Wednesday, 30 September 2015

Browsing Our Bulletin Board

"Make It Happen" Career Boot Camp
at Theatre Ontario

Coming Up from Theatre Ontario

Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

  • Deadline for the John Hobday Awards in Arts Management, for established and mid-career arts managers looking for funding to pursue professional development or mentorship opportunities is September 30.
  • Deadline for Ontario Arts Council grants for Artist(s) in the Community/Workplace, Arts Education Projects, and National and International Residency is October 1.
  • CPAMO is holding a KasheDance and COBA workshop on building collaborations on October 5 in Toronto.
  • Deadline for applications for directors for Alumnae Theatre’s New Ideas Festival is October 5.
  • ArtsBuild Ontario has a Learn It | Build It | Manage It workshop on October 6 in Sudbury.
  • Deadline for applications for Outside the March’s Forward March (for creators of large-scale immersive performance) is October 9.

New on The Bulletin Board

  • Shaw Festival’s Fall Teachers Day is on October 23, focusing on the Shaw prop shop in “Prop It Up.”
  • Sudbury Theatre Centre’s next Adult Workshops are “Intro to Acting” with Bill Lane and “Intro to Stage Managing” with Eamonn Reil, both on October 24.

Check out these items, and other postings from our members of funding opportunities, workshops, calls for submission, awards, and more—on Theatre Ontario’s Bulletin Board on our website

Theatre Ontario individual members can also access auditions and job postings on our Theatre Ontario Individual Member Resources on our website

Tuesday, 29 September 2015

Between Panic and Possibility: Doing Physical Theatre with Jim Warren

by Ann Robertson

Third in a series of posts from participants at this year’s Summer Theatre Intensive

"Creativity for the clown lies in the space between the panic and the possibility." These are the words that keep reverberating for me after completing the week-long Theatre Ontario Summer Theatre Intensive 2015 course on Physical Theatre and Text with Jim Warren.

The description for this course indicated that we would be working with Mask and Clown, which interested me as I had not had much experience with either of these techniques. Like many actors, I tend to be very cerebral and am inclined to "hide behind" a play script and the character revealed in the text. I wanted to learn techniques for acting from and with my body, instead of from my head.

Physical Theatre and Text at the Summer Theatre Intensive
We started each day with connecting to each other and to our own bodies, in an attempt to become more aware of how we used our bodies—such as in a simple, everyday activity like walking. When asked to exaggerate the features of our "normal" walk, I found that my usual long stride began to take on some Inspector Clouseau-type characteristics and I could feel some hints of that absurd character starting to emerge!

The work with the Character Masks was challenging but also enlightening and exhilarating. The masks that Jim provided us with were the wonderfully evocative Basel character masks originally developed and used by the legendary Jacques LeCoq. After choosing and donning one of the Masks, we were encouraged to "sit in stillness", to wait "beyond it being uncomfortable", to LET something happen. What a concept for somebody like me who has a great need to MAKE things happen!

As we continued to work with the Masks, Jim demonstrated how they forced us to keep our actions—such as saying good-bye to somebody we loved—“simple and slow", and free from unnecessary embellishment. It was clear—as we each took our turn—that the simplest gestures are the most eloquent.

And, who knew that my instinctively choosing one of these Masks, picking up a baseball cap and a fly swatter from the floor (thanks, Leslie!) would release in me a happy, carefree and slightly "pesky" 9-year old boy?! It was about this time that I began to get a sense of what Jim meant when he said that "creativity for the Clown lies in that space between the panic and the possibility."

Jim Warren leading the Physical Theatre and Text class
As we continued to work with other Clown techniques, we learned more about how to stay in that space and make contact with an audience. As Jim told us, the Clown can't wait to have a conversation with the audience, can't wait to tell them the story, whatever that story happens to be. And he encouraged us to explore and find the basis of our own Clown character in ourselves, in our own bodies.

We finished up the week by applying the techniques we had learned in 2 different enactments of the Mechanicals' Pyramus and Thisbe play in Midsummer Night's Dream. It was great fun to perform and to watch, particularly to see each person in the course beginning to express their own Clown character.

It was a great week and a great course.  And, I relish continuing to discover and develop my own "inner Clown"!

