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

study for The Ballad of ____ B stage 1

by Francisco-Fernando Granados

If the difference between performance and any other medium is the folding together of the time of the making of the work with that of its showing, the difference between theatre and performance art might be a similar folding together of the space that separates the public and the performers. In The Ballad of ____ B, the stage is a world shared by artists and audience. The seating area of the Harbourfront Studio Theatre will be closed, the curtains will be drawn on the stage, and the public will inhabit the space of the action as they experience it. Two rows of seats will flank the performance space.

The audience may sit or stand, or walk around as the piece takes place. The images on this post come from a series of Photoshop studies attempting to figure out different spatial configurations for the piece. While the history of drama likely has many precedents for this kind of rearrangement of theatrical space, for me, from the perspective of visual art, this approach comes from a desire to import conventions of action art as a way to try to think about the theatre as a specific site: performance in the expanded field.

study for The Ballad of ____ B stage 2

In action art, audiences are conventionally invited to approach the performance in the same way they would approach any other work of visual art:  the piece is structured through a conceptual process or a succession of actions that build up to a tableau rather than through narrative. This allows the audience to wander around the piece, to weave in and out of it as they walk around the gallery. In the type of durational practices that I’m most familiar with, time itself becomes the tread, and the experience of the performance is often the contemplative witnessing of the making of piece. For some people, this experience might be just a couple of minutes, and for others, it may be as long as the work itself.

study for The Ballad of ____ B stage 3

Toronto has a legendary history of durational work. Paul Couillard, whose own work as an international artist has extended over the course of days and months, curated a series of long-form live works called TIME TIME TIME for FADO Performance Art Centre in 1999.  One of the artists in the series, Tanya Mars, has a trajectory that has ranged from early cabaret-based and multimedia theatrical pieces to the monumental tableaus of her oeuvre over the last 15 years. Indeed, FADO just recently focused its Emerging Artist Series on the ways duration is being used by a generation of younger artists.

study for The Ballad of ____ B stage 4

As part of that generation, I’m interested in thinking about performance in the expanded field as a practice where the hierarchy between theatre and performance is reframed into a palette with the broadest range of possibilities, where the combination of bodies, time, and space can be applied in ways that respond and propose specifically in terms of the situation at hand.

April 14, 2014, by

BroadFishHatchby Melissa D’Agostino

Hello out there! Thanks for following along on my journey developing BroadFish for HatchTO.

Creating a new theatrical work  is a crazy, roller coaster ride of an experience.

When I began working on BroadFish, many months ago I thought I was making a modern-day folktale or fairy tale. Most of my self-generated work has involved broad (no pun intended) characters based in clown, bouffon and physical theatre forms. I thought I was going to that place again, and that’s how I was approaching the project.


As I began doing research online via Twitter using the hashtag #BridesNeed2Know:

A question I posed to the Twitter-verse about Say Yes to the Dress.

A question I posed to the Twitter-verse about Say Yes to the Dress.

The response I got (in record time) from the Production Company that makes Say Yes to the Dress

The response I got (in record time) from the Production Company that makes Say Yes to the Dress

And through the incredible response I got to my blog posts on, the piece started shifting.

New works are shifty. They take on a life of their own.

In the midst of my research I came across Anita Chakraburtty – a woman in Australia who was planning her wedding without a groom in site.

I became obsessed with her. In a way that was surprising to me. And everyone around me, I think.

I wanted to understand her and why she was making these choices. I wanted to know everything about her. At first, I wasn’t clear on why this was so important to me, and now I believe I might.

And so, BroadFish has actually become about my obsession with Anita, and by extension our obsession with Fairy Tales, and magic, and weddings.

It’s also about how often we mock or attack other people’s decisions to project our fears, avoid our own vulnerability, or justify our own decisions — AND how the internet can facilitate this distancing we do from one another.

redditIn making the show I’ve used almost every social media tool I could think of: Twitter, Facebook, WordPress, Pinterest, YouTube, Instagram, Voxer, Storify, Google+, Skype, FaceTime… I think I only really avoided Reddit. Because… well… Reddit.

