Theatre Ontario's Blog: February 2019

Thursday, 28 February 2019

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.)

Today we feature three stories:

Claire Burns trained in administration and managing direction with Shawn Daudlin at Buddies in Bad Times Theatre in Toronto
Logan Raju Cracknell trained in lighting design with David DeGrow at Cahoots in Toronto and on tour
Brendan McMurtry-Howlett trained in artistic direction with Jillian Keiley at the National Arts Centre of Canada in Ottawa

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

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

Stories from the Professional Theatre Training Program: Brendan McMurtry-Howlett

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Brendan McMurtry-Howlett trained in artistic direction with Jillian Keiley at the National Arts Centre of Canada in Ottawa

(January 30, 2019)

My time at the NAC has come to an end and I am feeling very grateful for the opportunity that I was granted over the past month. The experience was rich in artistic conversations, practical skill development, and fostering wonderful relationships. In such a short time, I and my co-intern, Kate Smith, were able to accomplish a lot, in large part because of the generosity of the entire NAC English Theatre team. With Jill, we discussed the issues that theatre communities across the country are facing—how to increase audiences, raise the quality and profile of work in every region, while ensuring that artists are supported in a real way. Kate and I took on research projects to help assess programming options for next season, and developed a few larger projects including a pilot episode for a new podcast series that will be produced by NAC English Theatre in the near future. We also helped develop communications around some upcoming programs.

Some of the big lessons during my time at the NAC were:

Having a written set of values is an important piece of leadership in your organization. It helps communicate the core ideals to all staff and enables everyone to take ownership of the organization’s work. It also plays a crucial role in keeping yourself on track within the ever-changing theatre industry.
A sense of humour is key to building a cohesive team and ensuring people are quickly welcomed into the work. It is an important part of self-care in an industry that doesn’t afford much time for self-care.
Strong systems and organizational tools will allow you to stay on top of the huge amounts of information you must process as an AD, and help you to treat collaborators and artists with respect.

My time in the bowels of the NAC gave me the opportunity to develop the practical tools of artistic leadership and team management. It helped me develop a more rigorous approach to developing a vision for a theatre company. I also gained a deeper understanding of the value of transparent and early communication in all of one’s professional interactions to build trust, respect, and to ensure that everyone is able to do their best work.

It was clear that Jill doesn’t take her role as a mentor lightly. She’s offered ongoing support and advice. In fact, she threatened to come after me if I don’t seek her advice on anything to do with artistic direction. Everyone at the NAC extended themselves with such generosity that I would feel comfortable reaching out to anyone in that building for advice and expertise. The other important relationship to arise from this experience was with my co-intern, Kate Smith. We have arranged to have monthly meetings to catch up on each other’s lives and to be a mini support network for all things relating to our careers. This will be a great way to maintain the learnings we both received while at the NAC English Theatre.

This experience confirmed, without a doubt, that I love this kind of work. I love the visioning, the team building, the leadership work, and the constant opportunity (and responsibility) to learn in this kind of position. I have the passion and temperament for artistic leadership position and I know that when the time is right, I’m ready to take on another leadership role in a large organization.

At the end of this month, I am filled with deep gratitude for the people that made this possible, everyone at the NAC, friends and family in Ottawa, my co-intern, and especially Theatre Ontario who provided the funding to make this opportunity a reality. Thank you!

Stories from the Professional Theatre Training Program: Claire Burns

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Claire Burns trained in administration and managing direction with Shawn Daudlin at Buddies in Bad Times Theatre in Toronto

(February 19, 2019) So my training program is almost done. Which saddens me because I have really enjoyed going to Buddies and working in the building among the fine and talented staff members. Over the last two months it has been interesting attending Buddies’ weekly management meetings. I’ve been able to directly report on my HR findings and how they affect Communications and Building departments. I’ve also been privy to bar reporting and future event planning—and have even hopped on some party planning committees for Buddies’ 40th Anniversary celebration at the end of May.

Dyke Night went really well. The older crowd from the reading stayed and danced with the younger groups that showed up for the DJ portion of the night and I got a lot of feedback about how much Toronto needs Queer Women’s spaces. As such I’ve been able to parlay that feedback into potential women’s programming for 2019-2020. Being able to be in the building to talk briefly with the Artistic Director and Managing Director about my ideas has been really helpful—just being around and in the room provides opportunity I wouldn’t normally have. As a result I’m working with Buddies to apply for some community initiatives that would highlight women in the space—they would be performance based nights with the purpose of bringing intergenerational women together. Keep your eyes peeled for those nights September to June, 2019-2020.

