Andrew Snowdon

Posts Tagged ‘GCTC’

Clearing the Backlog

In theatre on Wednesday 22 August 2012 at 16:52

I seem to have accumulated quite the backlog of things I really should be talking about.*  Let’s see how much I can cover at once:

  • I’m not the biggest fan of outdoor theatre, mainly because my lumbar region likes a seat with a back, and I’m not fond of bees, wasps, or falling leaves that might be bees or wasps.  However, in Ottawa we’re blessed with two theatre companies that produce such perennially good work that it’s worth a bit of private discomfort to always catch their productions.  A Company of Fools toured their production of Shakespeare’s Henry V through parks in the region this summer, complete with tennis balls and a fabulous cast (including, but certainly not limited to, Margo MacDonald in the title role).  I was impressed with their ability to make a historical play—it may contain one of Shakespeare’s most moving speeches, but it’s a historical play—engaging not only for the regular theatregoer but for everyone, and especially for children.  I caught the production one of the evenings it was in Hintonburg Park, the former monastery site behind the exquisite St. Françoise D’Assise church, which was an excellent setting.  Speaking of excellent settings, Odyssey Theatre‘s permanent location on the banks of the Rideau River in Stratchona Park is one of the most breathtaking spots in Ottawa, especially at night.  I quite enjoyed this year’s production, A Game of Love and Chance; there are still a few opportunities to take it in (until the 26th) and if you are in the mood for some light entertainment I highly recommend it.  Masque is very liberating; even those performers whose styles I’m not familiar with seemed particularly uninhibited.  The performances dwarf the text, but who wants a heavy, ponderous, complicated story in the middle of the summer?
  • Nancy Kenny wrote and performed a great (Prix Rideau Award–winning) one-person show called Roller Derby Saved My Soul a couple of years ago, under the direction of Tania Levy.  If you’ve seen the show, or if you’d like to see the show, Ms. Kenny has an Indiegogo campaign to finance a 2013 cross-country tour of the show that is in its final week.  I consider both Nancy and Tania my friends (I hope it’s mutual!), but I wouldn’t be letting you know you could bankroll their project unless I thought it had artistic and entertainment merit, which this does.
  • Speaking of Tania Levy, I hear the latest Fringe show she directed, Vernus Says SURPRISE! (written and performed by Ken Godmere) is doing quite well out west.  I’m not, er, surprised.  It’s a simple yet intricate piece of mime—although it’s”just” Ken on stage, there are about two dozen Ottawa voice actors credited in the program—that’s heartwarming and family-appropriate.
  • Each year for the past couple of years, thanks to the Ottawa Arts Court Foundation and the Downtown Rideau Business Improvement Area, we’ve been treated to remounts of local Fringe favourites as part of the Summer Fling festival.  I had a feeling (and I’m sure I said or tweeted it somewhere) that one of these two shows would be it this year: Alien Predator: The Musical or Space Mystery… From Outer Space!  I was wrong.  Instead, it’s both.  It is an honest-to-goodness science fiction double feature: a zany musical take-off on 80s science-fiction action thrillers, and an equally (yet differently) zany take-off on 50s science-fiction with a film-noir flavour.  Is it “high art”?  Hell, no.  But it’s entertaining, and you get to see both shows for only $12, which is more than worth it.  This will be a short run, from August 30th to September 2nd, at Arts Court; shows start at 8:00 and run for 60 minutes each with a half-hour intermission between them (not indicated on the press release, but I asked).
  • September 2nd is, coincidentally, the day the Ottawa Arts Court Foundation’s operation of the performance spaces in Arts Court ends.  What happens next?  Apartment 613 will be covering the latest developments in that story over the next couple of weeks.
  • The Gladstone Theatre just officially launched its 2012–13 season (although the lineup’s been public for some time now).  I’ll tackle the launch and the season itself in greater detail elsewhere (i.e. Apartment 613) but I want to let you know about a party.  John P. Kelly, the Artistic Director of SevenThirty Productions, is best-known in Ottawa as a director who specializes in Irish theatre (although that’s not all he does; I’m especially looking forward to seeing how he tackles Mamet this year).  This season he’s directing Stones in His Pockets at the Gladstone, which will feature Richard Gélinas and Zach Counsil (who were a dream duo in The 39 Steps last season).  He’s also directing Fly Me To The Moon later this autumn at the Great Canadian Theatre Company, which will feature Margo MacDonald and Mary Ellis (that’s a pair that promises to be at least as entertaining).  Both of these plays were written by Irish playwright Marie Jones.  Not only, therefore, are the GCTC and Gladstone/SevenThirty offering a special price for a package to both shows, but there will be a party at the Irving Greenberg Theatre Centre (at Wellington and Holland in historic Hintonburg) on Tuesday, August 28th from 5 to 7pm (5-à-7s are the most wonderful kind of party) featuring a “script-off” between the members of both casts.  There will, of course, be Irish beer, food, and music to go with the Irish theatre.

That about brings me up to date.  If you think I’ve missed something, feel free to leave a comment.


*This is partly due to my having been finishing up the contract I’ve been working on for the past year.  If you’re interested in education and literacy, especially as a parent or an educator, have a look at Wordly Wise 3000, the product I was working on, and the other excellent educational software put out by School Specialty.  No, I’m not being paid to say that; I just really liked the software (and there’s plenty of evidence that it’s effective).