I thank all of you who read these blog posts, responded on Twitter or Facebook or here on WordPress. You have played an integral part of the development process, and will continue to do so as I work on this piece during our residency week, and beyond HATCH.

It would thrill me if you would join us on Saturday, April 19th at 8pm for our one (and only) showing of this stage of the BroadFish project.

And let me know your thoughts on Anita @MelissaDags #BroadFish #HatchTO.

Happy Spring!


hand hatch for an interview with Harbourfront Centre

if letters were lovers

Catherine of Aragon and Anne Boleyn portrait comparison

salsa lights

except from a collaboration with Nathalie Lozano

esl triangle

diagram from Rosalind Krauss’ Sculpture in the Expanded Field, translated in Spanish

Sunday Scene @ The Power Plant, September 1, 2013


Callas as Anne Boleyn

bits of Spivak

study for The Ballad of ______ B (outtake), 2013; photograph by Manolo Lugo

April 10, 2014, by


Rob Kempson, hard at work

By Samantha Serles, Dramaturg

I am the dramaturg for #legacy by Rob Kempson, in residence this week at Harbourfront Centre as part of HATCH 2014! I think this project is fascinating because it combines so many disparate elements: integrating older adults who don’t identify as artists, technology, and social media into a new play development process. Part of my work has been to facilitate the creation of a “Twitter script” – a series of tweets that will be sent from the performer’s twitter accounts during both performances on Saturday, April 12.

Audience members with smartphones (and Twitter) will be able to follow the performer’s tweets from designated “Tweet seats”. For those who can’t follow on Twitter (or do not want to) the Twitter script will also be projected on stage at specific points through out the play. Some of the tweets provide subtext or context to what is being on said on stage. Sometimes they share links to songs, articles about issues mentioned in the play, even a funny cat video. For audience members who choose to follow along, the Twitter script will function a bit like Pop Up Video, the popular 90’s TV show that shared “info nuggets” during music videos.

To help facilitate the creation of the Twitter script I gave the women a list of questions that related to the themes or ideas that they discuss in the play. I asked them to respond to each question in the form of a tweet. We then went through the script and arranged the tweets so that they would emphasis what was being said on stage, or sometimes provide a contradictory point of view.

People in the “tweet seats” will be encouraged to respond via twitter while they watch the play. In one scene, the tweets from the audience will be projected on stage and the women will improvise in response to what they read. This is where the experimental nature of HATCH becomes apparent, as well as the courage of the three women we are working with. Not only are they writing and performing — though they don’t identify as writers or performers — they are willing to come in direct contact with audience reactions to their show while on stage. I am more and more in awe of them every day!

The making of  "twitter script"

The making of “twitter script”

It’s interesting to me that our twitter script and the audience’s responses will also become a record of the play. I don’t know if Joan, Judith, and Donna will continue to tweet after April 12th. Judith has already stated that her best tweet will be at midnight on April 12th and it will read: “Thank god I never have to tweet again!” But even if their accounts lay abandoned, the legacy of this creation process will remain in the twitterverse. It serves as an example of how the immense amount of content many of us generate and share every day becomes part of our own online legacy.

Now that’s something to think about before you post another funny cat video, or a picture of what you made for lunch!

The public presentations of #legacy are at 2pm & 8pm this coming Saturday, April 12th. Click here for more information & the link to buy tickets.

April 8, 2014, by
1 comment

by Pascal Langdale

In the UK, I’d be called a “jobbing actor”.  That means that I work across all sorts of media, picking up a wide variety of acting work that provides a steady income.  I have worked in corporates and commercials, stage, film and TV, and interactive games. Going a little further back, I have published poetry, written a radio play, co-produced movement-based theatre, headed a flamenco company, and once danced with Cyd Charisse.  In my early thirties I studied nonverbal behavior and re-appraised my acting techniques.  When I say I’m a RADA graduate, I sometimes think people expect a more traditional actor – a style or a working process which I can also embrace when necessary.

Every form I’ve worked in has certain established rules and conventions, developed over years (or centuries) to serve the best interests of storytelling within that medium. Each has its own artifice, relies on a shared experience, and requires adaptation of the core craft of acting.

