Happy Anniversary

I've got a few milestones that I would like to celebrate with all of you. First of all, it has now been ten years almost to the day that I have been a resident of fair Ottawa, by way of New Brunswick. I arrived here, 18 years old, young and naive, heart filled with big dreams, love and hope for a bright future. I've mentioned before that I've often wondered why I was still here. Life just happened a few times while I was busy making other plans, or so they say. I'm still somewhat young, less often naive and my heart always bursts with big dreams, lost of love and hope for a bright future. But I've grown. I'm definitely not the same girl I used to be. Heck, I'm not a girl anymore.

My second milestone is that it has now been exactly one year since I quit my day job to dedicate myself fully to the arts. I am by no means the first person (nor is he, but he's the first I personally know of) to do this, nor will I be the last (this guy is the most recent, I think). However, a conversation with a good friend who has also taken the plunge made me wonder how long it can possibly last?

In the past year, I've worked on my first professional show (that I did not have a hand in self-producing), helped my theatre company gain registered charity status and become an absolute mainstay in the community (I still can't believe how far we've come in four years!), discovered that I am a writer (SIDE RANT: Odd that although I have been keeping a blog for *gasp* FIVE YEARS, I didn't consider myself a writer. It's kind of cute for me to go back and reread my old, somewhat juvenile shit. If you're up for a little light cyber-stalking, feel free to check my old blog out. I can't believe I thought I knew anything. I don't. I really don't.), wrote and produced my own show which I then took on tour, took an incredible amount of classes and workshops, had a hand in writing at least two successful grant applications, had a play I wrote get presented in Singapore, traveled for my art to exotic locales like Montreal, Toronto, Winnipeg, and Kitchener-Waterloo, and a whole bunch of other stuff, I'm sure, that I just can't think of right now.

These things would not have been accomplished if I had still been working at my day job.

After a year of all that, I know, deep in my soul, that I could not go back to the 9 to 5 grind. There's something I find comforting about having no idea what day of the week it is or not finding official "holidays" very relevant because I work when I want to (which, I have to admit, is all the time - just at weird hours).

It hasn't been easy. Money has been tighter than it's ever been and I haven't been hired for real acting work in about 10 months. Sometimes I wish I could just go to the mall and buy a dress or a flat screen TV, but frankly, I don't wear dresses that often (having no office job means I don't have to own fancy clothes) and I watch TV online now, so really what would be the point? Instead, I relish the fact that I can have a drink at 11 p.m. on a Tuesday or write a grant application at 2 a.m. because that's when I feel like doing it (I told you, weird hours).

I love my life right now and I believe it will last as long as I wanted it to last.

That said, seeing how it's a Tuesday (I think), anyone want to join me for a celebratory drink tonight at 11 p.m.?

;)

A Backyard Revolution

I mentioned a little while back that there was a meeting of members of the local Ottawa theatre community. Below are the minutes from that meeting. Since then, a preliminary steering committee has been formed to did further into these issues. If you are interested in finding out more or taking part in the committee, please join our Wiki at http://ottawatheatre.pbworks.com/.

Happy reading!

******************************************************** Theatre Community Backyard BBQ, August 24, 2009

The Key Suggestions:

1) Professional Ottawa Region Theatre Alliance (PORTA) - administered by a paid staff member - a volunteer steering committee - perhaps provided a desk in the Ottawa Fringe office - PORTA could ostensibly perform the hybrid function of Toronto’s Association of Performing Arts (TAPA) and the Small Theatre Administrative Facility (STAF), through administering projects such as: o The Ottawa Theatre Passport: a multi-play pass that would allow audiences to pay one membership price for access to a variety of independent productions. Each theatre company would put one play forward each season to be included on the passport. o a central database where information about all upcoming workshops and performances could be posted – could also be an active blog site featuring peer-reviews of productions o PORTAL (Professional Ottawa Region Theatre Alliance List; suggested by Judi Pearl and based on her e-list) would be a comprehensive mailing list which would be used to notify the community of upcoming workshops and performances. Judi has volunteered to manage this list until a paid staff person is chosen. o a roster of mentors (directors, designers, actors, playwrights, artistic directors, general managers, publicists, etc) who would be willing to provide guidance to emerging artists on their projects - this includes assistance in company development, grant writing and the drafting/dissemination of press-releases (ideal for companies which presently lack administrative infrastructure) o a central props/set storage into which companies could donate props, costumes, and set pieces from previous productions rather than throwing them out upon completion

2) A New Space (or an old space re-defined) Is it time to pool resources together and create a new space dedicated to the creation and presentation of new work? Could a collective of artists/companies (not restrictively theatre) pool their resources together and fund a new space? It could function similar to a time-share or co-op. Could the Ottawa Fringe lease a permanent rehearsal/performance space (ex. Montreal Fringe)?