Leave Me My Name: Doctors, Teachers, Lawyers, and The Crucible

In theatre on Friday 13 May 2011 at 16:09

A couple of years ago, when Dr. Vincent Lam won the Giller Prize for Bloodletting & Miraculous Cures, he thanked a number of his influences, including a high-school English teacher named Steve Durnin.

Like Lam, I too attended St. Pius X High School on Fisher Avenue in Ottawa (not the more famous one in Montréal), and had the pleasure of two consecutive years of English class with Mr. Durnin. The stories I could tell about Mr. Durnin would fill, if not a novel, at least a booklet.

Some English teachers are pretty neat, and some are stellar. One of the things that put Mr. Durnin squarely in the latter category was his treatment of theatrical texts. There are so many teachers that suck the life out of Shakespeare by concentrating too hard on the meaning of each dirty word, that treat every play as an extended short story composed merely of dialogue. Mr. Durnin really brought it home that a play can be appreciated on many levels: as a work of written literature, as poetry, as a theatrical performance—and that in many forms: simply read aloud, played live, or on the television or cinema screen.

By happy synchronicity, as we were studying Arthur Miller’s The Crucible, the film adaptation (starring Daniel Day-Lewis as John Proctor and Winona Ryder as Abigail Williams) came out in theatres. We took a field trip (and I’m not even sure it was a sanctioned field trip; Mr. Durnin tended to teach in spite of the rules rather than in strict adherence to them) to the World Exchange Plaza to see it on the screen.

I think we did better reading it out loud in class.

When I found out that Patrick Gauthier would be directing The Crucible for the twelfth annual GCTC Lawyer Play, I was thrilled… and a little scared, too. Pat clearly loves the play; when I visited him at home for an interview late last year, he was deep in research, reluctant to leave it and quick to return to it. I have confidence in Pat as a director and as a writer. But I didn’t know what to expect from the lawyers—even though I was assured that many of them had participated in many previous Lawyer Plays and were accustomed to working with a professional director in this setting.

A merely competent actor (someone capable of committing their lines to memory) can be coached out of a few bad habits by a decent, patient director. A bad actor, on the other hand, taxes even a heroic director (who, if so saddled, does better to concentrate on the starfish that can be saved, rather than achieve stunted mediocrity). We may joke that lawyers are ipso facto good actors, but not all lawyers are criminal defense lawyers; most work behind the scenes, in offices, and such. (I’ll probably get into trouble for saying this, but lawyers are apparently also generally very good-looking people! No wonder everyone picks on lawyers; they have intelligence and aesthetic appeal.) So there are no guarantees, right?

In my opinion, you should go to the theatre primarily to see good theatre, not to “support the arts” or make a charity donation. Thank goodness you don’t have to make a choice here; you can do all of the above at once. There’s no need for me to say “but it’s for a good cause” because the production’s great.

However, if you need a little help over that $100 ticket hurdle: You receive a $50 tax receipt for your charity donation. The money goes to the GCTC and a partner charity, in this case Operation Come Home. Operation Come Home is an organization that reunites street youth with their family or guardian, or gives them the support they need if that’s not an option. Personally, from what I’ve heard it’s a great social service; it gives these kids the chance to produce something to earn money, encouraging productivity and independence rather than dependence. They’re squarely in the “teach a man to fish” camp, and that I can get behind.

So how do you turn over a dozen (busy) lawyers into credible actors? Apparently you start with a good text, a director who loves and understands that text and who has a vision for it, give them a brilliant set, lighting, and costumes, and make sure the actors learn their lines. Then you coach them.

Here’s where the musical swell at the end of a scene, which technique I marked with a frowny-face in my review of Hamlet 2011, works: when you have actors who, though quite competent, are not overwhelmingly stellar, it doesn’t hurt to underscore their action and motivate them with strong musical (and lighting) accents. When I say “quite competent,” I mean, for example, that Daniel Hohnstein was a far better John Proctor than Daniel Day-Lewis at the very least. I could go through each cast member and tell you why I liked what they did, but I will save that for the Ottawa Theatre Confidential podcast. It’s not really an ensemble cast so much as it is a set of good individual performances that dovetail well.

I do feel much more willing to pay for legal services after seeing the play.

I recall that The Crucible had made a profound impression on me in high school, but I couldn’t put my finger on exactly why until I saw it again: the theme of the play is personal integrity, which is a very important philosophical, moral, and ethical concept to me (never mind whether or not I actually live a life of personal integrity). The Crucible is thus also a play about religion, or in a religious setting. Both law and theatre have their origin in religious practice; the law from the practical application of religious doctrine, and theatre from the ritual enactment of mythology. The Crucible highlights what happens when the word of the law becomes superior to the spirit of the law, or when mob mentality overwhelms an individual’s common sense. In that way, it is very much like Antigone, or some of the lighter writing of Ayn Rand.

No wonder Marilyn Monroe married Arthur Miller. He was a damn good playwright.

Anyway. I found the 2011 Lawyer Play to be a great production of a text that has meant something to me for half my life. It’s the only time I’ve seen it live, and it’s probably the only time I’ll see it live. I’m glad it was done well.

You have tonight or tomorrow night to see it. If you can, do so.

Get tickets here.