So it was with a jobbing actor’s irreligious approach that I made friends with the newcomer on the storytelling scene: performance capture.  In this medium, the rules and conventions are still being established, found wanting, re-established, changed, superseded and hotly debated.

In Faster than Night, my character Caleb Smith, a cross between Tony Stark (Iron Man) and Chris Hadfield (THE man), relies on social media to help decide his fate in a life-or-death situation.  Animated in real time.


With this show, we’re exploring whether performance capture can play nice with traditional theatre to create a new form of interactive storytelling for live (or live-streamed) entertainment, and a new role for an engaged audience.

Now, no individual element of our production is entirely new. Faster than Night‘s constituent parts have a broad history.  Our live-animation technology is cutting edge, the result of an explosion of development in the field of facial capture and analysis over the past twenty years. In the past three, the range of capture systems available has expanded, offering greater options for quality at differing price-points. Facial capture tech is becoming democratised, and this key component of human-driven animation is finally reaching the hands of a new generation of artists and producers.

As soon as facial capture became advanced enough to animate in real time with some quality, the potential to fuse video-game and film technology with theatrical storytelling became inevitable.  Theatre has always grabbed whatever innovative tech could help tell the story – from Greek masks that allowed a character to be heard and seen from the back of a large open-air amphitheatre, to painted backdrops and gaslight.

Why should we stop with digital capture? In recent years video games have created a desire for direct influence over a narrative,  and social media has provided a platform to share your feelings about it. Where earlier artists would have needed a show of hands to decide a voted ending, Twitter allows us to canvass the opinions of countless viewers.  Tweets have been used as source material in theatre productions (#legacy, one of our fellow HATCH productions, being the most recent – so recent it hasn’t even opened yet!). The viewer-poll competition format, used most famously on American Idol, is spreading to shows like Opposite Worlds or even the scripted TV drama Continuum.

Interactive story as created by video-game developers, and writers of choose-your-own-adventure books, must fix its narratives in stone. However beautifully executed, they can only give a finely-crafted illusion of unlimited freedom. An ancestor of the interactive game can be found in theatre, which has a longer heritage of improvisation and audience participation. The British have a long history of music hall and panto, where a rougher but no-less-organised form of audience participation is part of the entertainment.  (Did I mention my first job at the age of 17 was in a pantomime?)


The first vote-based multiple-ending play was written by Ayn Rand in 1935, a courtroom drama in which the jury was drawn from the audience.  In the 1970’s, Augusto Boal anticipated the internet-enabled art of flash mobs with Invisible Theatre, “in which an event is planned and scripted but does not allow the spectators to know that the event is happening. Actors perform out-of-the-ordinary roles which invite spectators to join in or sit back and watch.”

Despite the use of Twitter interaction or facial capture animation, our core goal remains primal: to tell a good story. If we fail at that, all the cutting-edge tools we might use become a mere distraction.

Yet wherever linear narrative is challenged, sharing a satisfying story becomes notoriously difficult.  I will be learning forty pages of a script that occasionally leaps into improvisation with the audience through their ambassador, @ISMEEtheAI, voiced by Melee Hutton.  Learning a script is a challenge, but it’s one I at least know the measure of. Playing an interactively-led character presents a number of far less familiar challenges, which (even more than the performance capture) is why this show is particularly experimental. The interactive aspects demand our greatest attention, and our boldest moves.

Here’s an example – a scan of my own re-typed script from Heavy Rain, an interactive game or movie with multiple narrative paths that led to one of twenty or so differing endings.



As an actor, and as a person, understanding behaviour relies on a certain level of causality.  For example, a mood:  “I’m in a bad mood, so I snap at my partner.” Or a learnt pre-condition:  “I had a violent father, so I struggle with authority.” Or a hardwired precondition: “I am genetically predisposed to bouts of euphoria.” All these are examples of what can cause behavior.