New Play Development Blanket Notes

Is there enough new work being developed and produced for the size of population? - no - what are the problems?

Funding - there is a general lack of knowledge of grant writing

Space - make a rehearsal/performance space available to members of the community

Key Points: 1) The Atelier – many voiced a longing for the NAC’s Atelier where there was a) a space to create new work, b) a programmed season of new work, c) an audience who attended a season of new work – it drew national audiences, writers, dramaturges, directors, and Equity actors - it also supported the playwright, not just the work

2) Is a GCTC Studio Series a potentiality? - many view the studio as an under-used and unaffordable space - a programmed series of works by independent theatres in Ottawa (similar to CanStage’s Berkeley Street Project) - can the GCTC rely on local companies to secure the necessary funding before being programmed? - could it become the replacement of the Atelier with collaboration of the NAC?

3) A New Space - new spaces haven’t contributed rehearsal space (ahead 2 theatres, but down space) - as The Atelier proved, one of the keys to new-play development is a dedicated space to the activity - this becomes particularly pertinent when regarding creation-based/devised work - could a collective of artists/companies (not restrictively theatre) pool their resources together and fund a new space? (ex. The Theatre Centre in Toronto) - organizations that give tax credit to new condos if they offer rehearsal space to artists in Chicago - artists pay fees into co-ops, communal space - could the Ottawa Fringe lease a permanent rehearsal/performance space (ex. Montreal Fringe)?

4) Reading Salon - an opportunity for writers to get together and read their work - task several new independent theatre companies with forming their own unit if one is not provided by a larger regional theatre - sometimes writing groups become production groups

5) Existing Resources

Partnership with the Writers Festival – interest in more playwrights being represented

Potential opportunity for gap programming at Arts Court

There was much discussion over overcome our insularity from the national theatre community. - must take more advantage of Magnetic North Theatre Festival (it’s coming back in two years – let’s be ready with something!) - touring our own work - there must be greater dialogue with the current performance creation trends across our country (exchanges, workshops, touring)

6) The arts community remains fairly entrenched in their separate disciplinary silos. A database that would help artists find the people needed to create cross-disciplinary work (music, language outside of theatre). PORTA’s database could fulfill this function.

Professional Development Blanket Notes

Consensus that professional development opportunities are important- in order to increase artist retention in Ottawa, we must enable artists to grow at their craft

Key Points

1) Masterclasses/Training - accessibility of workshops are an issue – time of year, cost, and time commitment were all sited as reasons not to attend – some felt short, weekend sessions were preferable while others desired more integrated and extended ones - need to place more emphasis on bringing in nationally vital artists into the community (success of Maiko Bae Yamamoto’s workshop at GCTC) - requested masterclasses included: voice training for actors, directing, technical skills (i.e. sound design), arts journalism, fundraising and grant writing, basic admin

2) The need to create an umbrella organization (with an online communication space/database) to help disseminate news of upcoming workshops. The need for a database of mentors was also frequently sited. PORTA’s database could fulfill this function.

3) Next Stage Festival in Toronto is an excellent example of a professional spring-board opportunity for successful Fringe productions. Could Ottawa support/does Ottawa need a Next Stage-like festival?

4) A Conservatory - Volcano Conservatory and the Soulpepper Mentorship Program are excellent examples of intensive annual programs which facilitate interaction, dialogue, and creative growth amongst directors and actors. These units benefit from bringing in respected international artists as mentors. - Could the NAC and GCTC collaborate on creating a professional conservatory of this nature? A director’s lab which also provided development opportunities to actors?

5) The theatre community needs a bar. This needs to become a vital cornerstone in our community.

6) Increasing caliber of arts reporting will in turn increase caliber of work - a committed community of bloggers who attend every show and write informed peer-reviews (could be posted on PORTA’s website/database) - Plank Magazine in Vancouver was sited as an example of a successful theatre publication – could we work with Guerilla magazine to improve quality, quantity, and frequency of theatre reporting?

Audience Development and Community Outreach Blanket Notes

Common points from all four blanket sets: 1. share/pool resources 2. develop a shared subscription or passport (to a number of theatres) 3. develop an theatre calendar – on line and print 4. develop a theatre website 5. share theatre ad space 6. Do social media initiatives 7. Develop a blog group for the theatre community (both theatre bloggers and bloggers from other interest groups) 8. Collaborate on mailings (piggy back on each others’ mailings) 9. Inserts or ads in each other’s house programs 10. Do cross promotion with each other 11. Word of mouth is good 12. Work collectively with media 13. need a balance of traditional methods and social media methods 14. need for more mainstream media participation

Debate 1. to target/segment audience according to the theme(s) in the play vs not to do that

Common Barriers 1. ticket prices too high 2. theatre company marketing budgets too low 3. human resources 4. training and skills 5. track record of the theatre company 6. independents under value their work 7. audience think they will feel stupid 8. the walls of the theatre/venue – we need to get out from behind the walls: do theatre outside, or do sneak peak/mini “commercial” or live teaser of a scene from the play in a public place 9. Competition 10. The theatre companies not knowing about opportunities to develop audiences 11. The majority of the public do not attend if they are not familiar with the name of the play 12. limited space 13. difficulty securing project funding

National Reliance 1. Initiative to participate in a national theatre magazine to gain a national profile for the theatre work done in Ottawa. Example: Plank Magazine out of Vancouver, Victoria and Toronto www.plankmagazine.com. Previews, reviews and discussion stories, what’s happening type articles.

