Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
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.
Learn about the background and impetus behind the Intimacy for the Stage initiative at our free “What Is Intimacy On Stage?” pre-recorded webinar with Siobhan Richardson of Intimacy Directors International, available on March 28.
Learn the skills necessary to be a successful and sought-after reviewer, critic, blogger, and writer of theatre—Join us at our “Writing Theatre Reviews that Matter” workshop with Lynn Slotkin on April 3 at 3pm in Toronto.
Theatre Aurora's production of Proscenophobia
Their deadline for 19/20 production role applications is March 9.
Upcoming grant deadline from the Ontario Arts Council include Touring Projects (Mar. 6) and Artists in Communities and Schools Projects (Mar. 14).
Theatre Aurora community theatre’s deadline for submissions for production roles in their 19/20 season (directors, producers, and stage managers) is March 9.
George F. Walker’s Acting Intensive starts March 11 in Toronto.
Check out these items, and other postings from our members.
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.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Theatre Ontario's "Writing Theatre Reviews
that Matter" workshop with Lynn Slotkin
Learn the skills necessary to be a successful and sought-after reviewer, critic, blogger, and writer of theatre—Join us at our “Writing Theatre Reviews that Matter” workshop with Lynn Slotkin on February 25 at 3pm in Toronto.
Begin to figure out what it means to be your own brand and to share your image with the world online—Join us at our “Social Media for Actors—Instagram and Twitter” workshop with Jenna Warriner on February 27 at 2pm in Toronto.
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.
Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)
Keshia Palm training in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
(December 12, 2018)
This blog post is about hope.
Why do I say that? Well I was asked to describe “what I hope to accomplish”, “what I hope to learn”, and “how I see myself being able to contribute.” Which all seems very aspirational and hopeful and positive. Which is good—because I do feel hopeful. I am super excited. But I also feel nervous and unsure. I mostly feel open. Which is a good thing I think.
I have some small ideas and questions about the role of “the dramaturge” that have been percolating. They feel like baby ideas, and elementary questions—little hands reaching up from plastic coloured chairs kind of questions. I hope that by working with Marjorie Chan and Cahoots Theatre, those questions will unfurl and grow into bigger, more complicated questions. I hope I can graduate university and sit around batting questions back and forth with Marjorie sipping theoretical scotch by the end of this. I hope to be well-read in all manner of plays, which will help. I’m really excited about being paid to read and not squeeze minutes out on a bus from here to there—though I suspect there will be some of that too. I hope that all that reading combined with working and talking with Marjorie will help me develop a robust dramaturgical vocabulary, and I hope to use that vocabulary to help support the works in progress of the resident companies and artists at Cahoots.
I feel really humbled to have the opportunity to work with Marjorie Chan. In addition to being an incredible playwright, dramaturge, librettist, and artistic leader, she is also a lovely, lovely human. She is gentle, she is kind, and she listens to the artists she’s working with. I could use more of all those things I think. We all could. I think it’s so incredibly important for people to be heard. I hope to learn from Marjorie how I can be a better leader, facilitator and ally for our community at large. I hope to have a clear image of how I can support artists developing new work from a dramaturgical perspective by the end of the year. I hope I fail at a few things. I hope I succeed wildly at most things.
I’m having a hard time articulating how I see myself being able to contribute to Cahoots, which says a lot about me and where I am with my artistic practice right now. I feel like a master of none, a jill of all trades. But I am passionate about new work development. I am an advocate for safe creative spaces. And I’m interested in challenging and changing the systems we have in place that prevent art from being sustainable and inclusive. So, I hope that my presence and input and questions will help propel the works of the artists I will be intersecting with at Cahoots forward. I hope I can be a resource for playwrights of differing and diverse perspectives during and after this process. I hope to support Marjorie, Kat, Indrit and Sabah as they create and produce programming that does question and challenge those systems.
I hope I stay open. I hope I stay hope full.
Hopefully.
The next application deadline for the Professional Theatre Training Program is March 1, 2019.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Learn the techniques and the language to stage human sexuality in a way that is professional, dynamic and focused on storytelling at our “Intimacy for the Stage for Directors” workshop with Siobhan Richardson of Intimacy Directors International on November 24 in Toronto.
What does an agent do and why should you have one? Join us at our “Ask an Agent” workshop with Michael L. Jackson on November 26 in Toronto.
