What makes a video go “viral”? Everyone seems to be giving it a go these days, and Toronto theatre companies are no exception. But are these videos an effective way of selling a show to an audience?
Here are three promo videos of current or upcoming shows in Toronto as examples. What makes a video “forwardable”, and what would make you post a video on Facebook? Has a video like one of these ever propelled you to buy a ticket to a show?
Sean Dixon is the author of the play/novel ‘The Girls Who Saw Everything‘ which was just produced (play) by Ryerson Theatre & longlisted (novel) for CBC’s 2011 CanadaReads. He’s currently writing a show around the banjo for Crow’s Theatre & has a new novel coming out with Coach House Press in the spring.
The first public performance of Caryl Churchill’s Seven Jewish Children in Toronto features a who’s who of Canadian theatre. Arguably the most controversial and headline grabbing theatrical text of the past year, the ten-minute piece has already caused controversy in the UK and the US with performances at the Royal Court and New York Theatre Workshop.
“Crow’s Theatre will also present staged readings of Caryl Churchill’s new play ‘Seven Jewish Children: A Play for Gaza’ – NTS Directing Program alumnus Rose Plotek will direct an ensemble cast that includes Rosemary Dunsmore, Ann-Marie MacDonald, Jeff Meadows & R.H. Thomson.”
If the controversy over the cancellation of My Name is Rachel Corrie by CanStage is any barometer, these performances are likely to become a lightning rod for both sides of the issue. Because it’s important not to be a relativist about everything and take a stand on important issues, we’re throwing it out there that at Praxis Theatre we do not think this play is anti-semetic, and we do think its long overdue for a performance here in the T Dot.
Disagree? Read the text for yourself here, or leave a comment. The best thing about art of this nature is that it has the potential to raise awareness and encourage discussion of important issues.
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.”