Working on the Human Resource Manual has really opened my eyes to the importance of the AODA. Now wherever I’m working I’m thinking—how can we make this more accessible? How can we bring people with different needs together to celebrate, party, experience theatre? Aside from that, updating the manual was challenging. I don’t often have to write in HR speak (lol) so was intimidated by that task—the manual is under review right now so fingers crossed I did alright.

My mentor mentioned last week that there was a possibility that I could attend the PACT conference with him in Saskatoon this year. This would be an incredible opportunity for me to connect on the national level with other theatre administrators, widening my network and creating valuable learning possibilities. Due to the schedules of various individuals in the caucus, Shawn was unable to get me on a PACT conference call—but I’m keeping my schedule flexible to ensure that this could indeed happen despite the period of the PTTP being technically over at the end of February.

Altogether a very valuable learning experience. It’s one thing to see a company from the outside, all the perceptions we have around what that looks like- but to work on the inside I learned so much about the inter-dynamics of Buddies and how it operates on an annual scale. Thank you so much for this opportunity!

Stories from the Professional Theatre Training Program: Logan Raju Cracknell

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Logan Raju Cracknell trained in lighting design with David DeGrow at Cahoots in Toronto and on tour

(February 14, 2019) Time for the final blog post! It’s been a really fun time getting to be a part of this show and team. I think some of the things that were really new for me as an assistant were the moments David couldn’t be in rehearsal and I would go in to take any important notes for him, or of things he may want to know. It was a good learning experience because sometimes things that I would in a normal setting just remember, I had to take note of knowing these needed to be given to someone else. One of the tasks I did was translating plots from one venue into another and then the show plot from our first venue into the next two using the gear that those venues had.

It was interesting seeing how some venues are more lenient or less lenient with what can be changed and done in them. With the second venue the show is going to, there are a lot more restrictions and the space is greatly different from the other ones, so a lot of what needed to be done was figuring out what could and couldn’t be compromised with and adapted from the existing system.

One important task was making sure to update the paperwork as we went along through the process to make sure changes were recorded somewhere, so we could avoid having to change them again at the later locations. Especially once we got into the space and David had to focus on creating the design, it became important for me to update things like the plot and cue lists.

I think personally this project helped me grow in terms of learning a new aspect of design in theatre—what you need to do for a show that is touring—and now I can take this knowledge going forward in my career. I was lucky to get to work with a mentor who was very easy to get along with, and who trusted me to take on tasks (as opposed to just having me sit and watch) which for me was incredibly valuable.

Wednesday, 27 February 2019

Browsing Our Bulletin Board

Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.

Coming Up from Theatre Ontario

Theatre Ontario's "Jump Start Your New Play" workshop

Do you need financial support for professional mentorship in your career? Seeking funding for that career-changing/career-accelerating opportunity? The deadline for applications for our Professional Theatre Training Program grants is March 1.
Does your organization want to undertake an accessible, unique youth training project, led by professional theatre artists? The deadline for applications for our Youth Theatre Training Program grants is March 1.
What does an agent do and why should you have one? Join us at our “Ask an Agent” workshop with Michael Jackson, Seventh House Talent, on March 4 at 3pm in Toronto.
Are you stressed about your finances, juggling your bills and watching your debts creep larger and larger? Do your artistic projects make it even harder to stay on top of it all? Join us at our “smART Money: Personal and Project Finances” workshop with Natasha Mytnowych on March 6 at 4pm in Toronto.
Learn practical exercises designed to get your play on track and get you writing. Join us at “Jump Start Your New Play” workshop with Matt McGeachy on March 11 at 2pm in Toronto.
Preparing an OAC application? Get the inside scoop at our “Grant Writing Information Session” pre-recorded webinar with Pat Bradley of the Ontario Arts Council, available on March 18.

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

Upcoming on The Bulletin Board

Upcoming grant deadline from the Ontario Arts Council include Compass (Mar. 1) and Touring Projects (Mar. 6).
Deadline for submissions to direct in the 19/20 season at Scarborough Players community theatre in Toronto is March 2.