Related Reading


Monday, 28 September 2015

ONstage Openings for the week of September 28

This week’s openings on Ontario’s stages
ONstage Now Playing in Toronto
We the Family at Hart House Theatre
Sherman Tsang, Phoebe Hu
Photo by Scott Gorman

In South Central Ontario

Oct. 1, Alone Together at Burl-Oak Theatre Group
Oct. 1, The Melville Boys at Oshawa Little Theatre
Oct. 3, The Shape of a Girl at Theatre 3x60 (Durham Region)

In Toronto

Oct. 1, Gaslight at Stage Centre Productions
Oct. 3, Sleeping Beauty at Solar Stage Children's Theatre


For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Friday, 25 September 2015

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters


Behind the Scenes at Ontario’s Theatres


TO Toasts

Wednesday, 23 September 2015

Browsing Our Bulletin Board

Coming Up from Theatre Ontario


Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

  • Sudbury Theatre Centre’s Intro to Stage Combat workshop is on September 27.
  • Deadline for the John Hobday Awards in Arts Management, for established and mid-career arts managers looking for funding to pursue professional development or mentorship opportunities is September 30.
  • The Shaw Festival’s Fall Play by Play program for theatre lovers interested in going behind the scenes begins September 30.
  • TAPA is holding a workshop in Toronto on Incorporation and Charitable Status on September 30.
  • Deadline for Ontario Arts Council grants for Artist(s) in the Community/Workplace, Arts Education Projects, and National and International Residency is October 1.

New on The Bulletin Board

  • Paprika Festival invites applications for all of its programming areas: Paprika Productions, Creators Unit, Resident Company, Playwriting, Advisory Board, and Director's Lab.  The application deadline is October 14.
  • The Shaw Festival Theatre School, with programs for youth in Grades 3 through 12, begins October 17 in Niagara-on-the-Lake.

Check out these items, and other postings from our members of funding opportunities, workshops, calls for submission, awards, and more—on Theatre Ontario’s Bulletin Board on our website

Theatre Ontario individual members can also access auditions and job postings on our Theatre Ontario Individual Member Resources on our website

Tuesday, 22 September 2015

Meet the 2015-2016 Artist Producer Training Program Participants

After a competitive application process with 51 applicants for only 8 spots, The APT selection jury of Bruce Pitkin (Theatre Ontario), Naomi Campbell (Luminato Festival), Rupal Shah (Nightswimming) and Michael Wheeler (STAF) are proud to announce the participants of the inaugural 2015-2016 Artist Producer Training Program (APT).

Over the next year these 8 artist producers will train with top industry professionals, learning entrepreneurial skills and innovation-based strategies needed for a successful and sustainable career in the arts. The APT program is presented by STAF in partnership with Theatre Ontario.




Monday, 21 September 2015

ONstage Openings for the week of September 21

This week’s openings on Ontario’s stages
ONstage Opening in Toronto
Marat/Sade at Soulpepper Theatre
Stuart Hughes as the Marat/Sade ensemble
Photo by Cylla von Tiedemann

In Toronto

Sep. 22, Marat/Sade at Soulpepper Theatre, currently in previews
Sep. 23, Yours Forever, Marie-Lou at Soulpepper Theatre, currently in previews

In Central Ontario

Sep. 25, The Glass Menagerie at Northumberland Players (Cobourg)

In Eastern Ontario

Sep. 25, Round and Round the Garden at The Gladstone (Ottawa), with a preview on Sep. 24*
Sep. 26, Dear Johnny Deere at Thousand Islands Playhouse (Gananoque), with a preview on Sep. 25*

In Southwestern Ontario

Sep. 25, The Big Sleep at Theatre Aquarius (Hamilton), with previews from Sep. 23
Sep. 25, Shirley Valentine at Sun Parlour Players (Leamington)

ONstage Now Playing in Eastern Ontario
4000 Miles at Kanata Theatre
ICYMI: Check out last week’s openings

For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Thursday, 17 September 2015

Directions on Directing at Theatre Ontario’s Summer Theatre Intensive

by Jo-Anne Pulfer
Twitter and Instagram - @JoAnnePulfer

Second in a series of posts from participants in this year's Summer Theatre Intensive

I chose this course as I wanted to gain further insight into what was expected of a director, in case I get a chance in the future to direct, and to also further my appreciation of directors as an actress.

The course was designed by Andrew Lamb as a way of getting back to basics with directing, with a strong emphasis on Community Theatre, as many of us had that background, but with guided knowledge about the Professional Theatre industry as through the experiences that Andrew himself had gained.

Andrew set the tone of the week by getting to know us, the class, and getting us to open up about our theatre experiences. We were a class of varying levels in the theatre community. Some had directed; others helped out backstage or within the theatre. Some, like me, had acted or done other “jobs” in theatre and are now interested in taking the step towards directing.

Directors in the course worked through their production ideas.
An open dialogue between instructor and class kept the ideas and concepts flowing throughout the week, and maintained an environment that was both open and enjoyable as we went through the theories and practical portions of the week. This also gave us all insight as to what we can bring to the stage as directors, being able to share ideas and thoughts, how to deal with everything from choosing the right script, pitching it to the board of directors, casting and production crew.

Being given the chance to direct a scene from a script I had chosen prior to the course starting (a prerequisite by the instructor) and working with others from the class, gave me a chance to see how the others formulated their ideas and what worked when directing a scene, ideas that I may or may not use in the future with directing and my acting.  It also gave us an opportunity to learn as directors how to articulate what we need from the actors, without us “breaking the fourth wall” and showing them and a better understanding of how difficult some scenes can be when going from ‘page to stage.’