In the script above, the player had three choices for how my character Ethan Mars could interact with an unknown “helper”, Madison.  Going from left to right, Ethan (1) seeks basic info, (2) wonders at her selflessness, and (3) suspects her motives.  These are quite different (although there are more examples of more extreme differences elsewhere), and demand that the acting choice in the moment before the player choice be appropriate for all three options. Moreover, each acting choice must also finish off in a way that is consistent with Madison’s response.


Ethan Mars and Madison Paige, Heavy Rain

The lack of pre-decision required in this situation is not as foreign to an actor as one might think.  Many actors strive to be “in the moment,” to imitate life itself.  Not knowing a character’s full behavioral palette is also not uncommon. Playing the character Karl Marsten in Bitten, I did not receive scripts for all thirteen episodes in advance. This is par for the course for a TV series, but even though this one was based on a series of novels I could pick up and read anytime, some characters’ fates departed radically from those in the books, in order to better serve the unique needs of television storytelling.

When a pre-scripted, pre-recorded game story with multiple endings is developed, the creative team try to set up a balance among the player’s possible choices, a “neutral”, making sure that each of them is equally plausible and possible. The nature of live theatre means we don’t need an astronomical budget to shoot every possible outcome. This lets us open up to more variety of audience input, more freedom, more chaos.

Live theatre also means the audience’s final choices can no longer have guaranteed neutral preconditions, because they may have been biased by an unexpected experience that night, something that didn’t happen any other night. A comment, a look, a pause, even a cellphone ring, could pull the audience’s attention away from a vital piece of balancing information, or push them towards a particular relationship with Caleb, ISMEE, Xiao or Dmitri. Every show changes, because every audience changes.

So we need you. Yes, we need people with smartphones who, if not already familiar with Twitter, are willing to give it a try. But more than that we need an audience willing to engage. Become an active participant, and if the experiment is successful, you’ll come away feeling emotions that are harder to come by with passive entertainment: guilt, endorsement, responsibility, vindication, shame, or triumph.

If you’re up for that, start following @ISMEEtheAI on Twitter, and bring your phone along to Harbourfront on May 3rd, ready to participate in your own unique experience of our show.

Pascal Langdale is an actor, producer and writer on Faster than Night.

April 7, 2014, by

April 5, 2014, by
1 comment

by Alison Humphrey

“Interactivity” is one of those words.

What does it mean in theatre?

What does it mean in storytelling?

What does it mean to you? 

As we develop Faster than Nightwhich was conceived with the slippery and baffling ambition to involve the audience in the story, I’ve been thinking a lot about what it means to me.

Alien-Legion-Sarigar-6When I was sixteen, there was a comic convention in downtown Toronto. This was way back before comics were cool, a good decade before the invention of the web let geeks find each other en masse, and longer before the San Diego Comic-Con went media-tastic and started attracting 130,000 paying attendees. We’re talking the basement of the Hilton, a bunch of folding tables with dealers selling back-issues from boxes, and a special guest or three.

I was a huge fan of Marvel Comics’s Uncanny X-Men, which was ahead of the curve in introducing strong female superheroes. (One of those heroines, the teenage Kitty Pryde, was the original protagonist of one of my favorite X-Men storylines, “Days of Future Past“. Yet when its blockbuster movie adaptation is released next month, the very male and very box office-friendly character Wolverine will be taking her role in the narrative. That’s a different blog post…)

I’d heard that legendary comics inker Terry Austin was going to be at the convention, and decided I would make a Fimo figurine of one of his characters as a gift.

He had left the X-Men a couple of years prior, so I sculpted a character from his new gig, Alien Legion. I wasn’t as much of a fan of that book, but Sarigar was a half-snake alien – an awesome challenge that involved a coat-hanger armature and a lot of finger-crossing in the firing process.

I snapped some photos before I took it downtown and gave it to one of my real-life heroes. He was gracious and appreciative, giving me some original art in return.

I started thinking about that formative early moment last June, when the Royal Shakespeare Company partnered with Google+ on an ambitious, interactive theatre/social media hybrid called Midsummer Night’s Dreaming (a followup to 2010’s Such Tweet Sorrow, remixing Romeo and Juliet via Twitter). I’d heard about the concept from the RSC’s forward-thinking digital producer Sarah Ellis, and was instantly fascinated.

