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.

Congratulations to the Professional Theatre Training Program Fall 2018 Grant Recipients

We are pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP). We thank all those who applied to the program.

Over $25,900 was awarded in total among the following 9 recipients:

• C.J Astronomo training in production management with Simon Marsden at the Stratford Festival
• Claire Burns training in administration and managing direction with Shawn Daudlin at Buddies in Bad Times Theatre in Toronto
• Rhiannon Collett training in artistic producing with Tom Arthur Davis and Jivesh Parasram at Pandemic Theatre in Toronto
• Allie Marshall training in video design and new media skills with Nick Bottomley at Outside the March in Toronto
• Laura McCallum training in general management with Laura Pomeroy at Studio 180 Theatre in Toronto
• Hanlon McGregor training in playwriting with Diane Flacks
• Holly Meyer-Dymny training in projection design with Cameron Davis at Studio 180 Theatre in Toronto
• Keshia Palm training in dramaturgy with Marjorie Chan at Cahoots Theatre in Toronto
• Naomi Wright training in directing with Robin Witt at Writers Theatre in Chicago, USA

Over $131,000 was requested during this application round. The next application deadline for this program will be in early 2019. Prospective applicants should Stay Connected with Theatre Ontario for more information about that deadline.

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

Learn more about the Professional Theatre Training Program

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

(Updated November 13 at 1:30pm to include an omitted recipient.)

Highlights of the Detailed Adjudication of 33 Variations at Theatre Ontario Festival 2016

By Brandon Moore, Community Theatre and Communications Manager

Highlights of the detailed adjudication by Mimi Mekler of Theatre Sarnia’s production of 33 Variations by Moisés Kaufman (representing the Western Ontario Drama League—WODL)

• Director’s research process began two years ago; actor handled research of ALS; learned that even research can lead astray (pronunciation correction that came up following their performance in WODL Festival); virtual tours of the places described.
• Gertie’s German accent involved Skyping with a friend in Germany.
• Conversation with actors around their goals, objectives, tactics for each character.
• Is assisted death legal in Germany? If so, why not in the hospital? Company believed character would want it at home.
• Used projections as required in script; established pre-show with the title of the play and single light on the piano.
• Opening moment: the pianist behaving as if starting a concert.
• Good choice in set design to use piano benches as furniture.
• First audience laugh in the opening scene—line helps us recognize the character and go with her
• Diabelli’s costume—Could it have told us more about his personality, beyond shabby and worn (needs money), evolves as his status grows.
• What is the status between Schindler and Diabelli; Diabelli is lower status, trying to grow his company.
• Katherine was well blocked in the negotiation scene between Diabelli and Schindler: demonstrating she is “immersed” in her work.
• Brought great clarity of choice to Katherine—there is no other possibility for her than work.
• The next Diabelli / Schindler scene had a lot of presentational blocking.
• Mike and Clara at the tech support office: Find ways to “turn up the heat” in this scene between them. Why does she kiss him? A thank-you for a break in the stress of being a caregiver. When we’re feeling stressed, the moment that makes us cry is when someone is nice to us. Explore these significant moments.
• Beethoven’s hair—he walked on stage and got a laugh, which was not the intention. Went to a place of caricature. They realized at performance that it was bigger than it had ever been before.
• Found ways to use projection scenes when not projecting by showing images of windows.
• Gertie’s initial costume made her seem dowdy, but the remainder of costumes were successful.
• Projection of the archives room was challenging: hard to convey size of the room on the smaller screens.
• One folio was small and hard to read in projection; may have benefitted from giving up realism.
• Strong balance of sound, awareness of music.
• Mike’s tie for the date was a great choice of costuming: he got dressed up, but he clearly has odd taste in clothes.
• Find ways to bring specificity and focus to the stakes in a scene: Example was the “When will it be ready?” scene between Beethoven, Diabelli, Schindler.
• Excellent projection at train station; nice intimate bench as set piece to physically force Katherine and Gertie together; great clarity between the two.
• Disco music—Did they try keeping it going? Experimented at rehearsal but decided to keep it like the other sound cues. The pounding music does reinforce Mike and  Clara’s relationship, similar to the way Beethoven’s music does.
• X-ray scene was extremely tasteful: brief flashes of light gave us impressions, sound cues were percussive, with actor’s breath over top of it; moment ends with Katherine leaning on Beethoven’s back.
• Blocking of finale of Act One: Choice made between options of realism vs stylized; carefully choreographed.
• The walker brought colour onto the stage; fortunate that it fit the colour scheme.
• Opening monologue—Mike and Clara were not frozen (which had previously been convention), drew focus.
• Well-executed comedy: humour is not in the line, but in the reaction to the line.
• Beethoven’s hair—Was it possible for the greying to layer over time? No, given backstage logistics, actor’s own hair.
• Schindler’s active listening while Katherine is discovering the lies in his biography, example of how you can own a moment without having dialogue.
• Cafeteria scene was extremely well-blocked with straight line, order of characters.
• Beethoven wandering while composing—Director wanted him to take up the full-stage; the fugue as struggle in all spaces. Did they ever try the monologue in stillness, with the full stage lx eventually reducing itself to a spotlight? Did his movement convey to us anything we didn’t already know.
• Clarity of Gertie’s accent was excellent—carried through to the final words of sentences. Emotionally she is withdrawing, theatrically she must keep going.
• The stakes of the Katherine/Gertie friendship falling apart were high and well-played.
• Wonderful directorial choice of the wheelchair dance, which was not written into the script.
• Kyrie was lovely to hear—strong vocal range by the cast.
• Great contrast of Katherine playing the opposites in the subsequent hallucination scene.
• Chose not to use the German pronunciation of Beethoven to keep it simple for the audience.
• The cuddle between Katherine and Clara in the bed was a wonderful, active choice.
• Minuet steps were historically accurate.
• Vocal warm-ups included singing Kyrie on piano; had homework and exercises to find their own.
• Props creation involved significant detail, and read well.