Upon completion of the course I now have a better understanding of all that is expected of a director, and what to expect from various cast and crew members.  I have been given a way to formulate and articulate my thoughts, ideas and visions regarding a script and production. And now I need to find a theatre to produce the script that I chose so that I can use the skills learned and move onto the next chapter of my Community Theatre life.

Jo-Anne's final presentation.
This was an intense and fun week full of learning not only the subject matter, but things about me, personally, and all things theatre related.

Friendships and bonds have been forged and I am eagerly awaiting Theatre Ontario’s announcement of what next year’s Summer Intensive will bring.

Until next year, Break a Leg!

Related Reading:

Wednesday, 16 September 2015

Browsing Our Bulletin Board

Coming Up from Theatre Ontario

  • Theatre Ontario is seeking a volunteer to teach theatre techniques in a classroom setting with the goal of improving literacy and communication skills. The deadline is September 18.
  • Launching Your Career workshop with Rebecca Ballarin and special guest Joseph Recinos – Get answers to your FAQs about the business of acting – September 21 at 3pm in Toronto.
  • Reciprocal Agreements between CAEA and ACTRA with Arden R. Ryshpan (CAEA) and Indra Escobar (ACTRA) – Learn how the new agreement affects you – September 21 at 6pm in Toronto.
  • Adjudicators Symposium – Professional development and networking – September 26 at 10am in Toronto.
  • Unleashing Your Inner Entrepreneur workshop with Rebecca Ballarin and special guest Scott Dermody – Planning on producing a show or starting a theatre company? Start here – September 28 at 3pm in Toronto.
  • Grant Writing Information Session free recorded webinar with Pat Bradley (Ontario Arts Council) – Preparing an application to the Ontario Arts Council? Get the inside scoop – September 29 at 6pm.
  • Do you need financial support for professional development or a "change of direction" in your career? The next application deadline for our Professional Theatre Training Program is October 1.
  • Are you seeking funding for a unique youth theatre training project?  The next application deadline for our Youth Theatre Training Program is October 15.
Check out all of our upcoming Career Stream and Creator Stream workshops. 

Upcoming on The Bulletin Board

West Side Story at Curtain Call Players.
Their annual general meeting is September 20.
  • Helen Donnelly’s Discover Your Clown course in Toronto starts today.
  • TAPA’s workshops on Standard First Aid with CPR/AED (Sep 21 to 22) and Emergency First Aid with CPR/AED (Sep 21) both have registration deadlines of September 17.
  • Curtain Call Players in Toronto invites the community to their Annual General Meeting on September 20.

New on The Bulletin Board

  • Sudbury Theatre Centre launches their Adult Workshop series on September 27 with Intro to Stage Combat with Caleb Marshall.
  • The Canada Council’s John Hobday Awards in Arts Management offers up to two awards of $10,000 annually to established and mid-career arts managers looking for funding to pursue professional development or mentorship opportunities.  The deadline is September 30.
  • Alumnae Theatre seeks directors for the 2016 New Ideas Festival.  The deadline is October 5.
  • Outside the March invites applications for Forward March from playwrights and creators interested in working to develop original, large-scale, immersive experiences.  The application deadline is October 9.
Check out these items, and other postings from our members of funding opportunities, workshops, calls for submission, awards, and more—on Theatre Ontario’s Bulletin Board on our website.

Theatre Ontario individual members can also access auditions and job postings on our Theatre Ontario Individual Member Resources on our website.

Tuesday, 15 September 2015

Stories from the Professional Theatre Training Program

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.) These are some of the current and recent participants' experiences.

Yunjeong Faline Park is training in theatre administration with Niki Poirier at Roseneath Theatre in Toronto.

I would like to thank Theatre Ontario for accepting me to this wonderful training program. This opportunity will be a new challenge in my career, switching from the design world to theatre administration and I am grateful for having the chance to explore and develop new skills.

My fifteen weeks of training with Roseneath Theatre starts in September and will cover half of their 2015-2016 season, During this time, I intend to learn the entire process of how to produce and manage a production starting from the beginning to the end. My mentor Niki Poirier, Tour & Company Manager along with other staff will be involved with teaching me every aspect of the administration within a theatre company which will include: Production, Tour Management, Stage Management, Human Resources, bookkeeping and payroll, Managing Director, Marketing, etc. Niki and I earnestly worked on the training schedule so that I will be given the opportunity to work with every department for a week or two at a time. This will allow me to carry some responsibilities and lead independent projects.  I hope this will give me a genuine understanding of what everyone has to do and how the company works.  