The ability of directors and dramaturges to work together to help shape meaningful and entertaining theatre is a crucial part of any production process. Join us at our “Director – Dramaturge Collaborations” workshop on December 5 in Toronto.
Deadline for applications for Young People’s Theatre’s “Three Up” program for young writers ages 13 to 17 is today.
Deadline for applications for volunteer Assistant Directors, Stage Managers, and Lighting Operators for the Alumnae Theatre New Ideas Festival is November 26.
ArtsBuild Ontario’s “Creative Spaces Projects: A Brainstorming Workshop” with Lucy White is on November 27 in Waterloo.
Deadline for applications for Ontario Arts Council’s programs include Market Development Projects (Nov. 30), Indigenous Culture Fund (ICF) Project Grants for Individuals, Groups and Collectives and for Organizations (Dec. 4), the Premier's Awards for Excellence in the Arts (Dec. 4),
Deadline for submissions for South Simcoe Theatre’s “Four Play: A Showcase of Play Readings” is November 30.
South Simcoe Theatre's "Four Play: A Showcase of Play Readings"
Deadline for submissions for nightswimming’s 5x25 commissions is November 30.
Deadline for applications for Toronto Arts Council’s Animating Toronto Parks grants is December 3.
Deadline for applications for Great Canadian Theatre Company’s Ontario Arts Council Recommender Grants for Theatre Creators is December 7.
Deadline for applications for The MT Space’s Ontario Arts Council Recommender Grants for Theatre Creators is December 7.
Studio PAVAS’ “Lyrical Choreography” workshop with Mitchell Jackson is December 7 in Mississauga.
New on The Bulletin Board
4th Line Theatre in Millbrook invites submissions for their Ontario Arts Council Recommender Grants for Theatre Creators, with their funding priorities including promoting and preserving Canadian cultural heritage and history.
Check out these items, and other postings from our members.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Theatre Ontario's "Voice Over" workshop
Learn the techniques and the language to stage human sexuality in a way that is professional, dynamic and focused on storytelling at our “Intimacy for the Stage for Directors” workshop with Siobhan Richardson of Intimacy Directors International on November 24 in Toronto.
What does an agent do and why should you have one? Join us at our “Ask an Agent” workshop with Michael L. Jackson on November 26 in Toronto.
The ability of directors and dramaturges to work together to help shape meaningful and entertaining theatre is a crucial part of any production process. Join us at our “Director – Dramaturge Collaborations” workshop on December 5 in Toronto.
Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)
Aaron Jan trained in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
(October 6, 2018)
This is my final blog post.
I don't know how much I learned about dramaturgy with Marjorie Chan.
Okay, that's a lie. I take that back. I learned a lot. I learned how to be a better mentor, a better facilitator, someone who aids the playwright rather than forcing their own agenda or writing the play for them.
What I'm trying to say is that during my 12-month period at Cahoots Theatre Company, I went through a mentorship on empathy first.
I'm not saying I'm a better person now. Far from it. I still swear, I still hold grudges, I still pollute and eat red meat. But I think, just a little bit, I understand that this theatre thing we do isn't about me. It's about the stories we tell, about the other people in the room and how to get those stories on a stage or help the playwright realize what they're writing.
I remember back in June, I was leading a workshop for a playwright. After a first meeting with her, I excitedly told Marjorie about my plans to aid the playwright. Marjorie took this all in and kept asking me “What does she want?”
I look back to my first blog where I talked about negotiation in dramaturgy. I realize now that maybe it's not about that. Our job as dramaturgs is to get the play to the stage. Cahoots deals with marginalized voices, many of whom will not find productions elsewhere in the city for their work. It's not just about getting people of colour on stage and behind stories, but to tell stories that may not be told anywhere else, or perspectives that are at risk of erasure. To me, this is kind of an antidote for what is a lot of tokenistic programming. Rather than just putting people of colour onstage, what is it about the perspective of the artists that deserves programming? What is it that they are saying that is—for the most part—not spoken about enough?
To do so, we need to tackle the work with as much empathy as possible—with respect for the playwright's way of working, but also for the play itself. We need to be cautious as to when we're pushing the playwright too hard, but also aware of when we need to push the playwright if the work has become stagnant. It's not a negotiation per say, but a question as to how we serve the play that's written. And how do we support the telling of that story in the best way? Which battles are worth fighting and which battles do we let go of? Which serve the play more and which are questions of personal taste?
