Theatre Passe Muraille Artistic Director Andy McKim was on to a similar critique of contemporary drama when he reblogged (with an intro) a speech by Woolly Mammoth Artistic Director Howard Shalwitz at the at the TCG American Theatre annual AGM titled Theatrical Innovation: Whose Job Is It? Core takeaway: innovation in North American theatre is way behind what’s going on in Europe and it is hurting the art form, which is attached to outdated models. Time to move off the ‘assembly line’ of play creation and into a laboratory in which collaborators reinvent the medium.
  • Luminato AD Jorn Weisbrodt has started blogging on the festival’s website. His post titled Postcards from the Pool documents an exclusive trip he and husband Rufus Wainright  took to the Hearst Castle where the newlyweds recieved VIP treatment while lounging poolside – complete with shirtless photos! In the post he reflects on his good luck to recieve an invitation to stay overnight in a period where the castle was closed to tourists. Weisbrodt was able to experience, “Hearst’s overwhelming vision, his desire to change reality and make this place the greatest private residence in the world.”

    Vancouver affordable housing zoning

  • My recent post  Mirvish blows up downtown Toronto theatre, argued that the Mirvish/Gehry re-development on King St. could be a good thing if it included a 500-seat venue and mixed-income housing. Globe critic Kelly Nestruck and National Post Political Journalist Jonathan Goldsbie both wrote in support of a smaller venue recently, while The Grid’s Edward Keenan came out in support of inclusionary zoning, noting it is already the law in places like Vancouver and San Francisco.
October 10, 2012, by
5 comments

Artist rendering outside

After 33 years in rental spaces across the city, The Theatre Centre will break ground on its permanent home, launching a year-long renovation of the historic Carnegie Library building at 1115 Queen St W on Thursday at 11 am.

This is a big, big deal!

Praxis Theatre extends huge congratulations to the entire Theatre Centre team that has slowly put the pieces together that will allow groundbreaking experimental performance to have a permanent home in the Queen West West area.

Artist rendering inside

It is exciting to think about the decades of boundary-pushing, medium-blending, audience-challenging work to be created in this new home for contemporary performance in Toronto.

Looking forward to being there for the first shovel in ground on this community and industry defining occasion along with The Honourable Michael Chan Ontario Minister of Culture, Tourism and Sport; Don McKellar, Actor/Writer/Director, Honourary Chair of The Theatre Centre Capital Campaign; possibly, but unconfirmed His Worship Mayor Rob Ford; and many other friends and colleagues who have been waiting and hoping a long time for this to happen.

If you’re free, come on down so you can bore the crap out of your grandkids with an “I was there when” groundbreaking yarn.

October 9, 2012, by
Comment

Tear The Curtain has undergone some minor rewrites. (Dawn Petten & Jonathan Young)

by Michael Wheeler

After one week of intense tech, Tear The Curtain! will open to a sold out Bluma Appel Theatre tonight.

Like lead character Alex Braithewaite, the show has been taken apart and put back together again to find the best way to Tear The Curtain! This new version of the show has a number of small differences that separate it from the 2010 Vancouver one at The Arts Club. Tiny re-writes and re-edits means it is tighter, cleaner and has a more straightforward narrative without sacrificing any of the layers of medium that also contribute to the story.

Laura Mennell as Mila Brook

Tech-wise, the show has gone from projecting two 4500 lumens projections on top of each other, to one massive 10000 lumens projector to fire video from. Beyond the benefit of one projector being less nerve-wracking from a technical standpoint, it also means the colour and richness of the projected image is more consistent throughout the surface area (and there are several) that it projects on.

It’s been an intense process with flys to be timed, new lighting cues to be built, new wireless mic levels to be set and managed, new timing for entrances and exits and as well as a cast member with food poisoning, a dress rehearsal for an audience of educators and a preview that was the first ever Sunday matinee at Canadian Stage that I can ever remember.

Goodbye Monday night shows that never got a decent house, hello busy Sunday afternoon theatre on Front St.

Jonathan Young as Alex Braithwaite

It’s worth bringing this up with The City of Toronto set to receive a report this fall about what to do with the 3 theatres it runs – including the Bluma Appel.  Let it be noted that access for not-for-profit groups to large venues, just like this one, is essential to allow shows like this to be created by non-millionaires.

Anyhow, this is a quick run people: 2 weeks! That’s it and it will be gone. Click here to figure out how and when to come see the film noir film/theatre hybrid Kim Collier and The Electric Company invented for the Cultural Olympiad in 2010 and has been taken apart and re-assembled for Toronto in 2012.

Click here to read more posts about Tear The Curtain!

Follow @michaelcwheeler on Twitter

October 1, 2012, by
25 comments

Images from the Mirvish 'Second Stage' Season

by Michael Wheeler

Last week David Mirvish, the pre-eminent producer of for-profit Toronto theatre made two major announcements that reflect the rapidly transforming theatrical ecosystem to one driven by indie artists.

On Monday Sept 24, Mirvish announced the launch of a “Second Stage” season that will feature four productions of contemporary drama that are less mainstream than its general offerings. These shows are being offered as a package where four tickets can be purchased for $100-$200 depending on seating.

Two of these productions are Toronto indie theatre hits: Studio 180’s Clybourne Park produced originally in association with Canadian Stage last year, and Outside The March’s Terminus, one of the standout hits of the SummerWorks Festival two months ago.

The other two shows in The Second Stage Season also have indie roots: CBC’s Mary Walsh‘s Dancing With Rage was originally going to be a Theatre Passe Muraille production before it was cancelled due to illness, while Anthony Rapp’s (brother of playwright Adam Rapp) autobiographical one-man show Without You got its profile as a darling of the Edinburgh Fringe.