I have worked with Roseneath Theatre a few times in the past year. Niki was one of my supervisors when I was a Production Assistant for their premiere production of The Money Tree with thanks to the Studio Lab Theatre Foundation. Since then she has become a role model. Her work style and her passionate dedication to producing relevant theatre for children has given me a clear idea of the dedication and skills I need to become an administrator for a performing arts company.  I have complete confidence that her many years of experience in theatre will give me a large variety of information in administrative knowledge to further my career. 

I am super excited and can’t wait to see what I will gain from this valuable program!

Rachel Penny trained in Producing with Aislinn Rose in Toronto.

The third and final section of my PTTP project was the point at which I took on a more independent project, using Aislinn as a resource rather than shadowing her. I found that this was in many ways as daunting as starting the mentorship again! While I felt well-prepared and well-supported to take on a project on my own, I still felt a lot of self-doubt and nervousness. However, the best cure for this feeling is to dive head-first into whatever is making me nervous, and so I did! For this phase, I worked as a producer for the Toronto Festival of Clowns. Working on a festival at this point in my training was a great fit, since I was able to bring together and put into practice many of the elements I’d already worked on throughout my mentorship, including budgeting, partnership management, and fundraising. Most importantly, a festival is a big test of anyone’s project management skills. The TFOC was a great way to wrap up my PTTP, teaching me about a form of performance that I knew little about, and highlighting some potential areas of growth for me. 
The Toronto Festival of Clowns

One of the main takeaways from me after completing my PTTP is the extent to which a producer must take responsibility for every aspect of a project, and be fairly rigorous in terms of keeping everything on track. My instinct when working with others is to trust that everyone will look after their own tracks, and that no news is good news. Learning that this is not always the case has been a slow process for me, but I feel now that I understand much better the boundaries between managing and micro-managing, and where I have to fall on that line in order to be an effective producer. I feel more confident in speaking to collaborators about the work they are doing, and helping facilitate that by managing timelines, keeping an eye for potential problems or pitfalls, and offering help or resources when needed. I’ve also learned to trust my instincts about what’s working and what isn’t. I feel less afraid to take real ownership of a project. 

Perhaps the most rewarding element of this process has been watching the success of the artists I’ve worked with. Those successes have taken many forms, whether it’s a full house, a great review, an interesting conversation with an audience member or even an a-ha moment about what works and what doesn’t. In producing, other people’s success and satisfaction is the reward for your hard work, and there have been lots of thrilling moments this year. 

Aislinn was hugely trusting of me from the get-go and did not hesitate to let me take on a lot of responsibility. I think the main change in the relationship is that her confidence in me has translated to more confidence in myself. I know that Aislinn will continue to be someone that I can go to as I progress in my career. Her opinions are valuable to me, and I find that we often approach things from a different perspective which makes her an important person for me to talk through problems with. The relationship we’ve built during this mentorship has become an important one to me personally and professionally. Her support and advocacy for me as I enter the next stage of my career has been hugely appreciated, and I know we will continue to work together in the future.

Rose Napoli trained in producing with Rona Waddington and Ingrid Bjornson at St. Lawrence Shakespeare Festival (SLSF) in Prescott.

It has taken me some time to reflect on my time with SLSF because my PTTP has rolled into a few other opportunities with the Festival.  I have spent the summer working both as an actor with St Lawrence and as an Artistic Associate (made possible by another grant.)

I have learned so much this summer—about what I want, what I don’t want, a true idea of just how much work it takes to run a small theatre. I have been extremely grateful for the opportunity to grow my skills, to have access to the inner workings of the Festival, and to be trusted as an Artistic Associate.

I walk away from Prescott with humility—and an understanding of just how much investment is required of the people who run a small theatre.  I say a small theatre because, as I have observed this summer, when there are few employees,  every member of the team steps outside of the typical duties associated with their position to help things run smoothly.  I have seen Rona wearing rubber gloves cleaning toilets, Ingrid make online invitations for a Prescottonian who wanted to host a party for the company members.  I have been astounded by the work load and have witnessed moments of inspiration: a company of actors on a rain day (when one of their cast mates was injured) staying at the theatre to talk to audience members and thank them for coming, a crew dealing with a hugely complicated show in the blazing hot sun and being thoughtful enough to bring ice packs for the actors. And leaders of the Festival who have borne the brunt of the work with a smile on their face. 

I don’t know that I have a future in arts administration, but I do walk away from SLSF equipped to continue producing my own artistic projects and most importantly, with an appreciation for all the duties and the people that make it possible for the show to go on!

Simon Bloom is training in artistic producing with Philip Riccio at The Company Theatre in Toronto.

This fall will mark my sixth year as an independent artistic producer, and every day still feels like trial by fire. In both the rehearsal hall as well as the office (and by office I mean a coffee shop, or someone’s living room), I spend most of my time making mistakes and learning from them. Without any formal training in artistic producing, and with very little documentation out there on how to run an independent theatre company, it’s been hard to find a less painful way to grow. 