Google’s Tom Uglow (co-director with the RSC’s Geraldine Collinge) wrote eloquently beforehand about Why we’re doing it:

We are inviting everyone on the internet to take part. We’d rather like 10,000 contributors extending the RSC across the world, commenting, captioning, or penning a lonely heart column for Helena. Maybe people will invent their own characters. Or make fairy cupcakes; share photos of their dearest darlings as changelings; send schoolboy marginalia about “wooing with your sword”; compose florid poetry to Lysander’s sister; or debate with Mrs Quince on declamation. Or just watch online….

I followed the project as it unfolded online over the course of midsummer weekend, enjoying the original material commissioned from professional writers and artists (“2000 pieces of material for 30 new characters to be shared online non-stop for 72 hours”), and even Photoshopping a few memes and lolcats of my own.


It was fun, and it certainly taught me a lot about the mechanics of Google+ as a social media platform. There were lots of thoughtful analyses after it was over, but for me the most interesting aspect was the strange mix of emotions I was feeling around having participated.

How does the audience feel crossing the line that usually separates them from the professionals providing their entertainment? Passive observation is safe. Active creativity is not. As kids, we all start out as unselfconscious artists, writers, musicians and dancers. But in adolescence, when social pressures and fears kick in, most of us transition into observers and “consumers” of culture made by other people.

For me, the Midsummer Night’s Dreaming project provoked the complicated mix of reactions such invitations always do – the thrill of inclusion or transgression, yes, but also the fear that my contribution won’t be “good enough” or that too much enthusiasm will make me uncool.

More than anything, it brought me back to that kid sitting in her room, creating something to give to an artist whose work she admired. Yes, part of that was the fan hoping to garner the attention of the idol, however briefly. And part was the desire to immerse in the fictional world. But it was also just wanting to step into the creative sandbox and play.

ChooseYourOwnAdventureMany people think of interactive story in terms of the classic 80’s Choose Your Own Adventure books. I certainly flipped around their pages and beat my head against the Infocom computer game adaptation of Douglas Adams’s Hitchhiker’s Guide to the Galaxy long enough to pick up the basic mechanics of branching narrative.

Adams took his next step with interactive fiction in 1998 with the Myst-like Starship Titanic, for which I had the dream job of producing an interlocking set of fictional websites to promote the CD-ROM game in the year leading up to its release. These websites were an early version of what would later be dubbed “alternate reality games”, and a hidden forum on one of them unexpectedly became home to a community that was still active in 2011.

Alternate reality games have blossomed as the web has evolved tools that encourage more participatory culture (two insightful analyses: The Art of Immersion and Spreadable Media). Videogames have evolved too. Some of them (like Heavy Rain) provide almost cinematic interactive stories that appear to offer freedom from the author’s control, but actually run on narrative “rails” that branch with the player’s choice, then eventually re-join. At the other end of the spectrum, “sandbox” or “open-world” games give players far more freedom, sometimes at the expense of emotional engagement or satisfying dramatic structure.

Theatre itself has had an uneasy relationship with audience participation as long as anyone can remember. In recent years, “immersive theatre” companies like Punchdrunk and Secret Cinema have grabbed the spotlight by setting audiences loose to literally roam through their fictional worlds. But decades before them, forum theatre creator Augusto Boal engaged the audience in a very different spirit, with techniques like invisible theatre, “a play (not a mere improvisation) that is played in a public space without informing anyone that it is a piece of theatre”.

And last year, in real life, Commander Chris Hadfield engaged with his audience across a fourth wall up to 250km thick.

In Faster than Night, we’re inviting our own audience to interact with fictional astronaut Caleb Smith via his artificial intelligence ISMEE. You can find her on Twitter as @ISMEEtheAI. In the weeks leading up to the performance, as people tweet questions about his mission to travel faster than light, Caleb will answer. And during the show itself, he will need the audience’s help to make the ultimate choice.

But first a question for you.

What does interactive story look like?

Is it this?


Or is it this?

Or does it mean something entirely different to you?

Interact with us in the comments!