Check out these items, and other postings from our members.

Theatre Ontario individual members can also access Auditions, Job Postings and Discount Ticket Offers on our Theatre Ontario Individual Member Resources on our website

Tuesday, 26 February 2019

Stories from the Professional Theatre Training Program

Stories from the Professional Theatre Training Program: Taryn Jorgenson

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Taryn Jorgenson trained in directing with Richard Rose at Tarragon Theatre in Toronto

(December 23, 2018)

This journey of working on The Message was nothing short of inspiring. Not only did I learn skills of creation and execution, but that of building and experiencing relationships within the community.

When I first stepped into the rehearsal room, I felt a joyous understanding, immense history and trust among the fellow artists. I was one of two people in the room that were new in working together—every one of them had known the other from another show, a friend, the community, the business etc. And although every first day on a new show is like the first day of school, it was more like I had entered into high school in the very last year where everyone had already established relationships, already knew each other's processes and had connections.

But after I have stepped away from the room for some time now, I feel like it was these friendships, and this knowledge of how everyone works that attributed to the show’s success. I saw right away Richard’s ability to put on the brake or step on the gas with an idea or approach based on years of experience working with these artists. He knew the angle to use to approach a perspective on a character with an actor or the playwright. Even if they didn’t respond right away.

A great example of this was when I was asking some questions about a few specific notes he was giving one of the actors, and he stated that the actor approaches things differently. Usually actors of great experience memorize the lines and the rest comes after, but they have to feel it first, understand the thought process, connect with the character’s emotional journey before the lines come. Therefore, Richard approached the work for him through that lens. Sometimes the actor didn't get it right away. The actor kept pushing for a clearer emotional through line, but as the run progressed you could see that work settling in. That approach from Richard allowed this progression of the character through time to get deeper and deeper within the actor.

This makes me think about the past work I have done, and who I have worked with—who I connect with as an artist. Not only that but who do I see out in the community working together: strong artistic bonds that take the word 'job' out of context. I'm starting to see this more and more, not only in theatre, but also in cross disciplines. People knowing their purpose for art and sharing that same purpose, crossing boundaries and stepping into the unknown together. Isn’t this the joy of this work? Coming together so we can express? Even the lonely author in his study has an editor.

Even though it felt odd at first to be the newbie in the room, I am thankful for this realization. Sometimes I believe I have forgotten it. That we can create and express alone. But in truth, the best part of this work is doing it together. The best ideas come out when they are questioned. Although I don't think I established a relationship with my mentor in such a way as I am expressing now, I do think that his teaching was full of heart, urging to pass on the torch. I think I learned lessons beyond the specific skills of direction and dramaturgy, ones that would take me through any position in the future. And it helps to take the sting out of the business when you create an environment around you that supports and appreciates your sense of artistry.

Not only have I realized this sense of community within the work we do, but this mentorship also made me analyze the work I’d like to do. What is at the core of what I want to express? Where could it take me as I explore it. What are the plays that I’d like to put on? Why do I connect with them and why do I feel I should bring them to an audience? What audience am I looking for? These questions were all discussed as Richard poignantly brought it up, looking for me to dig deep in where I come from and what I connect to. He always stated, ‘how are you going to do that?’ And ‘what are you going to do?’ I think now is the next step. To find what drives me, and why I want to bring it to audiences, as well as immerse myself with other artists and create a community around the work that can be celebrated as well as dissected. Thank you, Theatre Ontario, for providing me this opportunity.

Stories from the Professional Theatre Training Program: Tijiki Morris

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Tijiki Morris trained in directing with Erin Brubacher at Aga Khan in Toronto

Part 1: June 27, 2018

We are about to begin our two week workshop for Noor. Prior to this process I was not acquainted with the director, Erin Brubacher. In February I was able to be with part of the team for a few rehearsal and read the stage directions for a reading at Rhubarb. Leading up to the beginning of the process, Erin and I had a number of talks over the past few months and I helped with the casting of one of the actors.

I am looking forward to being immersed into the kind of process and environment she will cultivate in the room as well as understand the kind of tools and framework she instills as a director throughout this process. As someone keen on developing my own directing skills and interest in pursuing this type of role, I look forward to gaining more insight into how different people organize their processes in relation to the specific project at hand.