That isn’t to say I haven’t tried. I recently made a list of all of my ‘indie heroes.’ These are companies that I admire for one reason or another - organizations that I want my theatre company, Outside the March, to be inspired by. It’s not that I think we should be these companies, but I want us to develop a better understanding of why and how they have been successful.

I spend a lot of time trying to understand how these ‘indie hero’ companies operate: their artistic leadership, branding, their productions. But I’ve realized that standing on the outside looking in won’t ever teach me about the culture of an organization that I’m inspired by. If I go and see a top-notch production put on by a company that I admire, it isn’t going to expose me to that company’s strategic planning, or how they were able to build a board that was excited about helping them fundraise.

Board recruitment and strategic planning might not sound like the most exciting part of running a theatre company, but I’ve come to realize that they are necessary. Theatre is a business, whether I like it or not, and running it requires business savvy. Just because my MFA in Theatre Directing didn’t teach me how to negotiate an Equity contract or build a sponsorship package doesn’t matter—it’s still going to take up a huge chunk of my day-to-day at Outside the March.

I realized that if I wanted to truly learn how one of these companies operated, I needed to spend time embedded within that organization, helping to contribute to their success, working with them through adversity, learning by professional development, and osmosis. This is why I sought to pursue a PTTP in artistic producing. And what better company to pursue it with than the one that sits at the top of my list of ‘indie heroes’—Company Theatre.

When we founded Outside the March, we looked to Company Theatre as a leader in Toronto’s independent scene. They produce high calibre productions with marquee actors, forge vital relationships with companies such as Crow’s Theatre and the Canadian Stage, and have established a significant foothold in the hearts and minds of our city’s theatre-going audiences. Most importantly to me, they had done so without ever mortgaging their vision for what they wanted their work to be: theatre that boldly and unflinchingly examines the human condition.

I’ve known Company Theatre Co-Artistic Director Phil Riccio since he played the coke snorting imaginary friend of a 6-year old named Lucy in our company’s production of Mr. Marmalade. Since then we’ve had many conversations about what it means to run an independent theatre company, and to be an artistic leader. Spending a period of time training with him in artistic producing means that I will be able to learn tangible skills that will translate into the future success for Outside the March.

What will we be doing? Well first, I’ll be assisting Phil on Company Theatre’s upcoming production of Bruce Norris’ Domesticated starring Paul Gross and Martha Burns. This won’t just mean sitting in on rehearsals, but playing an integral role running a secondary room to help prep some of the younger actors. Phil will take me through what it means to direct a play when you are artistic director, director, and producer on the project—how you juggle these distinct positions, how to prevent them from bleeding into one another, manage your time, plan effectively, and cultivate relationships with your team.

Phil and I will participate in one-one sessions focused on building a sponsorship strategy, culminating in me making a targeted ask to try and onboard a new sponsor for Company Theatre’s upcoming season. I will also be working with Phil to prep for board meetings, and learn more about how they play a role in helping Company Theatre’s success.

Finally, I’ll be working with Phil to build an international map of new playwrights. Outside the March and Company Theatre are constantly looking to broaden our consciousness of exciting and innovative work being made across the country, and the creation of this map will make sure that we can keep our finger on the pulse.

I have absolutely no doubt that the time spent with Phil is going to drastically improve my ability to function as an artistic leader. A period of mentorship with Company Theatre isn’t going to stop me from failing again (and frequently), but hopefully it will give me the wisdom to avoid a few theatrical land mines along the way.

I look forward to digging in.

The next application deadline for the Professional Theatre Training Program is October 1, 2015.


Theatre Ontario’s Professional Theatre Training Program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Monday, 14 September 2015

ONstage Openings for the week of September 14

ONstage Opening in South Central Ontario
Storm Warning at Markham Little Theatre
John Sellens, Julia Guthrie
This week’s openings on Ontario’s stages

In Southwestern Ontario

Sep. 15, The Judy Garland Story at Lighthouse Festival Theatre (Port Dover)
Sep. 16, Sexy Laundry at Drayton Entertainment: St. Jacobs Schoolhouse Theatre, currently in previews
Sep. 17, Always a Bridesmaid at Simcoe Little Theatre
Sep. 17, Murder at the Howard Johnson's at Elmira Theatre Company

In Toronto

Sep. 14, Marat/Sade at Soulpepper Theatre, in previews
Sep. 14, Yours Forever, Marie-Lou at Soulpepper Theatre, in previews
Sep. 17, The 20th of November at Buddies in Bad Times Theatre, currently in previews
Sep. 18, Antigone at Alumnae Theatre Company
Sep. 18, We the Family at Hart House Theatre*

In Eastern Ontario

Sep. 15, 4000 Miles at Kanata Theatre (Ottawa)
Sep. 15, Blithe Spirit at Ottawa Little Theatre
Sep. 17, Generous at Great Canadian Theatre Company (Ottawa)