Alison Humphrey is directing and co-writing Faster than Night. She has a master’s in interactive multimedia, but that doesn’t mean she’s figured out the damn thing yet.

Screen Shot 2014-04-02 at 1.33.32 PM


by Francisco-Fernando Granados

In performance art, the time and the place of the creation of the work is always the same as that of the presentation of the work. This characteristic is perhaps what separates performance from any other aesthetic medium: in painting, sculpture, photography, and film, making and showing tend to be spaced by an irreducible difference that puts the making before the showing. No matter how much an artist working on a live piece plans and pre-produces, and as important as that may be, the performance always becomes something, and then becomes something else as it unfolds. Esther Ferrer says it transforms in situ.

A big part of the thrill of working on The Ballad of ______ B for HATCH has been the challenge of creating a work specifically for the stage. One of the goals is to make a work that uses all of the material and conceptual elements of theatre (stage, script, performers, lights) with an attitude of critical respect for the medium that yields something that is decidedly not-a-play. This negativity has to do with an interest in a creating a productive tension between what I hope will be the site-specific approach of the project, and entrenched conventions of the stage as a social (or indeed anti-social) space. Incorporating an interactive element based on the online contributions of the public will be a way to bring together the previously discussed tactics of spacing and redistributing of the elements of theatre.

It is here where the curatorial premise of HATCH, with its focus on social media as a tool for the creation of new performance comes into play. In the recent history of conceptual text-based performance work, my approach owes something to the Fluxus sensibility of Alison Knowles, particularly in her computer-generated poem A House of Dust. The poem was created in 1967 as a collaboration between Knowles, the California-based composer James Tenney, and the Siemens 4004 computer. A House of Dust creates “stanzas by working through iterations of lines with changing words from a finite vocabulary list.” The capacity of computer technology at the time limited the possibilities of electronic interventions into poetic processes to closed systems reminiscent of Modernism. In The Ballad of _____ B, this approach is updated to incorporate a relational element.

A House of Dust, Alison Knowles and James Tenney (1967)

A House of Dust, Alison Knowles and James Tenney (1967)

Social networking platforms will act as randomizing agents, creating interventions in the spaces opened in the text. On April 18th, a significant section of the script will be made available online as a Google Form through a variety of sites including Facebook, Twitter, and the Praxis Theatre site. The fill-in-the blanks approach to the script recalls the aesthetic of vocabulary lessons in ESL language learning. In this case, the didactic form does not follow a function. Audience members are encouraged to fill in the blanks with responses that may range from the obvious to the non-sensical. The accumulation of these results will be used during the week of the residency to re-shape the script.

Screen Shot 2014-04-02 at 1.26.43 PM

A prototype for the form is available now as a test. Click here to access section of the script and fill in the blanks.


April 2, 2014, by

by Rob Kempson

The process of working on #legacy has been unique, both from my work as an artist, but also from my work as an artist-educator in community or school settings. As an artist (and primarily a writer), I often work alone: toiling away for hours on my own before I ever show a piece to someone else for collaboration and feedback. As an artist-educator, everyone is out in the open, as I work with participants to create the final piece from their raw material.

#legacy has become a hybrid model of the two–where I’m using the raw material created by my co-creators (Joan, Judith, and Donna) to create the script with the support of dramaturg Samantha Serles and the design integration of Beth Kates. Next week, I’ll be adding Isabelle Ly into the mix as our fearless Stage Manager. In short, it’s been a real exercise in collaboration. In many ways, I feel as though I’m receiving so much information from so many sources, and my job is to corral it into something that resembles a digestible piece of theatre.

However, a great deal of the process has been conversations followed by homework. Then we get together again, eat some cheese, have more conversations followed by homework. Repeat. Add devilled eggs (seriously), tea, video, more conversation, and roasted almonds. And cake. Seriously, we are very well fed at our rehearsals.

The homework that I have assigned has provided me with a wealth of material–interesting articles, stories, reflections, songs, recipes, letters, and ideas. Many of them are included in the make up of the presentation that we are creating together. Many more have been delightful for me to read, but didn’t make the final cut (as it were). Either way, I thought that I might use this blog post to share some of the amazing stuff that’s come into my inbox.