In searching for one of the actors for this play, we discussed the importance about finding a queer POC actor to play the character of Aubrey. Casting queer actors for queer roles is something that I feel strongly about. Although I think that it is possible for straight/cis actors to play queer characters, there are still so few roles available for queer people, and queers actors are able to bring an authenticity to a role that reflects the experience that is out of the straight dominant world.

One of my primary motivations for joining this project was the cultural and linguistic content of this play. The piece itself revolves around a storyline that features a queer relationship, a South Asian family, and the use of Urdu. This is the second play this year that I will be involved with where I am able to support and use my background and knowledge of Urdu (particularly in service to projects that encompass a queer South Asian lens.)

In theatre school, a teacher once said to me that “you can either walk through the door, or be a door that other people can walk through.” I have thought about this sentiment repeatedly over time and am invested in how I can apply that for the type of artist and person I personally want to emanate. I’m interested in how I can support and help others prosper. As part of the directing team, I want to continue to learn and seek new ways of being a facilitator that creates space for all artists to grow and share their own ideas to the collaborative development of the project.

Another aspect of the process that I am very curious about discovering is working with collaborators from various disciplines, each coming with different styles of artistic practices. Being in a room of such diverse ideas and people will be interesting to witness and be part of. I am curious how it will affect the process of our way of working together and the development of the piece.

Part 2: October 8, 2018

We are currently in rehearsals for Noor at the Aga Khan Museum. It is quite an experience to be making a show in a yurt in the inner courtyard of the museum. More so, much of the entire rehearsal process is open to the public for museum visitors to come and go and observe us as we work.

This type of process has created an environment that is incredibly beautiful and magical to witness, while also being frustrating to deal with. Being an assistant director involves taking on multiple roles. One of those tasks has been helping museum and public visitors in and out of the space. This can sometimes be quite distracting as I might be heavily invested in taking notes or watching a scene and then be immediately interrupted by a group of visitors entering the yurt and needing assistance. However, I am also grateful and amazed by what the open rehearsals have done to impact the process. Having the opportunity to interact and observe the audience/public very closely has allowed me (as well as the other collaborators) to gain a variety of insights as to how people are responding to the piece as it is being made. The open rehearsals also became a type of performance/ performances where the act of watching us perform became a mode of engaging with the work. I am curious to learn how this will impact the development of the piece and the way in which we all work together as the process continues.

Part 3: November 5, 2018

The yurt was a magical place to be. For 21 days, we were in a secluded space inside of the museum. It was remarkable to witness such a unique way of making a piece together where actual forms of diversity were being implemented in so many ways. Making a piece of theatre in a museum space, collaborating with artists from different disciplines, and the diverse audiences that interacted with the piece meant that the piece was opened up to a larger number of people that it would have been had it been in a theatre space in downtown Toronto. It also created an accountability to the audience that sometimes is taken for granted in traditional theatre spaces.

Creating with a team of collaborators from different practices also forced us to rethink and reshape how we would work together. It involved taking our own commonly held ideas of how things ought to be done because of the way we are accustomed to doing so, and reorienting them such that they intersected with each other and thus created an entirely new way of working together. It helped me recognize how vital it is to approach work with an awareness of how context, space, and people shape how projects are made and developed.

I am grateful for the space I was given in this process to make it what I wanted it to be. Erin and I met up to debrief about the project the other day. Neither of us knew how it would be. She has never had an assistant director previously and although I have worked as an assistant director, each experience has been vastly different. Erin was very receptive to sharing her process and choices whether on the ride to rehearsal, or over lunch. It was a gift to be able to share my thoughts and ideas in the room and to feel that the actors trusted me as well.

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

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

Stories from the Professional Theatre Training Program: C.J. Astronomo

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

C.J Astronomo begins training in production management with Simon Marsden at the Stratford Festival

(January 06, 2019)

It’s been scientifically proven that our bodies and minds change every seven years. This rings true to me with the beginning of a new year and the beginning of a new season at the Stratford Festival. I am fortunate that I will be returning to a company where I’ve worked for the last seven seasons as an Assistant Lighting Designer. But this time, returning in a specifically created role, where I can further develop my skills as a production manager.

This opportunity has been two years in the making. Towards the end of my fifth season, I booked a meeting with Simon Marsden and surprised him with my candid request to learn more about production management. I realized that I wanted to make this transition after working as a Corporate Event Producer during the off-season, and I believed that the Stratford Festival would be a perfect training ground. Fortunately, Simon eagerly agreed and has been fully supportive of making my dream a reality.