Marjorie speaks a lot about Rigor when she's choosing a work to be invested in. It's not enough to be an “important artist”, but does that artist have rigor? Does that artist work on their craft along with their ideologies? Is this artist embedded in their community? Does this artist have enough craft to fully execute the production and roll with the punches? Can they pull this off?
In our first meeting, Marjorie mentioned that a dramaturg is an advocate of the play that could be. I think that's something I'll hold close to my practice for the rest of my career as a curator and dramaturg. What is the potential of the play that's written and what is it trying to be? What genre is it and what does the play need in this moment? How can I best aid a play and am I the best person for it?
In terms of curation, something I'm currently pondering is what makes a play “ready” for production. For some playwrights, it's that the production period is actually the jump-start for the writing. It's knowing that they have an immediacy to create more work. For others, it's a final draft before the offer for production is given. I think if anything, it's dependent on playwright and a bit of faith.
I think I'm leaving this mentorship with more questions than answers, but more importantly I think I have a renewed outlook on what a dramaturg is. I'm super thankful for Cahoots, Marjorie and Theatre Ontario for this opportunity to learn about new play development and curation and excited about how to apply it to my own work as I continue to assist playwrights and curators.
Lastly, if there's anyone actually reading this blog, I think I'm going to be more chill. I think that's my grand cosmic takeaway. Architecture, whether real or imagined is based on the spaces that leaders make. Rigor, passion, generosity and open-ness in performance and all of these things are bound by a container created by the person running the room. Being stressed makes people more stressed. Being closed makes people closed. Locking doors makes people locked. Being late makes people late. Being vague makes people vague. I need to be conscious of what container I want to make as a theatre artist.
I want to lead now with empathy first as well as rigor, so no one feels limited by me in a room. The worst thing I can do in workshop or rehearsal is create an environment where people feel tense and not safe. I want to be a theatremaker that people can trust not only for his work, but how he treats other people. How he cares for the communities he works with, so he's not just a theatre mercenary looking for a quick buck.
I think if anything, that's more important than, or perhaps a part of what it means to have success.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Theatre Ontario's "Director-Dramaturge Collaborations" workshop with Matt McGeachy
Learn strategies that can help turn what could be a strained, forced, or distant relationship to an intense and fruitful collaboration. Join us at our “Director-Dramaturge Collaborations” workshop with Matt McGeachy on November 5 in Toronto.
Get answers to your FAQs about the business of acting. Join us at our “Launching Your Career” workshop with Raeburn Ferguson and guest Carly Chamberlain on November 7 in Toronto.
Does your ‘Theatre for Young Audiences’ show need an audience? Join us at our “Bring Your Show to Schools” webinar with Tim Whalley of Prologue to Performing Arts on November 13.
Learn the techniques and the language to stage human sexuality in a way that is professional, dynamic and focused on storytelling at our “Intimacy for the Stage for Directors” workshop with Siobhan Richardson of Intimacy Directors International on November 24 in Toronto.
What does an agent do and why should you have one? Join us at our “Ask an Agent” workshop with Michael L. Jackson on November 26 in Toronto.
Deadline for applications for the 2019 International Amateur Theatre Festival, being held in Saint John, New Brunswick, is today.
Deadline for applications for Ontario Arts Council’s Compass grants and Theatre Organization: Operating grants (summer theatres only) is November 1, and for Chalmers Professional Development Projects grants is November 8.
Studio PAVAS’s Bollywood Dance workshop with Indiana Mehta is on November 2.
Deadline for applications for Ontario Trillium Foundation’s Transform Grants is November 7.
New on The Bulletin Board
Odyssey Theatre invites applications for their Ontario Arts Council Recommender Grants for Theatre Creators, with a focus on disciplines related to physical theatre, including mask, Commedia dell’Arte, bouffon, clown, puppetry and dance-theatre.
Ottawa Little Theatre invites submissions for their 78th National One-Act Playwriting competition.
Check out these items, and other postings from our members.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Are you an actor struggling to let go of a character? A director working on intense material? A teacher looking for tools to support students in their performing careers? Join us at our “Post Performance Recovery” workshop with Mairin Smit on October 29 in Toronto.
Learn strategies that can help turn what could be a strained, forced, or distant relationship to an intense and fruitful collaboration. Join us at our “Director-Dramaturge Collaborations” workshop with Matt McGeachy on November 5 in Toronto.