May You Always – The McGuire Sisters

Joan shared this piece as a part of our fundraising tea, but it’s also made its way into the script. It’s become one of my new favourites… largely due to the sweeping string section:

Legacy Park


Donna spent a little over a month in Florida, and sent us some amazing photos and tweets during that time. One of my favourites was her reflection on “Legacy Park”, a housing development in Davenport, Florida.

She wrote: “Right now we are frittering away some time in Florida, a little retirement experiment that we thought we should try. The next development up the road from us is called Legacy Park.  Coincidence?  I see it almost everyday. Here it is, a suburban housing development on a field that very recently was either a pine forest or an orange grove, very un-treed and nothing to make one think of a legacy at all.”

Judith’s iPhone Interaction

Judith told this story of tweeting in public:

I was sitting in a public waiting area sending a tweet.  A man, several years younger than me, leaned across and commented on how adept I seemed to be on my iPhone.  He had an old fashioned cell phone. I commented that My iPhone was like gold dust to me.  He asked if I was sending an email.  I said no, I was on twitter sending a tweet.

“You know how to use twitter!” he said aghast   “Why would you want to do that?”  I said I had no choice because I was involved in a project that required it.  He said, “I am so impressed. I wouldn’t have a clue.  You are the first older person I have ever met who knew anything about twitter.  Good luck to you.”

Mom’s Christmas Salad

Joan also sent in her mom’s recipe for Christmas Salad–a jello salad that is simply packed with sugar, but also incredibly delicious. There is some video footage of Joan making this salad in the show, and we got to taste the spoils of her work after the fundraising tea.

First Layer

One 3 oz package Lime Jello

1 cup hot water

1 cup cold water

1 cup crushed pineapple, well-drained. (Reserve juice for second part.)

Dissolve Jello powder in hot water. Add a few drops of green food colouring to deepen the colour. Add cold water. Chill until partially set. Add pineapple. Pour into the bottom of a deep jelly mould.

JelloSecond Layer

One 3 oz package Lemon Jello

1 cup hot water

1 cup pineapple juice

One 8 oz package cream cheese

½ pint whipping cream, whipped

Dissolve Jello powder in hot water. Add cold water. Chill until partially set. Soften cream cheese and beat. When jello is partially set, beat cream cheese and jello together. Fold in whipped cream. Pour gently into mould on top of first layer.

Third Layer

One 3 oz strawberry or raspberry Jello

1 cup hot water

1 scant cup cold water

Dissolve Jello powder in hot water. Add cold water. Chill until partially set. Pour gently on top of second layer. Chill the whole thing until firm. Turn out onto a large plate. Cut into wedges, or large spoonfuls.

Notes:  Serves 12-16. This is beautiful at Christmas time, but tasty anytime.

So even though it’s “homework”, it doesn’t seem much like work when this is the kind of stuff you have to work with. I’m really looking forward to putting it all together next week.

Follow me on twitter here.

Tickets and info for the April 12 Public Presentation here.


March 31, 2014, by

by Melissa D’Agostino

ursulaI’ve been thinking a lot about traditions and rituals lately.

I watched Disney’s The Little Mermaid last week for the first time in decades as research for my show BroadFish. As the opening sequence began several things occurred to me:

a) The themes in this movie are seriously fucked up (Don’t get me started on Ursula the Sea Witch. Don’t.)

ericb) Prince Eric constantly looks bewildered: what’s up with that?

c) This was one of the first movies I ever saw in a theatre, and I went with my Father.

As I continued to watch King Triton rage against his daughter’s wishes and use all of his force to ‘protect’ her, including the destruction of her cave of treasured human possessions, it occurred to me how strange it is that my first cinematic experience with my Dad was this very traditional and patriarchic view of Father/Daughter relationships. Because ours is definitely not that.


My Father and I share a lot – we have the same eyes – they droop a bit. We share a name: his name is Francesco (Frank) so they gave me the middle name Francesca as a tribute. And we share a deep appreciation for a cleverly timed one-liner. My Dad is a gentle, lovely, kind soul that will surprise you. One day he was driving me home from dance class and the Fugees’ Killing Me Softly was on the radio. Imagine my surprise when my quiet, introverted Father started singing out ‘One time’…’Two times’ along with Wyclef Jean.