This seems an incredibly positive development for Toronto’s theatrical ecosystem by creating a plausible process whereby artist-driven, independent work created in the not-for-profit sector that demonstrates box office success can become a commercial hit.

Frank Gehry's proposed model for the King St Mirvish re-development.

Equally big news was Mirvish’s weekend announcement of plans to to tear down the 2,500 seat Princess of Wales theatre and replace it with a modern art gallery, a new campus for OCAD, retail space, and three condo towers – all designed by Frank Gehry who recently revamped the Art Gallery of Ontario. Click for photos of the buildings that will have to go to make it happen.

Anticipating a backlash to this news, Mirvish wrote a personal letter to the media in lieu of the regular press release outlining his reasoning and the Mirvish legacy in the neighbourhood.  Reaction to this announcement was much less generous than the response to the indie theatre season, leading many commentators to question the necessity of tearing down one of the crown jewels of Toronto performing arts.

Some thoughts to consider before critiquing this decision too harshly:

Big theatres in Toronto are in big trouble:

One needs look no further that The City of Toronto’s  Task Force studying what to do with the three municipally owned large-venue theatres: The Sony Centre, The St Lawrence Centre and The Toronto Centre for The Performing Arts, to see that no one really has a clue how to fill these massive venues on a regular basis. Mega-musicals with massive overhead and serious box office started to stop making sense around when Phantom and the original Ragtime left town.

The era of theatre as driven by expensive spectacle is waning. Or at least, Toronto cannot support too many of theses types of productions at one time and some of them now occur in tents on the waterfront and/or involve horses.

There is money in real estate not theatre

Regent Park mixed income redevelopment

Given the general benefits Mirvish provides the ecosystem – not just the Second Stage Season, but also a partnership with The Toronto Fringe and creator of a new home for Theatre Museum Canada, I’m reticent to go apeshit about the fact they will also transform their properties to create revenue.

Theatre is a sucker’s game if you’re looking to make a buck. How fast did Aubrey Dan burn through $50 Million? Better Mirvish Inc. makes money somewhere else so it can continue to be a healthy and thriving contributor to the theatre community.

Population density is good for downtown Toronto

It has become quite fashionable to critique condo development as garish cash grabs. Practically speaking, population density is something from which Toronto could benefit more from through social and environmental perspectives. In terms of transportation issues, this density is best added near existing subway stops, which the Mirvish development is.

I’m not arguing for sainthood for building condos, but I don’t think it’s the worst thing in the world right if done right. I would love to see some income geared housing in there to ensure these places don’t become homogenous palaces for the superrich… Hey – you never know!

There’s an opportunity here:

David Mirvish stated a willingness to build a new theatre if necessary as stated in his letter to the media. Frustration at the loss of The Princess of Wales would probably be better channelled lobbying for something 500 seat-ish that meets the demands of contemporary theatre and audiences to be included in the development.

With TIFF for film, Roy Thompson Hall for music, and a new modern Art Gallery on the strip, King West would be a perfect location for a Gehry-designed permanent home for the newly announced Mirvish/Indie Theatre season.

Follow Michael on Twitter: @michaelcwheeler

September 27, 2012, by
Comment

by Michael Wheeler

Two years ago, as part of a Canada Council-supported Director in Training residency at The Tarragon Theatre, I was shipped out to Vancouver to learn more about how the technical aspects of theatre-making were being approached out West. I was paired with The Electric Company, where I became assistant to director Kim Collier while we were shooting the film sections of an in-progress theatre/film hybrid. (During The Olympics!)

My film scene has been cut from the 2012 production!

I pretty much immediately fell in love with the company/production/script and so I was thrilled when they asked me to come back and continue as Assistant to The Director for the rehearsal process at Progress Lab leading up to opening night at The Arts Club’s Stanley Theatre in September 2010.

Anyhow, longtime praxistheatre.com readers know this already because, of course, I blogged the heck out of that whole experience.

Two years later the production is coming to Toronto as the opening production of The Canadian Stage season at The Bluma Appel Theatre and really, I am quite excited. This super-cool medium-bending production I was a part of that none of my friends and colleagues have seen is finally coming here.

Even better, I will be joining the production when it moves into the theatre to begin teching into the space.

I’m hoping that my experience as assistant director on Peggy Pickit Sees The Face of God in The Bluma Appel last year, combined with my knowledge of Tear The Curtain when we put it together originally will make me useful. The cast is rehearsing in Vancouver first, so I will be playing catch-up. If nothing else, I can still hopefully provide some interesting online updates.

September 25, 2012, by
Comment

TEXT:

“I understand that there’s too much! – a flawed system. The way things work is just so fucked up. I could go on and on for hours, I’ve been researching for years. I’ve neverseen the possibility of changing it all. Until something like this comes up. Cause… I mean…it could be possible to change something.”

– Joshua: Busker, Teenager, and Occupier. (October 2011, St James Park.)

IMAGE:

AUDIO:

All We Gotta Do written and performed by Hugh Laurie.

______________________________________________________________________
Docket Theatre presents Performing Occupy Toronto, a verbatim play about the Occupy movement by Rosamund Small, on October 15 at 6pm in St James Park.

Docket marks the anniversary of the occupation with a site-specific staging for one day only. The play will be proceeded by a multi-disciplinary art installation all over the park – artists of all kinds needed to participate!

Please contact Occupy@dockettheatre.com for more information about the show or how to get involved. You don’t need a ticket to enjoy this free, outdoor celebration and theatre piece. Visit DocketTheatre.com and Like us on Facebook!