Get answers to your FAQs about the business of acting. Join us at our “Launching Your Career” workshop with Raeburn Ferguson and guest Carly Chamberlain on November 7 in Toronto.
Does your ‘Theatre for Young Audiences’ show need an audience? Join us at our “Bring Your Show to Schools” webinar with Tim Whalley of Prologue to Performing Arts on November 13.
Learn the techniques and the language to stage human sexuality in a way that is professional, dynamic and focused on storytelling at our “Intimacy for the Stage for Directors” workshop with Siobhan Richardson of Intimacy Directors International on November 24 in Toronto.
by Brandon Moore, Community Theatre and Communications Manager
From Theatre Ontario
Thank you to the Ontario Arts Council for the wonderful news that they are increasing their financial support to Theatre Ontario as we continue to nurture community, create opportunities to benefit the community, and strive to be agents of change.
Conversation Starters
Mary Pitt and Clive Walton in Gravenhurst Opera House's
production of Souvenir - part of Ontario Summer Theatre 2018
Photo by Larry Carroll
by Brandon Moore, Community Theatre and Communications Manager
From Theatre Ontario
We are excited to welcome Tamara Kebuladze (Education Coordinator) and Yulimar Manzano (Stakeholder Coordinator) who joined our staff this past month, and Emily Acton who is returning for the summer (Education Assistant.)
Beginning today (Friday, June 30th), and continuing through to Friday, August 31st, the Theatre Ontario office will be closed at 1pm on Fridays. On Mondays to Thursdays, we will be open for our usual office hours of 9am to 5pm.
Conversation Starters
Profiles from Ontario Summer Theatre (OST) 2018—“Highlands Highlights!" of Highlands Summer Festival season in Haliburton, Globus Theatre in Bobcaygeon “Brings You Five Fabulous Favourites”, “Don’t Take Our Word For It…” from the Orillia Opera House, and Driftwood Theatre’s “Summer Theatre All Over Ontario (under the stars, in places you love.)”
Our Professional Theatre Training Program (PTTP) offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline (except performance.)
Aaron Jan training in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
(May 4, 2018)
So what happens if your show doesn't happen?
This is something that came up during a strategic planning for Cahoots a few weeks ago.
If your company and work just vanishes, what happens? In a week? In a month? In a year? In five years?
Does anything really change? Who did you empower when you had a company? Does the city lose anything if your company vanishes off the face of the earth?
My tenure with Cahoots has me thinking of permanence versus impermanence, specifically in what it means to have space and take up space by putting work out there. We can't stop taking up space. It's in our nature as humans. We're not ghosts. We consume resources in real time, we create waste, we occupy physical space.
So if we are to take up space, how do we make sure that our work helps as many people as possible? How do we make sure that our work is able to reach as many people as possible, that our company is of the community on land that doesn't belong to us, that if we take up space with the size, effort and waste of our productions, we do it so it is inclusive of the physical territory that others have taken up for years?
Is it in the way we word things? Is it in the way our website is organized, the way we meet with people, the photos we take? Is it how we curate our company profile, how we do our outreach, how we make ourselves available to others? Is it in our programming, our casting, how we assemble our teams? Is it in how we conduct ourselves online, how we brand ourselves, of who we choose to co-pro, our desire to call out versus call in the public or private spheres?
If you're on a stage (or whatever performance space you choose), if you have funding, it means that someone else did not. It means that someone else lost funding, someone else didn't get the rental, someone else's story or experience isn't told. This could be joe from around the block who puts up a new play every month, or this could be someone (an individual or a person) who never gets programmed, or has never been, or maybe doesn't see themselves in the theatre. We all take up space, it's our responsibility to see how we can share it – how we can use all of our resources to invite as many folks as possible into the square of land we call our show.
On Dramaturgy
When I direct, I take up space. I have a vision. I drive the ship forward. I unite the group with a vision. While I try to be equitable in the room, the fact remains that we are sharing one united space. The space is curated so it suits us, but our footprint is unified.
As a new dramaturg, I think I'm starting to understand it as a negotiation of space. The playwright comes in with their own space, I come in with mine. If I impose my space on theirs, does the space still belong to them? If I have observations about a work, I need to make sure that it's not infringing upon the artist's vision of their space. It's a tricky negotiation that I'm starting to get better at, as often it's a question of form – letting the artist articulate the space and form they are trying to create with the work so they lead the conversation and my input addresses their questions in realizing the container they have articulated. I am obsessed with product as a director, about getting it right and working things through. With dramaturgy, it's a different conversation, one at a different pace and led by a different person.