He’s one of a kind.

My Father was never a blustery, over-protective, Alpha-male Dad. I always knew he loved me and wanted the best for me, and he was fairly easygoing about my choices. I always felt that he trusted me. I never felt pressure to be a certain kind of daughter for him.

My Dad, my big Sister and wee me on Christmas Morning circa 1982.

My Dad, my big Sister and wee me on Christmas Morning circa 1982.

That said, I did always picture him walking me down the aisle, if I ever decided to get married. And I certainly always pictured dancing with him at my wedding. There were traditions I wanted to preserve and those were two of them.

When it came to planning our wedding, Matt and I decided not to get married in a church. This was a challenging decision to make for me. Not because I’m religious — I parted ways with the Catholic Church many years ago for many reasons, and though I remain a spiritual person, I do not follow a  particular doctrine, most especially Catholicism. And my fiancé Matt is an Athiest, so getting married in a church seemed like a lie, and I didn’t want to start out this new phase of our relationship with any ritual that wasn’t based in our ideals.

But it was a ritual that had happened in my family as long as I can remember, and I didn’t know how my family would react to it.

I had to really consider what I believed in.

At one point in my decision-making process I asked my Dad if he would be disappointed if he wasn’t walking me down the aisle of a church, but instead walking me down an aisle in a secular location. He didn’t seem to mind, but then there were other elements of this ritual that were on his mind.

My Dad has Multiple Sclerosis. He walks with a cane, and often has trouble with his balance, and one of his legs in particular is very difficult to control. This is a fairly new diagnosis, so his symptoms have progressed rather quickly. I knew when we started talking about him walking me down the aisle that there were many emotions coming up for him. It would never look like what he had pictured when I was growing up, because things are very different for him now.

We always talked about dancing a tango should I ever get married: my Dad was a fantastic dancer, having trained in all the social ballroom dances when he immigrated to Canada. Watching he and my Mother dance at weddings was a real treat. Would he be able to dance now? If he couldn’t, how could we create a special moment between us? How do we not get stuck in the fact that we can’t do this ritual the way we always pictured it, and instead focus on what we can do to celebrate the moment?

Truthfully, I was surprised  just how much this affected me emotionally. I’m usually really good at adapting to a situation, and seeing the benefit of a challenge; rising to the occasion. But, it’s been heartbreaking to watch my wonderfully energetic Father lose mobility, and lose some of his effervescent spirit.

I’ve noticed that when we discuss the topic, there is a sadness around it, like we’re sitting in the reality of the past, wishing that we were back at a time when my Dad was able to walk independently and trip the light fantastic. We’re Southern Italian – we like nostalgia, we like drama, and we find it easy to see the bruise on the apple. Take us or leave us!

Very recently, however, I had to make a real choice  to fight that urge and see the positives of this situation.

The wonderful thing is that my Dad can share in these rituals. They may not look like the traditional Father/Daughter dance or walk down the aisle. They may not happen in a church. They may be filled with mixed emotions and vulnerability in a way we never anticipated. But they can happen, and that isn’t the case for everyone. I am grateful for what is still possible.

I recently saw these beautiful images  of a daughter and her father, who is in a wheelchair and how they made these rituals work.

bride:dadbride:dad dance

And I’ve had several friends suggest wonderful ideas, like dancing for a few shorter dances if my Dad’s stamina isn’t great, or dedicating a song to Fathers/Daughters should things progress and make dancing difficult.

The interesting thing about planning an event like a wedding — an event that has so many cultural and societal rituals and expectations, is that it has helped me clarify what is truly important to me, and what is truly important to us as a couple.

The truth is that anything is possible, and that the joy of bringing families together is the creation of new rituals, and the celebration of all that is hopeful and positive about love and family.

And whatever these rituals look like on my wedding day, I know they will feel incredibly special, and full of love.

I’d love to hear about your experiences – @melissadags