In Northwestern Ontario

Sep. 17, Ring of Fire: The Music of Johnny Cash at Magnus Theatre (Thunder Bay), with previews from Sep. 14

In South Central Ontario

Sep. 16, Storm Warning at Markham Little Theatre
Sep. 17, Too Much Water Makes the Baby Go Blind - 30 Plays in 60 Minutes at Georgetown Little Theatre (Georgetown/Acton)
Sep. 18, Rope's End at The Curtain Club (Richmond Hill), with a preview on Sep. 17*
Sep. 18, The Odd Couple, Female Version at Theatre Burlington

ONstage Now Playing in Toronto
Mr. Pim Passes By at Bloor West Village Players
Madeleine Kane, Steve Ness
Photo by Jennifer Etches

For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website


Friday, 11 September 2015

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters


Behind the Scenes at Ontario’s Theatres


Migrations


In Case You Missed It

  • Talking with Pauletta Washington about the importance of preparation for performance.

Thursday, 10 September 2015

The Importance of Preparation for Performance

by Brandon Moore, Community Theatre and Communications Manager

Pauletta Washington is returning to Toronto with a new show Chronicle.  Joined by her band Mamazband, she will be performing at the Randolph Theatre—and all proceeds are benefitting Randolph Academy for the Performing Arts.
Pauletta Washington.
Photo by Bruce Zinger

Chronicle is described as a multi-media show featuring song, spoken word and world music, combined with amazing video elements on a 30-foot curved screen. The audience will be treated to some re-workings of classic rock and soul, together with reinventions of historically significant works - music from Ukranian Kobzars, the Afghanistan Civil War and the Uzbekistan vanished courts - deemed worthy of protection by the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage.

Washington was introduced to Randolph Academy via choreographer David W. Connolly, who directs the video and stage productions for Mamazband.  She first came to Randolph for a “Pro-Forum” with a Q&A for the students—and was surprised to arrive to a presentation, prepared just for her by 200 Randolph students who were just starting classes for the year.  “It was looking at a sea of angels, their cherub faces…it just threw me,” she said.

As is often the case with these types of conversations, the one-hour Q&A went on far longer than anticipated—nearly three hours.  “We could have taken a break and come back and kept going,” she said.  Questions that started with how she chose her material, and whether or not she was nervous when she performed, lead to a conversation about the importance of preparation.

“When you’re not prepared, that’s when it becomes nerve-wracking,” Washington said.  As she describes it, when your mind, body, and spirit are all on solid ground, you can “let it flow from there.”  She says that nerves can then manifest themselves more as excitement—anxiousness in a positive way.  (She compared it to the way her son, a professional football player, describes the moment before play starts when you’re "jumping and buzzing about.")

Washington sought out mentors (and still does today)—but not just renowned artists like Ruby Dee, but also people like her pastor, who helps her “formulate words to ask the right questions.”  But she says her first mentors were her parents who gave her “a great foundation” and stressed the importance of discipline—which is vital for any artist.

“Mentors can give you tidbits of information,” she says.  “But it’s not until we come face to face with the situation… that’s when we get it.  It’s like being in a car: you can be a passenger and go the same route over and over.  But as you become the driver, you can go the same route, but everything looks completely different.”

For her performance, “it’s my hope, my joy to be a blessing to others because I’ve been blessed so much.  When audience leaves, give them something to think about: provoke that, ignite that—for the good.”

Chronicle will be presented at the Randolph Theatre on September 13 and 14.  For more information, visit www.randolphacademy.com

Wednesday, 9 September 2015

Browsing Our Bulletin Board

Coming Up from Theatre Ontario

  • Audition Talk Back with Nina Lee Aquino, Alana Hibbert, and Kawa Ada – Nail your next audition with advice on preparation, etiquette, and expectations – September 14 at 6pm in Toronto.
    Career Stream and Creator Stream
    workshops at Theatre Ontario
  • Launching Your Career workshop with Rebecca Ballarin and special guest Joseph Recinos – Get answers to your FAQs about the business of acting – September 21 at 3pm in Toronto.
  • Reciprocal Agreements between CAEA and ACTRA with Arden R. Ryshpan (CAEA) and Indra Escobar (ACTRA) – Learn how the new agreement affects you – September 21 at 6pm in Toronto.
  • Adjudicators Symposium – Professional development and networking – September 26 at 10am in Toronto.
  • Unleashing Your Inner Entrepreneur workshop with Rebecca Ballarin and special guest Scott Dermody – Planning on producing a show or starting a theatre company? Start here – September 28 at 3pm in Toronto.
  • Grant Writing Information Session free recorded webinar with Pat Bradley (Ontario Arts Council) – Preparing an application to the Ontario Arts Council? Get the inside scoop – September 29 at 6pm.
  • Do you need financial support for professional development or a "change of direction" in your career? The next application deadline for our Professional Theatre Training Program is October 1.
  • Are you seeking funding for a unique youth theatre training project?  The next application deadline for our Youth Theatre Training Program is October 15.
Check out all of our upcoming Career Stream and Creator Stream workshops.