Going back to the strategic planning session, something I've found quite useful in my dramaturgy is identifying the core of a piece – that piece if you strip the entire play away, all of the characters, all of the themes, all of the plot, what is left in the play? What is the play really about? What fascinates the playwright about the story? What is the core idea that caused them to write the thing in the first place?
This of course, changes drastically when a show is scheduled for production, or if a company is interested in producing work. My current negotiation as a dramaturg is figuring out how to let the playwright discover the core without writing their play for them – but while also giving them exercises and having them feel like the support I provide is sufficient. Marjorie has said her primary job as a dramaturg is to get the playwright to write, so I've been adapting this into my own practices as I help develop a fringe play that I'm developing for the summer.
I've been able to sit in on numerous meeting Marjorie has with playwrights who were both awarded Cahoots' RGTC and were not. Even when she has no interest in programming an artist, she's still willing to meet with them and be a resource if they request it. I think that's something to take into my own dramaturgical practice. Even when Marjorie is invested in a playwright and is interested in programming them or giving them space, she lets them articulate their need and questions first. Based on that, she then adapts to their ask. It's a small gesture, but the fact that she never imposes on that container is something I take to heart for my own dramaturgical process. Marjorie is very clear with playwrights whether Cahoots is or is not interested in their work and she never sugar-coats her opinions, but she never let
These meetings occur inside Cahoots' studio. There's a fold out table, usually a plate of food (Cahoots always seems to be very good at having snacks), but the idea is that the artist is invited into the Cahoots space. No matter whether they are programmed or assisted by Cahoots in any way, the artist is made to feel at home in Cahoots. It's such a simple way that the company is able to share their space, but it creates this idea that the company is open to the artistic community. The website/season pamphlet is also a negotiation of space – where Cahoots put the artists of their playwriting unit on the front page.
Contrasting to this – and this might be a little soap box moment of mine – but I think to a recent intermission article – specifically one about accepting open script submissions. While I strongly disagree with the notion that theatres are charities for artists that are opening their doors for the greater good (for myself, I recognize that theatres are indeed a business and if they are to look at unsolicited script submissions, dramaturgs/literary managers must be compensated for the overtime hours – which simply cannot be accounted for due to the limitless nature of unsolicited submissions) the thing that sticks with me in the article is the image a company creates and maintains through how they approach the artists they're interested in.
In a way, the maintenance of the company image is a larger scale of curatorial dramaturgy, one that is of a growing interest to me in my own artistic life. How do we make sure our container (to use a directing term) is unified in vision from all positions and not just in the work we create?
I'm excited to continue the work with Cahoots and to continue to observe and participate in the development of Jani Lauzon's epic opera-play hybrid, I Call Myself Princess this summer.
Onwards and upwards!
ED: Aaron was also part of a panel at the Literary Manager and Dramaturgs of America conference on June 22, 2018 - the recording of the livestream can be viewed below.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Take your training to new heights at our Summer Theatre Intensive courses for performers, directors, teachers, and creators, running August 5 to 10, and August 12 to 17 in Stratford. Register by June 22.
Upcoming on The Bulletin Board
Deadline for applications for Ontario Arts Council’s Artists in Communities and Schools Project grants is June 20 and Touring Projects grants is June 28.
The Literary Managers and Dramaturgs of America annual conference is being held in Toronto beginning June 21.
Deadline for applications for Prologue to the Performing Arts Roster of Artists is June 22.
Deadline for nominations for Native Women in the Arts’ Barbara Laronde Award is June 22.
Deadline for nominations for Buddies in Bad Times’ Queer Emerging Artist Award is June 29.
Check out these items, and other postings from our members.
We invite youth across the province to apply for our Summer Theatre Intensive Youth Scholarship, sending one youth artist to train at one of our Summer Courses in Stratford free of charge. The application deadline is June 1.
We invite newcomers across the province to apply for our Summer Theatre Intensive Parsai Immigration Scholarship, sending two newcomer artists to train at one of our Summer Courses in Stratford free of charge. The application deadline is June 15.
We invite youth across the province to apply for our Summer Theatre Intensive New Talent Scholarship, aimed at sending a youth artist to train at one of our Summer Courses in Stratford free of charge. The application deadline is June 15.