More good thoughts 1. Need to bring theatre to the audiences instead of the audiences to the theatre 2. videos of our collective work 3. Coming soon to a theatre near you: screens up in public areas showing short videos of a number of theatres’ work 4. setting up sets, props, costumes in public places or in each other’s theatres in order to cross promote the work of each other 5. Be interactive with the audience 6. Build a conversation with the public 7. make it a whole experience for the theatre goers – from the minute they walk through the door – the show – a talk back or reception afterwards 8. Cross pollinate with other art forms 9. Set up meeting with the Citizen – in print, on line, how can we help you help us 10. Develop a theatre alliance group 11. Importance of publicity: 1. know the show 2. know the audience 3. know where to find that audience. Know how to spin the plot of the play to develop interest, prep media and prep the artists 12. Work with tourism 13. Engage the business community

Questions 1. What role does programming play in audience development 2. What role do the media play in audience development? 3. Why do music concerts and big events (spectacles) draw people? 4. How to get Cultural diverse audiences (programming, outreach, diverse actors on stage) 5. Chicken and Egg Question: What comes first – critical mass in audience, performances or artists 6. How do we help each other thrive

GCTC will work on Affordable rental possibilities in the studio Exploring how to continue the production mentorship program Hosting master classes at affordable rate Work with who ever is interested in audience development

Independent Theatre Blanket Notes

Common points from all four blanket sets: 15. sharing resources; publicity lists, volunteer base, performance schedules, 16. sharing physical resource; rehearsal and storage space 17. Create an online inventory of available props, costumes. 18. Create a “Theatre Alliance”. 19. create central box office, promotional tools, subscription season 20. Need a paid person to run “theatre alliance” 21. create a committee to oversee the “alliance” 22. Local community needs to get exposure to work outside our region to expand our horizons and raise the bar 23. Need more bartering among companies 24. advertise together to get impact 25. Need to get younger audience engaged. 26. There is a lack of communication among theatre companies 27. No training on how to create companies

Debate 2. Do we need lasting independent theatre companies? Should project based work be enough? 3. The limits/benefits of a mandate? It should be a living document to be revisited. 4. How much does audience need come first? 5. Value of Project funding vs. Operational funding. 6. When to incorporate? Or incorporate at all?

Common Barriers 14. lack of “affordable” space 15. equity vs. non-equity mix. Makes harder for Equity members to work on some projects 16. Lack of funding makes us competitive with each other. Need to rise above it. 17. National presence overshadows local work 18. Time spent on admin/production vs. creating art 19. Insurance

More good thoughts 14. Get city on board to create kiosks or billboards to promote local theatre 15. Have a collective season launch 16. Plan ahead. Good theatre takes time. 17. The resources are there but need to get to the people who need them 18. With collective wisdom you need a collector 19. Tie Theatre Alliance to Rideau Awards (Dora Awards given as an example) 20. CAO is a great resource that is underused. 21. Other available resources; Flying Squad, CRHC 22. Sometimes failing is the best training

Questions 7. Where does money come from to create “shared” pool? 8. Do we need to “grow” to be considered successful? 9. How do we maintain rigour while doing other jobs? 10. How do artists find information? 11. Do we even know who the independent theatre companies are? 12. What drives the need for independent theatre? 13. What does the city get out of a community? 14. How do we convince city of the value of that? 15. Where are the francophone companies? How do we work with them?

Post-Class Ramblings

It's past midnight and I'm home from class. I'm starving but I don't want pizza, so I'm making the only thing any single gal who hasn't been grocery shopping in over three weeks can make: Pasta! Plain, no tomato sauce, pasta! Mmmmm! Finally finished all my grant writing today for both Evolution Theatre and my upcoming Roller Derby show. It is such a huge relief to have that off my shoulders. I can now fully focus on Birth and my class with Michele Lonsdale Smith from Vancouver.

I feel so blessed and grateful to be taking this class. I'm not just learning about acting, I'm learning to be a better human being. I wish everyone could see, feel, learn what I learn in these classes. I've been studying with her for almost four years now and I know that I would not be the person I am today if it wasn't for those classes. If you are in the Ottawa area and are interested in auditing a class, here's the event info, including how you can apply to audit.

