Monday, 21 December 2009

Recommended Reading

Kris Joseph has good reason to praise the wardrobe team of NAC's A Christmas Carol.  [Kris Joseph Struts And Frets]

Chris Wilkinson writes about inspiration.  [The Guardian - Noises Off]

Michael Wheeler and Simon Ogden give a "theatrospherical State of the Union."  [Part 1: The Next Stage and Part 2: Praxis Theatre]

Lindsay Schweitz writes about gender equity and inequity in theatre, with highlights from Nightwood Theatre's Directors Summit.  [Praxis Theatre]

Friday, 18 December 2009

Theatre Night In Trenton

by Brandon Moore
Communications Coordinator
(This article first appeared in Theatre Ontario's Summer 2009 newsletter)

When the City of Quinte West sent out a survey to their businesses, looking for input on how to revitalize their downtown, the businesses’ response was loud and clear—more than hockey tournaments or street dances, or any of the other options that were suggested; they wanted live theatre.

On March 26, they got what they wanted with the first performance of The Bay of Quinte Community Players.

Tuesday, 15 December 2009

Showcase Schedule

The schedule for Theatre Ontario's Showcase 2010 is now available.

Location: Jane Mallett Theatre, Lawrence Centre for the Arts, 27 Front St. E., Toronto ON
Dates: January 17 & 18, 2010

As always, we welcome directors, artistic directors, producers, casting directors and agents who are signed to the EIC or members of TAMAC. This will be our 16th year of presenting the graduates of theatre training programs. Join us for two days of talent, with over 215 grads from the following programs:

Monday, 14 December 2009

Recommended Reading

Kris Joseph loves technical rehearsals?  Read about the preparations for NAC's A Christmas Carol.  [Kris Joseph Struts And Frets]
Writers from The Globe and Mail remember Goldie Semple.  [Nestruck On Theatre]

Michael Wheeler wonders if the Harold Green Jewish Theatre Company is going into seclusion.  [Praxis Theatre]

Wednesday, 9 December 2009

A Young Actor's Journey, or all we are is dust on the dashboard

by Tim Chapman
Professional Theatre Coordinator
(This article first appeared in Theatre Ontario's December 2008/January 2009 newsletter)

In my position with Theatre Ontario, I give advice to a lot of actors who are beginning or in the early stages of their professional careers. For this newsletter, I interviewed 31-year-old actor Jenny Young about the first nine years of her professional career. I spoke to her just before a rehearsal of Kindertransport, the latest show produced by the successful new Toronto theatre company, Harold Green Jewish Theatre. I was curious to see if many of the stereotypical preconceptions of a young actor’s career were reflected in Jenny’s thus far.

Monday, 7 December 2009

Recommended Reading

ED - Yes, this feature deserves a catchier name.

Tara Beagan writes about offenses and apologies - Native Earth and the Toronto Star, SummerWorks' promotion, and Neptune Theatre's Equity call for Peter Pan. [Praxis Theatre]

Marcia Johnson writes about the International Women Playwrights Conference in Mumbai, India.  [NSAA: Obsidian Theatre Company]

Friday, 4 December 2009

Theatre Ontario Seeks Nominations For 2010 Sandra Tulloch Award for Innovation in the Arts

Theatre Ontario is issuing a call for nominations for the 2010 Sandra Tulloch Award for Innovation in the Arts. The award is presented annually to an individual or a collective who has demonstrated leadership over a long career, and a passionate commitment to deepening the scope and broadening the appeal of the arts in Ontario through innovative and practical initiatives.

For more information on award criteria, past recipients, nomination deadline and procedures, please visit the Sandra Tulloch Award for Innovation in the Arts (on the Theatre Ontario website.)

Wednesday, 2 December 2009

Yes, We Can

by Dennis Johnson, Community Theatre Coordinator

One fairly basic definition of Community Theatre could include the words “theatre by the community, for the community.” Our directors, actors, technicians, and production staff are local—people who have put down roots in one community and practice their artistic inclinations in that place for an audience who is also rooted there. We are citizen artists. Professional performers are historically people on the road; it is a rare opportunity for them to put down roots in one community.

But can Community Theatre be “theatre of the community” as well? What is the source of the content of our productions? Are the stories we tell a product of our own experience? Do we encourage the work of local playwrights?