Upcoming on The Bulletin Board

  • Deadline for applications for Acting Up Stage Company’s Noteworthy intensive for composers, lyricists, and playwrights is today.
  • Deadline for Canada Council grants for Leadership for Change: Grants for Organizational Development is September 10; deadline for Grants to Theatre Artists: Individual Creation, Playwright-in-Residency, Artist-in-Residency and Professional Development; Theatre: Project Grants to Service Organizations; Artist and Community Collaboration Program in Theatre; Theatre Production Project Grants for Emerging Artists; and Theatre Production Project Grants for Established Artists is September 15.
  • Deadline to apply for GCTC’s Emerging Actors Unit in Ottawa is September 11.
  • Theatre Ontario is seeking a volunteer to teach theatre techniques in a classroom setting for an institution with the goal of improving literacy and communication skills.  The deadline is September 14.
  • Deadline for Ontario Arts Council grants for Aboriginal Artists in the Communities, Aboriginal Arts Projects, Deaf and Disability Arts Projects, National and International Touring, and Ontario Touring is September 15.
  • Helen Donnelly’s Discover Your Clown course in Toronto starts September 16.

New on The Bulletin Board

  • Curtain Call Players in Toronto invites the community to their Annual General Meeting on September 20.
  • Carousel Players in St. Catharines invites applications for Theatre Creators Reserve grants.  They recommend projects creating works for children, youth, and families.  Artists of diverse cultural and community backgrounds, including the Niagara region, are encouraged to apply with their development projects.  The deadline is November 16.
Check out these items, and other postings from our members of funding opportunities, workshops, calls for submission, awards, and more—on Theatre Ontario’s Bulletin Board on our website

Theatre Ontario individual members can also access auditions and job postings on our Theatre Ontario Individual Member Resources on our website

Tuesday, 8 September 2015

ONstage Openings for the week of September 8

This week’s openings on Ontario’s stages

In Southwestern Ontario

Sep. 8, Sexy Laundry at Drayton Entertainment: St. Jacobs Schoolhouse Theatre, in previews
Sep. 11, Nunsense at Theatre Ancaster (Hamilton)
Sep. 11, The Odd Couple (Female Version) at Sun Parlour Players (Leamington)

In Toronto

Sep. 9, The Play’s The Thing at Soulpepper Theatre, currently in previews
Sep. 10, Happy Place at Soulpepper Theatre, currently in previews
Sep. 11, Alone Together at Scarborough Players
Sep. 11, Mr. Pim Passes By at Bloor West Village Players
Sep. 12, Treasure Island at Solar Stage Children's Theatre

In Central Ontario

Sep. 8, Swing Dance at Gravenhurst Opera House

In Eastern Ontario

Sep. 11, Living Together at The Gladstone (Ottawa), with a preview on Sep. 10*
Sep. 12, The Gentleman Clothier at Upper Canada Playhouse (Morrisburg), with previews from Sep. 10
ONstage Now Playing in Toronto
Click Bait and Switch at The Second City
Photo by Racheal McCaig

ICYMI: Check out last week’s openings

For all the theatre playing across Ontario, visit Theatre Ontario’s ONstage theatre listings on our website

Theatre Ontario individual members can access discount ticket offers for shows marked with an * asterisk
Read more about Theatre Ontario’s Discount Tickets program

Friday, 4 September 2015

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Conversation Starters


Behind the Scenes at Ontario’s Theatres


TO Toasts


In Case You Missed It

With September upon us, we're back to weekly issues of this column starting September 11th.

Thursday, 3 September 2015

Building Your Actor’s Toolkit at Theatre Ontario’s Summer Theatre Intensive

by Gregory Carruthers

First in a series of posts from participants at this year’s Summer Theatre Intensive

Acting was an early love of mine. Once I finished graduate studies, however, and launched into my chosen profession, I had to put acting aside. After some decades in my work, a few years ago my professional responsibilities started to lighten somewhat. I found myself being drawn once again back into acting. I am, therefore, merely a novice and in need of lots of good instruction and coaching.

"Everything You Always Wanted to Know about Acting"
at the 2015 Theatre Ontario Summer Theatre Intensive.
(Gregory Carruthers is the second from the left.)
I certainly found all I was looking for in Tom Diamond's course "Everything You Always Wanted to Know about Acting" at the Theatre Ontario Summer Theatre Intensive. From the very beginning I knew I was in the presence of someone who was accomplished in what he was doing—he knew what he was talking about. Tom has the skills and the wisdom that come from personal experience. He is also an engaging and effective teacher. Even though the others in the course had more acting experience than myself, I never felt from him—or from them—that I was out of place. Quite the opposite, in fact. The environment Tom established was a safe place in which I could trust. It was easy, therefore, for me to take the risks I needed to take to get grounded in what acting was all about and to begin to grow as an actor.