I'm going to be working on a scene from Doubt with an absolutely lovely partner and I know we're going to have a lot of fun with it. I do, however, still need to find an outfit. I'm currently looking for a long black skirt, black shoes and a habit headpiece. Please message me below if you can help!

I am happy. I am exactly where I know I should be right now and for the first time ever I'm not scared to do the work. I'm actually thrilled to do it!

My heart is filled with so much love for everyone. If you are reading this, I love you very much and, even if we haven't met, I think you are beautiful and strong. You can accomplish everything you put your mind to. The only thing standing in your way is you.

Now, if you'll excuse me, my water is boiling.

Nancy's MUST SEE List at the Ottawa Fringe

Lots of lists are popping up all over the place on what you absolutely should see at the Ottawa Fringe Festival. Having been around the Fringe for a while now, I also know what I absolutely cannot miss. Since I expect to see approximately 40 shows this year (a new personal best, beating my lousy 21, albeit while performing in 12 shows, from last year), please don't be offended if you are not on my "Must See" list. Chances are I will probably be seeing your show, but I just don't have enough time to talk about them all. Well, first up, the cheap plug. You should definitely see No Exit Upstage. In fact, I suggest you see it twice. It's very layered so you're sure to discover something new each time ;)

Ok, on to the list. First up, the LOCALS. I always make it a habit each year to see as many local productions as I can. These are, after all, the people I will most likely be working with in the future (if I haven't already) and so it's good to know what they are doing.

OREO Nadine Thornhill is one of the smartest and funniest writers I know. Some kind of Norm Foster meets Gilmore Girls. She also won last year's Best in Venue award for her play The Wedding Night, so you know she can bring the goods.

...Comes Around An all-star team of Ottawa's best and brightest artists with more award wins and nominations among them than there are people in the cast. Plus, explicit sexuality! They have two 11 p.m. time slots for all us skeevy pervs in the audience. Guess when I'll be in attendance?

Une nuit arabe The only French play at the festival and one that Evolution Theatre will be mounting in October (in English). I am very curious to see how they will be doing it in the tiny and workout inducing Studio 311.

Inclement Weather and Country Shaped Like Stars At the very least see one of them, but preferably see both. Emily Pearlman and Nick Di Gaetano are hands-down the most interesting and creative artists working in Ottawa today. I am in absolute awe when in their presence and still find it incredible they let me hang around. Both these shows fall under their new !MI CASA! banner. I expect lots of amazing things in the future from them both so I figure it best to get in on the ground floor now. Oh and in my book, Miss Pearlman gets 5 stars for every show.

The Squatter Heart By Annie Lefebvre / Directed by Andy Massingham Her preview performance at the Festival Tent last night sold this one for me. A beautiful poetic movement piece. Annie was simply stunning. I can't wait to see more!

The Beer Tent It doesn't take place at the tent, but in the Royal Oak basement on Laurier. I think I get a shout-out in the show. I want to go check. I'm vain like that. We Never Clothed Boobies. Kate Smith. I think there's a musical number too. But mostly I'm going for the boobies.

Now, for the OUT OF TOWNERS!

Like a Virgin I saw Jimmy Hogg's show in London a few months ago and you can read the review here. It was great and I will be going back to see how it's come along since then.

On Second Thought Another performer I saw a few months ago and you can read my thoughts on him here. His festival preview last night included a strip tease to MmmmBop, just to give you an idea what you're in for.

Is Shakespeare's Dead? I am not proud to say that in the seven years I've been at the Ottawa Fringe Festival, and in the seven years he's been there, I have never seen a Keir Cutler show. I plan on fixing that this year. Grandpa Sol and Grandma Rosie Watch this video and tell me it does not make you want to see this show?

Ok, so I was trying to keep this list at 10, but Annie Lefebvre made it impossible to do so.

Happy Fringing!

Nancy Kenny's No Exit Upstage, opens with a 2-for-1 admission price Thursday, June 18 at 9:30 pm and plays in Venue #3 - Studio Leonard-Beaulne.

Why See No Exit Upstage?

Listen to this glowing recommendation from Brian Carroll, a man who knows his way around a Fringe Festival: No Exit Upstage

"Nancy Kenny flies under director's radar for reasons I don't understand. She won an Ottawa Fringe award for her performance in Tuesdays and Sundays. And she was in the sold out and remounted Evolution Theatre production of This is a Play. And try to tell me that that photo of her in a hair-pulling catfight with Natasha Jetté isn't hot! I'll try this one on spec."

Here's the picture he's talking about:

We open tomorrow night and run throughout the entire festival!

No Exit Upstage Writer/Creator: Nancy Kenny Director: Ken Godmere

What’s worse than a job interview? Being stuck in the same room as the competition. Two roommates. One audition. Hell hath no catfight like an actress scorned.