Over the next several months, we researched grants, submitted applications, and waited for news. Once news finally came, we decided to start the internship this upcoming season rather than trying to squeeze it in during my final season as an ALD. Although we decided to delay, Simon invited me to sit in on any management meetings that my schedule would allow. This gave me an early opportunity to listen in while key decisions were being made throughout last season and during preparations for this upcoming season. I’m grateful that I was able to join those meetings, not only because it gave me a jump start in learning about what was to come this season, but also because I got to observe how Simon worked with the Technical Directors and Heads of Departments that are crucial to ensuring that the overall Production Department succeeds at delivering state-of-the-art productions year after year.

Now that I’m about to officially embark on a new path at the Stratford Festival with Simon as my guide, I look forward to exploring parts of the company that I would have never had the opportunity to experience as an ALD. I’m excited to learn more about the intricacies of the other production departments, and how all the departments need to correlate together in order to have a smooth tech process. I’m excited to work with Simon in managing budgets and schedules for 12 shows in 3 unique theatres. I’m excited to learn from Simon how to calmly resolve conflicts, figure out solutions to technical challenges, and how to approach upper management (such as the Artistic Director, Executive Director, Producer) when necessary. I’m also excited to continue building on relationships that I’ve developed with various people throughout the years and create new ones with those I haven’t had the chance to work with yet.

When I recently told someone that I was transitioning out of lighting design to further develop as a production manager, they jokingly asked me if it was because I didn’t want to be creative any more. I told them that this couldn’t be further than the truth; because for me, production management is creatively looking at the big picture by developing schedules, budgets, and procedures that will allow a production and the people who work on them to succeed. This is what inspires me to move forward as I begin a new work-life cycle. I can’t wait to see what the first step in my next seven years will bring!

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

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

Stories from the Professional Theatre Training Program: Holly Meyer-Dymny

Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)

Holly Meyer-Dymny trained in projection design with Cameron Davis at Studio 180 Theatre in Toronto

Part 1: December 26, 2018

I want to make my paintings dance. This is the thought that I come back to time and time again when asked, “Why projection design?” I’m a set, lighting, and projection designer with a background in fine arts and painting. With projection design, I see a way to create dynamic images in a new integrated way.

For the past two years or so I’ve been futzing around with the design programs that I know; Photoshop, ProCreate, FinalCutPro, QLab, etc. I created some animations in Photoshop and learned some basic video editing and I love the designs that I have created, but I also know that there are easier and more responsive ways of creating this work. QLab is great, but there’s this really cool, almost mythical sounding program called Isadora and I want to know its secrets.

With this in mind I looked into the Professional Theatre Training Program and reached out to Cameron Davis as a mentor. It turned out that he has a show in January/February of 2019 that would be the perfect opportunity, the Studio 180 production of Oslo. With this mentorship, I will be working through the design process for the show as well as learning the technology that Cameron uses to create his designs. I’ll be learning new programs for creating content, but also more about system design (how to choose, set-up, focus projectors, all that fun stuff.)

I’m excited to work with Cameron and learn from him. I love his designs because they always work seamlessly with the rest of the production. He has worked with companies across Canada and the States, including the Shaw Festival and has a background in teaching Projection Design at the National Theatre School. The team on Oslo is incredible and I have the added benefit of working with them while learning from such a cool projection designer.

I have no idea what the next six weeks have in store for me, but I am so excited work with Cameron. There is so much to learn in so little time. I look forward to developing new skills, strengthening and broadening my practice, and to diving even further into the world that is projection design.

Part 2: January 23, 2019

In the first stage of this apprenticeship I have been observing rehearsals, attending production meetings, and working through the nitty gritty of learning new software.

Oslo is an incredible project to be able to learn on. The script, cast, and creative team are phenomenal which makes rehearsals really wonderful to watch. Each rehearsal reveals how as designers we can support the work on stage; what images (still, video, or texture) are necessary and how they will integrate into the show during tech. However, at this point, it is mostly observing and preparing all of the elements that will come together during tech and previews.