The title of Tom's course is not an exaggeration. I really did learn what I always wanted to know about acting. Everything from the daily warm-up acting exercises to the final scene work was carefully constructed to that end. Tom's explanations and presentations always clear, practical, accessible and effective. His definition of acting (and I'll let you take his course to find out what that is!) clarified much for me.

How to make a personal connection with the character I would be playing was one of the most helpful tools in "the toolkit" (to use his term) that I got out of the course. Tom's course was full of practical exercises and skills to give you the tools you need to be an effective actor. Another helpful skill I began to experience is the correct relation between the actor's intention and his words and emotions. Directly connected with this skill is another one: what does it mean for an actor to listen? Improvisation—structured for a specific purpose—is one of the central and most effective exercises we did. I benefited from it greatly.

Equally practical and effective were his instructions and exercises on how to prepare a monologue, how to make an entrance on stage, and how to interpret a script.

Because the class was small—only 11 of us—each of us received lots of personal coaching from Tom. Tom has the intuition of an experienced physician on how to make a quick and accurate diagnosis, and then what remedy to provide. I learned as much from his coaching of others as I did from his coaching of myself. He affirmed with insight what I was doing well, and with equal insight what I need to do to be a more effective actor. For me that especially means not allowing my acting to collapse into giving information - "no one comes to the theatre to get information." What I need to do is to act in the here and now, in the lived moment of what I'm all about on stage. Tom gave me the means - the tools - to begin to do that better.

I am deeply grateful and privileged to have benefited from Tom's practical skill, talent and insightful experience. If you have a desire to learn everything you always wanted to know about acting, I cannot imagine you could find a better course.

Next time: We check-in on the Introduction to Directing course

Related reading:

Wednesday, 2 September 2015

Browsing Our Bulletin Board

Coming Up from Theatre Ontario

  • Audition Talk Back with Nina Lee Aquino, Alana Hibbert, and Kawa Ada – You’re your next audition with advice on preparation, etiquette, and expectations – September 14 at 6pm in Toronto
  • Launching Your Career workshop with Rebecca Ballarin and special guest Joseph Recinos – Get answers to your FAQs about the business of acting – September 21 at 3pm in Toronto
  • Reciprocal Agreements between CAEA and ACTRA with Arden R. Ryshpan (CAEA) and Indra Escobar (ACTRA) – Learn how the new agreement affects you – September 21 at 6pm in Toronto
  • Adjudicators Symposium – Professional development and networking – September 26 at 10am in Toronto
  • Unleashing Your Inner Entrepreneur workshop with Rebecca Ballarin and special guest Scott Dermody – Planning on producing a show or starting a theatre company? Start here – September 28 at 3pm in Toronto
  • Grant Writing Information Session free recorded webinar with Pat Bradley (Ontario Arts Council) – Preparing an application to the Ontario Arts Council? Get the inside scoop – September 29 at 6pm
  • Do you need financial support for professional development or a "change of direction" in your career? The next application deadline for our Professional Theatre Training Program is October 1
Check out all of our upcoming Career Stream and Creator Stream workshops.

Alumnae Theatre's New Ideas Festival.
Submissions are due September 5.

Upcoming on The Bulletin Board

  • Deadline for script submissions for Alumnae Theatre’s New Ideas Festival is September 5.
  • Toronto Irish Players has extended the call for directors (non-paying) for Shadow of a Gunman until September 7.
  • Deadline for applications for Acting Up Stage Company’s Noteworthy intensive for composers, lyricists, and playwrights is September 9.
  • Deadline for Canada Council grants for Leadership for Change: Grants for Organizational Development is September 10.
  • Deadline to apply for GCTC’s Emerging Actors Unit in Ottawa is September 11.

New on The Bulletin Board

  • ArtsBuild Ontario has announced their next Learn It | Build It | Manage It workshops for facility managers: Sudbury on October 6 and 7, Town of Blue Mountains on November 4 and 5, and Orillia on November 17 and 18.
Check out these items, and other postings from our members of funding opportunities, workshops, calls for submission, awards, and more—on Theatre Ontario’s Bulletin Board on our website

Theatre Ontario individual members can also access auditions and job postings on our Theatre Ontario Individual Member Resources on our website

Tuesday, 1 September 2015

Funding Youth Theatre Training Projects

Does your organization want to undertake a unique youth training project, led by professional theatre artists?  The next deadline to apply for our Youth Theatre Training Program (YTTP) is October 15, 2015.

YTTP offers financial support to programs anywhere in Ontario, led by professional theatre artists, which deliver accessible training to young people (age 14 to 21) in theatrical skills such as:
  • Technical production and design
  • Theatre administration and producing
  • Performance skills and play creation
The program is funded by the Ontario Arts Council, an agency of the Government of Ontario.