A new comedy written and performed by Nancy Kenny (Best in Venue/Outstanding Performance Winner, Tuesdays & Sundays, and the sold-out run of Daniel MacIvor’s This Is A Play - Ottawa Fringe) Shows

* Show: No Exit Upstage * Date: Thursday, June 18th 2009 * Time: 9:30pm * City: in Ottawa, ON * Venue: Venue #3- Studio Leonard Beaulne * Address: 135 Séraphin-Marion * Country: CA * Admission: 10.00 * Age restrictions: PG13 * Buy tickets. * Notes: 2 for 1 opening night

Chill Out, Virginia, It Can Be This Easy

I woke up a little earlier than 5:00 a.m. with the sun barely creeping through my blinds. I was ok with that since I was going to head out for some early morning yoga, but I couldn't figure out if I had slept. If I did sleep, I spent the entire night dreaming about THE SHOW and my tossing and turning was based on all of my blocking, or I didn't sleep and I just thought about the show all night... Ah well, being up that early reminded me that I needed to do laundry, since my costume top was in the basket and we were teching at 9:30 a.m. I also filled out an application for what will surely be another cool festival for No Exit Upstage in September. Yes, the application deadline is way beyond past, but the fine folks in Kitchener-Waterloo have been kind enough to grant me one massive extension.

All in all, with the working out and an impromptu coffee meeting with theatre friends post-yoga, I had a very productive morning before heading out to our venue in Studio Leonard Beaulne on the University of Ottawa campus.

The reality of the situation finally hit me when I got there. We open in LESS THAN TWO DAYS! While on the bus my director/stage manager called to say his own bus hadn't shown up and he would be late. I arrived at the venue and couldn't find either the technician or my fellow actor. I wanted to panic! Where was the Fringe office phone number? Where was everyone? What the hell is going on!?!

Then I looked at my phone. It wasn't even 9:30 yet...

Needless to say, everyone arrived and things went as smoothly as they possibly could. I worried a bit, some more, that I wouldn't be able to get the timing for some of my cues, but we just kept working them until we got it right. I also had to keep telling myself that a cue-to-cue was not a place to be worried about character development. An excellent technical rehearsal later (Vincent is awesome!), we were having lunch on the grass before tidying up a few bits of the story arc. It was wonderful. Post-rehearsal I went to tape up posters around the venues.

Two days before opening and I am confident we have a solid show. It is an incredibly uplifting feeling to know that we won't simply be running on adrenaline to pull this all together. I can't thank the gang enough for making my life so incredibly easy. I sincerely hope to see you all out there throughout the run!

Nancy Kenny's No Exit Upstage, opens with a 2-for-1 admission price Thursday, June 18 at 9:30 pm and plays in Venue #3 - Studio Leonard-Beaulne.

*************************

As an added bonus, while we were finishing up our rehearsal, I received a call from Theatre New Brunswick. I guess I haven't simply been killing trees after all! I'll be heading to Toronto on June 23rd (a day we are not schedule to perform on - thank you Universe!) to audition for their TYA Touring Company.

So You Want To Produce A Fringe Show? Money Saving Tips

I unfortunately did not get selected to be one of the frequent bloggers throughout the Ottawa Fringe (though some other cool people were), but I figured that does not stop me from commenting on my own site (and perhaps showing a certain someone that he totally should have picked me! :p). An article this morning in the Ottawa Citizen (with quotes from yours truly) gave me the perfect amount of motivation to elaborate on a related topic that's been running through my head: How to afford your Fringe Festival Experience.

So you want to produce a Fringe show? Congratulations! You've now joined the ranks of the awesome. For those of you out there who want to self-produce, the Fringe offers one of the most safe and inexpensive opportunities to do so. That said, just because it is inexpensive does not mean that it is cheap. There are a lot of upfront costs that need to be factored before the ticket sales (often your only source of revenue) come pouring in.

First up, the main expense that you simply cannot avoid: the Fringe Festival fee. This can range anywhere from $500 to $800 per festival and are due at various times at the end of the year (between September to January in the year prior to the festival). This gets you your venue, box office staff, technical personnel, and fringe publicity. However, having this money up front does not guarantee you a spot in your festival since the selection process is by lottery. If you don't get in, you can still participate if you Bring Your Own Venue (BYOV), but on top of the festival fee, you'd also have to rent a venue and pay for your own technical staff.

Now, let's say you were lucky and won a spot through the lottery. How else can you save money? Well, my first suggestion would be to write your own show. Through producing with Evolution Theatre, I have found that our largest expenses come in the form of venue rentals and playwrights royalties.