In preparation for tech, I have been learning new software so that I can work within Cameron’s work-flow and assist during tech. As I work through learning the basics of Premiere Pro, After Effects, and Isadora I can see why they are such effective tools. Premiere Pro and After Effects are part of the same Adobe family as Photoshop and get along really well together within the same universe. Wonderful tools for creating content and I look forward to exploring them even further. I am also learning why Isadora is considered such a powerhouse software. It allows for on-the-fly editing and has many tools for creating simple objects and motion, it is not just a playback software.

I have also been assisting in some content research. Oslo calls for some news footage from 1992/1993 which actually proves somewhat difficult to find. We are so used to the internet being able to provide most content these days, and most news programs have public archives, but they really only go back as far as 2005. It is truly amazing to be reminded that the internet is so new and we have already become so reliant and accustomed to its convenience. I was able to go through library archives and find numerous newspaper clippings from 1992 and 1993 but the video content may require more creativity.

I’m truly enjoying building new skills and look forward to seeing how it all comes together. The cast is running all three acts, the final production meeting approaches, and tech week looms large ahead.

Part 3: February 20, 2019

Oslo is open and I learned so much. The greatest thing about learning is realizing that there is so much more of it to do.

Being able to shadow Cameron through this process and ask an incessant amount of questions has been such an honor and privilege. Watching this beautiful design unfold was a very informative experience and I know that I will be taking those skills and techniques I learned forward into my next wave of work. Cam was incredibly patient as I asked a million questions about every piece of programming he did, why he did it, why he did it that way.

Although I did not learn every detail of Isadora programming (which will take years of practice and experimentation) I did fall in love with it and its beautiful responsive nature in the design process. I cannot wait to continue to play and discover my own style within this new programming language.

I can also say that this opportunity to shadow a senior designer and learn more about projection design came together at a perfect time, I have just booked my largest projection design yet and can’t wait to put these new skills to the test. Always more to learn!

The next application deadline for the Professional Theatre Training Program is March 1, 2019.

Learn more about Theatre Ontario's Professional Theatre Training Program

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

Monday, 25 February 2019

ONstage Openings for the week of February 25

ONstage Now Playing in Toronto
Good Morning, Viet Mom at Cahoots Theatre
Photo by Dahlia Katz

This week’s openings on Ontario’s stages

In South Central Ontario

Feb. 28, Kiss of the Spider Woman at Theatre Aurora

In Toronto

Mar. 1, Late Company at The Village Players, Bloor West Village

Mar. 1, Retreat at Hart House Theatre

Mar. 2, The 26 Letter Dance at Young People's Theatre [with school and group performances from Feb. 26]

In Eastern Ontario

Feb. 28, Prince Hamlet at National Arts Centre—English Theatre (Ottawa) [with a preview on Feb. 27]

Mar. 2, Making God Laugh at Prince Edward Community Theatre (Milford)

ONstage Now Playing in Toronto
The Land Grabber at Toronto Irish Players

In Northeastern Ontario

Feb. 27, Mending Fences at Sault Theatre Workshop (Sault Ste. Marie)

Mar. 1, Hamlet…ou presque at Thorneloe University (Sudbury)

ICYMI: Check out last week’s openings

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

Friday, 22 February 2019

Ontario Off Stage

by Brandon Moore, Community Theatre and Communications Manager

Behind the Scenes at Ontario’s Theatres

Kim Arnold and Fran Perkins from the 2018 ELATE
Festival production of Tempting Providence by Robert Chafe

Shocking news out of Elliot Lake where the auditorium roof collapsed at the Lester B. Pearson Theatre, prior to a dress rehearsal performance by ELATE, the local community theatre. Thankfully, there were no injuries. ELATE was last year’s debutantes at Theatre Ontario Festival as QUONTA representative from northeastern Ontario. Those of us who also remember the Algo Centre Mall collapse (which happened during an ELATE performance in one of the mall’s community spaces) know how traumatic this will be for the community.
We were sad to hear the news of the passing of Mallory Gilbert, former General Manager of Tarragon Theatre. She was an icon in Canadian theatre, and had been honoured with many of our community’s highest accolades.

Conversation Starters

Brad Lepp, Director of Communications for Soulpepper, wrote for PACT about how to leverage your Board of Directors for advocacy.
The Musical Stage Company’s Syd & Shirley Banks Prize for Emerging Musical Theatre Artists is one of our province’s most interesting professional development opportunities. Michelle Bouey, one of the 2018/19 recipients, reflected on her experience.