As always, this is my best effort to record the conversation at the Detailed Adjudication, with a standard apology for any misrepresentations of the ideas of the adjudicator and the members of the company. Corrections and clarifications are welcome in the comments.

Browsing The Bulletin Board

Upcoming on The Bulletin Board

• Today (June 4) is the deadline for submissions to Great Canadian Theatre Company’s undercurrents Festival in Ottawa
• Friday, June 8 is the deadline for nominations for the 2012 Siminovitch Prize in Theatre; the final round of this award will honour a designer

New on The Bulletin Board

• Native Earth Performing Arts is now inviting submissions for Weesageechak Begins To Dance XXV; the deadline is June 18

Check out all the latest postings of workshops, calls for submission, and opportunities for recognition on Theatre Ontario’s Bulletin Board on our website

Congratulations to Spring 2012 PTTP Recipients

Theatre Ontario is pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP).  $40,500 was awarded in total among the following recipients:

• Kawa Ada to train in artistic direction with Nina Lee Aquino at Cahoots Theatre
• Colin Bruce Anthes to train in artistic producing with Stephanie Jones and Jason Cadieux at the Essential Theatre Collective in St. Catharines
• Marjorie Chan to train in directing for contemporary opera with Ross Manson at Volcano Theatre
• Jason Chellew to train in development with Jennifer Watson at Tarragon Theatre
• Anahita Dehbonehie to train in set and costume design with Julie Fox
• Caitlin English to train in directing with Pablo Felices Luna at Carousel Players
• Lindsay Forde to train in scenic design for musical theatre with Eric Diaz at various theatres in Connecticut, Massachusetts and Maine, U.S.A.
• Jessica Glanfield to train in directing with Daniel Brooks at Soulpepper Theatre
• Shira Leuchter to train in directing with Jillian Keiley at Artistic Fraud of Newfoundland
• Teri Loretto-Valentik to train in directing with Craig Walker at Plosive Productions in Ottawa
• Kat Misztal-McCubbing to train in projection design with Beth Kates and Ben Chiasson at Playground Studios
• Erika Morey to train in technical direction with Sam MacLeod at Lighthouse Theatre in Port Dover
• Morgan Norwich to train in festival curation with Laura Nanni at Buddies in Bad Times
• Lauren Toffan to train in producing and marketing with Rosie Shaw at Theatre 20
• Dylan Trowbridge to train in directing with Christopher Morris at Human Cargo/Magnetic North

The next application deadline for this program is October 1, 2012.

Read more about the Professional Theatre Training Program on the Theatre Ontario website.

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.

Congratulations to Fall 2011 PTTP Recipients

Theatre Ontario is pleased to announce the latest recipients of training grants through Theatre Ontario’s Professional Theatre Training Program (PTTP).  $37,500 was awarded in total among the following recipients:

• Brenley Charkow to train in directing with Susan Ferley at the Grand Theatre in London
• Mitchell Cushman to train in directing with Chris Abraham at Crow’s Theatre in Toronto
• Audrey Dwyer to train in directing with Kelly Thornton at Nightwood Theatre in Toronto
• Sky Fairchild-Waller to train in artistic producing with Tina Rasmussen at Harbourfront World Stage
• Catriona Leger to train in artistic direction with Ian Farthing at St. Lawrence Shakespeare Festival in Prescott
• Ana Lorena Leija to train in directing/producing with Beatriz Pizano at Aluna Theatre in Toronto
• Coleen MacPherson to train in directing with Daniel Brooks at Necessary Angel Theatre
• Esther Maloney to train in community-engaged theatre with Ruth Howard and Liz Rucker at Jumblies Theatre in Scarborough
• Leora Morris to train in directing with Richard Rose and Ross Manson at Tarragon Theatre
• Adam Paolozza to train in teaching/directing with Leah Cherniak at Soulpepper Theatre
• Chris Penney to train in sound design and production management with Carrie Costello and Cathy Nosaty at Carousel Players in St. Catharines
• Rebecca Vandevelde to train in lighting and video design with Trevor Schwellnus at various theatres in the GTA

The next application deadline for this program is March 1, 2012.

Read more about the Professional Theatre Training Program on the Theatre Ontario website.

This program is funded by the Ontario Arts Council, an agency of the Government of Ontario.