Second, keep it small. I'm not saying you will make a lot (if any money) off of the Fringe, but the least number of hands you have in your pie the less cherries you have to hand out... or something like that. It also helps if everyone wears many hats (because frankly hats are cool). I'm the producer, the writer, an actor in the show and I handle all our media efforts. My director is also the stage manager, the production designer, and has done an awful lot to help me dramaturgically. My fellow actor handles all our design work and our company website. Oh and we also managed to get her photographer husband to do some awesome publicity photos.

Third, and I'm not sure I even need to mention this, but get everything you can for free. All rehearsals for my show have taken place in my living room. It helps that I have no furniture. The majority of our set pieces belong to Natasha, but for the rest we've discovered that many big box stores have customer satisfaction policies... What I'm basically saying is buy, don't break, return, travel to your next touring destination (which, would you look at that, also has the same big box store with the same customer satisfaction policy), and repeat. Just don't lose the receipt, ok? Also, Value Village and the Dollar Store are your best friends.

Fourth, traveling your show will probably take up the biggest chunk of your budget. Fortunately, most Fringe cities will help you find a billet to accommodate you for free throughout the festival. You have no clue where you might end up, but at least you didn't have to pay for it. I can't really assist you with cheap ways to travel since it depends on the destination, but I can tell you it helps if your old roommate (the one who still likes you) works for any of the major aviation organizations in the country.

Fifth, try and budget how much money you are going to spend on other people's shows at the Fringe. A lot of touring companies work on a password system and may be willing to exchange complimentary tickets to their show if you offer them some to yours. I know that I, especially if I happen to be in one of the bigger venues at the festival, prefer having bums in seats rather than play to a half-empty house. Or you can decide to billet a fellow performer and receive a VIP pass which gives you access to all the shows. Now that the set is finally moved out of my living room, I am more than happy to offer someone my pull-out couch. Besides, this way I get to meet like-minded individuals from across the country.

Finally (and this is a tough one for me), when the money actually does start coming in, try not to spend it all at the beer tent on hookers and beer... wait, what? What do you mean the Ottawa Fringe Festival didn't get the hookers this year? Oh fer cryin' out loud! Sigh... alright, well don't spend all your money on beer at the beer tent. Though spending money on this Beer Tent is quite acceptable.

If you have any other money saving tips that I have not elaborated on here, please feel free to leave them in the comment section. See you at the Fringe!

Nancy Kenny's No Exit Upstage, opens with a 2-for-1 admission price Thursday, June 18 at 9:30 pm and plays in Venue #3 - Studio Leonard-Beaulne.

What Do You Do?

As I mentioned in my last post, I really enjoyed my company's production of Mark Ravenhill's pool (no water) at the Irving Greenberg Theatre Centre. I saw it again today as I filmed archival footage and felt that it had now found it's groove. Most of my previous nitpicks are now gone and I am proud of the work the cast and crew are doing. What I am saying is that it's a solid show, both funny and despicable at the same time, and it is well worth seeing. Unfortunately, that's not quite the case.

Attendance for the show is definitely not where I would want it to be (though to be fair, I would want sold out houses every night, so let me rephrase that to attendance is not where I expect it to be, which would be at least 50% attendance in a 70 seat venue). As the Marketing Coordinator for the show, this is a hard fact for me to accept. The cast and crew have done their part in producing a good show and it is my responsibility to put bums in seats. Though I've worked my ass off, I'm not sure what else I can do. Our budget is incredibly small and I've exhausted many a free publicity avenue: we're in free listings all over town and on the web; our website has been updated; our facebook group and event listing includes photos and reviews; posters and flyers are out... Unfortunately, while we've been able to get some fantastic reviews from the online community (including a new one from (Cult)ure Magazine), the mainstream media have yet to pick us up. Unlike many a theatre centre, Ottawa only has two (sometimes three) active theatre critics. While one made it out to opening night and told me personally that he enjoyed the show, he also informed me that he would not be writing a review since there was "no room" in the paper for it. This is a big blow for a small company like ours which requires all the coverage we can get to raise awareness of our work outside the theatre community.

So, I've decided to call for help from all my arts marketing friends in the blogosphere. How do you do it? Do you have any inexpensive (ie. free) suggestions I could use in order to push ticket sales?

I look forward to any advice you might have. In the meantime, because I like them so much, here's another production shot from pool (no water).

Come to the Pool

This is going to sound very biased, since it's about a show my company, Evolution Theatre, is putting on, but those who know me know that I just wouldn't be saying anything if I hated it, so here goes: I'm not a theatre critic, but I know what I like and pool (no water) at the Irving Greenberg Theatre Centre is a great show!

Seriously, I don't think I've seen anything like it in Ottawa for quite some time. Though the stage set-up is reminiscent of Third Wall's Empire Builders, that's pretty much where the similarities end.

It's a show performed by a Group. The actors work well together to spin a tale of jealousy and ego and artistic integrity.