Take your training to new heights at our Summer Theatre Intensive courses for performers, directors, teachers, and creators, running August 5 to 10, and August 12 to 17 in Stratford. Register by June 22.
Driftwood Theatre's "Shakespeare Fusion" workshop Photo by Dahlia Katz
The SPARC Symposium – Supporting Performing Arts in Rural Communities – opens May 24.
Deadline to register for Driftwood Theatre’s “ShakespeareFusion” workshop with Jeremy Smith and Ahmed Moneka is May 25 (discount for Theatre Ontario members.)
Shadowpath Theatre’s “Into the Woods We Write” workshop for writers 14 to 18 is on May 26 in Richmond Hill.
Deadline for submissions for Nightwood Theatre’s “Write from the Hip” program for emerging women playwrights is May 31.
Check out these items, and other postings from our members.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Theatre Ontario Festival 2018 opens on May 16, featuring performances, adjudications, workshops, and celebrations of community theatre. Tickets are still available.
We are hiring an Education Assistant for our Summer Theatre Intensive. The application deadline is May 18.
Answers to your FAQs about the business of acting. Join us at our “Launching Your Career” workshop with Rachel Kennedy and guest Sophia Fabiilli on May 23 in Toronto.
We invite youth across the province to apply for our Summer Theatre Intensive Youth Scholarship, sending one youth artist to train at one of our Summer Courses in Stratford free of charge. The application deadline is June 1.
Take your training to new heights at our Summer Theatre Intensive courses for performers, directors, teachers, and creators, running August 5 to 10, and August 12 to 17 in Stratford. Register by June 22.
Deadline to apply for Ontario Arts Council’s Indigenous Culture Fund (ICF) Project Grants for Individuals, Groups and Collectives and for Organizations is May 16.
Deadline to apply for Ontario Trillium Foundation’s Grow Grants is May 16.
Deadline for script submissions to Aspiring Canadian Writers’ “Musical Theatre Play, Act One Critique” is May 18.
Daniela Saioni’s “Am I Covered? The Art of Visual Storytelling for Film and TV” runs May 19 in Toronto.
The SPARC Symposium – Supporting Performing Arts in Rural Communities – opens May 24 in Cobalt.
Deadline to register for Driftwood Theatre’s “ShakespeareFusion” workshop with Jeremy Smith and Ahmed Moneka is May 25 (discount for Theatre Ontario members.)
New on The Bulletin Board
Buddies in Bad Times Theatre invites nominations for their Queer Emerging Artist Award, due June 29.
Check out these items, and other postings from our members.
Upcoming opportunities from Theatre Ontario, from our members, and from other arts service organizations.
Coming Up from Theatre Ontario
Theatre Ontario Festival 2018 opens on May 16, featuring performances, adjudications, workshops, and celebrations of community theatre. Tickets are still available.
Answers to your FAQs about the business of acting. Join us at our “Launching Your Career” workshop with Rachel Kennedy and guest TBA on May 23 in Toronto.
Theatre Ontario's "Launching Your Career" workshop
We invite youth across the province to apply for our Summer Theatre Intensive Youth Scholarship, aimed at sending one youth artist to train at one of our Summer Courses in Stratford free of charge. The application deadline is June 1.
Take your training to new heights at our Summer Theatre Intensive courses for performers, directors, teachers, and creators, running August 5 to 10, and August 12 to 17 in Stratford. Register by June 22.
Deadline for director proposals for the 19/20 season at Scarborough Theatre Guild is May 15.
Deadline to apply for Ontario Arts Council’s Indigenous Culture Fund (ICF) Project Grants for Individuals, Groups and Collectives and for Organizations is May 16.
Deadline to apply for Ontario Trillium Foundation’s Grow Grants is May 16.
Deadline for script submissions to Aspiring Canadian Writers’ “Musical Theatre Play, Act One Critique” is May 18.
New on The Bulletin Board
Driftwood Theatre is providing a “ShakespeareFusion” workshop with Jeremy Smith and Ahmed Moneka—a multilingual exploration of Shakespeare in performance. The course runs June 11 to 15, with registrations due by May 25, and with a discount for Theatre Ontario members.
Nightwood Theatre invites submissions from women playwrights who are emerging in their careers for the 2018/19 Write from the Hip Program.
Check out these items, and other postings from our members.
