(l-r) Adam Wilson, Ava Jane Markus and Maev Beaty are directed by Mitchell Cushman in the SummerWorks darling turned Mirvish hit Terminus

by Michael Wheeler

I haven’t seen Terminus yet – going with my Mom next week. I don’t want that to stop me from writing about it here though, as we don’t do reviews in this space in any case.

It bears mentioning though that local indie theatre has created a genuine artistic and commercial hit, and that this comes in the form of Terminus. The production is the first show in a pretty big risk Mirvish is taking with their new indie-focused, Off-Mirvish season.

One of our most read and commented discussions this year was, Mirvish Blows Up Downtown Theatre in which I argued that A) A Mirvish interest in regularly and commercially producing the work of indie artists could be significant in an awesome way and B) the Mirvish re-development on King St had the potential to bring a net benefit to Torontonians and theatregoers if it included a smaller venue than the Princess of Wales, which will be demolished.

Since that post, The Off-Mirvish season has probably gone even better than anyone at Mirvish or their indie partner Outside The March could have imagined. It has received stunning reviews, social media buzz is at a fevered pitch and shows are selling out. Hope you don’t want to go this weekend Friday – as tickets are not available.

Anyone who has paid a casual interest in our industry knows it has been tough times as of late. Theatres are closing, deficits have been posted, boards are overstepping their mandate – questions of relevancy abound. To see a potential upswing, a positive sign that artist-driven independent work is viable and can excite not just our own community, but the city at large, is worth noting. Not only can this thing get turned around, we’re the ones who can do it.

Certainly there is value in much of the other work our community creates that is not commercially focused. God knows I wouldn’t be running this company with Aislinn and making this work if I didn’t think so, but what gives theatre its intrinsic value isn’t really what is at stake here. Theatre will always exist and address core questions of humanity as long as humans can get together somewhere. What’s at stake here is establishing a viable sustainable professionalized urban theatre industry.

If you remove the artists who work at our major non-urban festivals, that is something we don’t have in Toronto currently. Those artists that do work regularly here almost all have secondary focuses. By creating a regular link between independently produced and created work and commercial theatre, Mirvish threatens to redefine this paradigm. Not because we will work on Mirvish shows, but because it has the potential to reignite interest from audiences and other producers in what we do.

So hats off to Outside The March Artistic Director and recent Praxis blog writer Mitchell Cushman. We all really needed this to go well coming out of the gate, and you are passing off the baton with an early lead.

David Mirvish with the Terminus team

The Panasonic Theatre has more seats than Bread and Circus. (But less DIY charm?)

Yep. It’s true. My Mother’s Lesbian Jewish Wiccan Wedding, the little show that couldn’t stop selling out the tiny Bread and Circus at the Fringe is moving to the Panasonic Theatre on Yonge St.

Playbill has all the details:

“The new fall production “will be expanded and reworked to include new songs, more characters, a larger cast and a bigger band. Like the original, it will be directed by Andrew Lamb, and will star Shaw and Stratford festival veteran Lisa Horner as David’s mom.”

Congrats to everyone involved. The Mirvish people seem to have incorporated the talking point: “Drowsy Chaperone” heavily in their PR strategy about the surprise pick up. Let’s hope they’re right.

With Studio 180’s production of David Hare’s Stuff Happens already in the Mirvish season, is there starting to be a genuine path from indie to commercial success in this town?