If you've ever felt jealous of someone who keeps doing better than you and wished you could spit out all that anger and disappointment and resentment at them, you will relate to this show. If you've ever taken a photo and posted it on facebook only to have the subject tell you to take it down immediately, you will relate to this show.

I'm not saying that it was all perfect. Opening night was the cast's first time with an audience and I had pacing and volume issues, however these will correct themselves throughout the run. But it was beautiful, enjoyable, funny and disgusting all at the same time. It made me feel something and that was wonderful.

The Canadian premiere of Mark Ravenhill's pool (no water) runs until May 16 at the Irving Greenberg Theatre Centre Studio - 1233 Wellington Street (corner of Holland and Wellington). For more info about the play or to check out showtimes, visit Evolution Theatre's website: www.evolutiontheatre.ca - Order tickets by calling 613 236 5196

Tell Me What You Want and I Will Make It So

Yes, I'm a Star Trek nerd. I'm also a big stinking liar (though not about the Star Trek thing - you never lie about the Trek). You see, not a day goes by that I don't bitch and complain about being stuck doing some form of administrative theatre work, be it marketing, front of house, stage management, finding sponsors or even writing. I complain because I keep saying I don't want to do any of those things. I just want to ACT. It's been at least a year and a half since I've been in a show where I didn't need to have any other care except to show up and be an actor. I even did script analysis and wrote the English press release for the awesome short film I shot this past summer. I am getting really sick of it.

The thing is, I'm totally lying. I love being involved in the performing arts in any way possible. I also love having some form of control over the product that I'm putting out (and yes, ladies and gentlemen, it is a product - and hee, I said "put out" and giggled because I'm 12). I love the rush I get from small victories like selling a t-shirt, an ad space, or, better yet, solidifying a donation. And most of all, I love realizing that I am really good at something (or a lot of things, actually, as the case may be).

People tell me all the time what I great job I'm doing (and please don't stop, because I love hearing it and it makes me work harder!) and I've always kind of brushed it off. I mean, is it really that hard to show up early, coordinate 5 volunteers into position, sell some merchandise, and, oh yeah, smile? Apparently so. Then again, I think it's the smile part that people have trouble with. I never do, not at the theatre. That's how I realized I was lying. I just love being at the theatre so damn much, I can't help but smile. And that makes my job incredibly easy.

Can't you feel it? There's beauty and excitement in what we do. We're creating something, something so big no individual could ever accomplish it all on his own. The show doesn't begin and end with the actors on stage. They are but one small piece of the puzzle. And if any of the other pieces (including the audience) are missing, the picture is incomplete. Whether you're selling a ticket, writing a press release, showing someone to their seat, contacting a potential donor, calling the show or performing in it, you are important.

So I will keep working behind the scenes and in I will keep sitting in front of them to ensure that the magic keeps happening.

That said, I really wouldn't mind if someone would like to cast me in something (and let me focus on doing just that) like, now. Or tomorrow. You can cast me tomorrow, too, if that works for you.

Join the Evolution!

For those of you who may not know, I am a founding member, as well as the Director of Communications for an independent theatre company in Ottawa named Evolution Theatre. This past week, we have finally launched our new website, which I encourage to visit frequently, as content is constantly being updated: www.evolutiontheatre.ca This past year has proven to be very fruitful for us. We have been honored with multiple award nominations through the Rideau Awards, the Capital Critics Circle, the Golden Cherries and the Ottawa Xpress. Our production of Daniel MacIvor’s This Is A Play sold out its run at the Ottawa Fringe Festival and was remounted as part of an evening of one-acts, in which we collaborated with two other local, independent companies. CBC Radio’s Alvina Ruprecht favourably reviewed our productions and called us “an important contribution to the professional theatre scene in Ottawa.”

We were also thrilled to be chosen as one of the companies to receive Production Mentorship under the tutelage of the Great Canadian Theatre Company. This mentorship program will gives us the opportunity to produce the Canadian premiere of Mark Ravenhill’s pool (no water) in the Irving Greenberg Theatre Centre’s studio space in May of 2009 (Tickets on sale now!), as well as increasing our skills in various administrative areas of the Theatre. We are at an exciting stage in our development as a professional theatre company in Ottawa.

This past December, our company finally became recognized as a registered charity. As you can imagine, this was very joyous news indeed. pool (no water) is our most ambitious and expensive endeavor yet. We have applied for grants through the various levels of government, but have yet to receive any funding. With projected funding cuts all around to the arts, this then leaves us with the option of soliciting sponsors and donations from individual patrons and businesses.

We need your help. Currently, we’re trying to raise $5000. A donation as small as $25 can help us cover up to 3 hours of rehearsal space in city owned community centres; $100 buys costumes or set pieces; $2000 covers our technical time and staff in the theatre.

If you can’t afford to give, how about volunteering some of your time? Those interested should send an email with which areas of the theatre they are interested in working in to volunteer@evolutiontheatre.ca

If you would like additional information on the company and our upcoming productions, I encourage you to visit our brand new website, once again, at www.evolutiontheatre.ca. Online donations may be made by clicking the "Donate Now" button. A list of giving categories and rewards will be included on the site soon, but if you would like to know more now, please do not hesitate to contact me directly via email: comm@evolutiontheatre.ca

Thank you for your support!

Nancy

The Uncertain Shall Inherit the Earth

Words like "recession" and "economic crisis" have been tossed around a lot lately, and to be honest with you, I've often felt weird for not thinking it was a bigger deal.  It just hasn't affected me.  I had taken my RRSPs out to buy a condo months before trouble started; a low Canadian dollar means more American productions coming to Canada; and low interest rates mean my student loans are getting paid off faster.  Sure, I'm unemployed, but that's my own damn fault, not the economy's.  And yes, arts funding is getting cut again, some more, but my theatre company has managed so far without government funding, I know we will still make it work if we don't get anything this time around. So in the midst of all financial turmoil, I was feeling out of place for not worrying properly or something until I came across this blog post by Adam Thurman:

As an artist the most potent weapon you have in your arsenal right now is this:Your willingness to embrace uncertainty...The so called "stable" world, the world of doctors, lawyers, banker is falling apart. All the assumptions that people have built their lives on are being shattered. That's uncertainty. But since they haven't been dealing with that state of being as long as you have, you can imagine that they are a bit panicked. This is actually good news for you. Because in an unstable world, those who are able to deal with ambiguity and uncertainty best become the ones mostly likely to succeed. Your skills as an artist, your nature as an artist is more valuable now then ever.

Read his whole post, Moving in our direction.

I don't have a routine anymore.  I don't know where I'm going to be in a month, next week, hell, two days from now.  I don't know if the script I'm writing is going to be a hit and make me lots of money, or if the one I already wrote and will see staged is even any good.  I don't know, and I'm OK with that.

I feel better now.

Living the Dream

Am I truly awake?  Did last week really happen?  I've got the receipts and ticket stubs to prove it, so I guess it did. I took a big leap and went down to Toronto for the week.  As previously mentioned, I had done some advanced prep work and went down feeling confident and apprehensive all at the same time.

Things were off to a good start when I arrived.  I had an Ottawa friend who was auditioning for the Stratford Conservatory and we met for lunch.  We followed that up my a trip to TheatreBooks and the World Biggest Bookstore.

Here's a little bit of info about me.  I don't just love books, I adore them.  The treasure trove of information found in each and every one, waiting to be unlocked and discovered;  the personalities hidden within the words;  the stories waiting to take me away to places unknown...  It's all incredibly sexy and addictive.  I'll go throw genre phases - these days it's books on marketing, new media, and spirituality (or marketing your spirituality through new media) - though there is always room on my book shelf for plays, plays and books about plays. There's just something about the written page between my fingers that just makes me so very happy.  And I'm good to my books (I never bend corners or write in them), so I rarely get any paper cuts.  I'm starting to run out of room though.  Guess I'll just have to get more bookshelves.

I got to see a few shows while I was in town too.  First up, there was a wonderful adaptation of Miss Julie by Canstage.  This play really made me realize that for an audience to understand the themes in the original piece, it does have to be updated.  In this case, we're in 1964 Mississippi aka Freedom Summer two days after Lyndon Johnson signed the Civil Rights Act.  I can't even find the words to tell you how much sense this adaptation makes (granted there are a few groaner moments, but these were Strindberg's fault - I mean come on, a bird in a cage?  Gee, I wonder what that refers to?).  There's also incredibly strong chemistry between the main actors and the esthetics for the show are just wonderful.  I really appreciated the Marilyn/Jackie O dichotomy you see in Julie (unfortunately, she'll never be a Jackie), but that might just be because I've been watching too much Mad Men lately.  Anything from that time period just tickles me pink these days.

Next, I saw a musical without knowing that's what I was going to see.  A friend invited me to see A New Brain by Acting Up Stage with him and it was a refreshing surprise.  Thanks to my dabbling in stage management with the fine folks at Zucchini Grotto, it turns out I already knew a few of the songs in the show.  It also made me realize that I prefer the smallish, independent musicals to the big budget ones.  Though I'm in no way an expert, I'll take Evil Dead: The Musical over We Will Rock You or The Phantom of the Opera.  That said, and I'm sorry to say this to all the purists out there, I really did like Mamma Mia!.  Shut up!  ABBA gets a free pass from me.

Anyway, its a good thing I like the little new musicals, since I then went out to Sheridan College to see a friend in, yup, another musical.  It's called Big Time Operator and it's a new show set to the music of the Big Bad Voodoo Daddies.  I'm a huge swing fan, so this was a bit of a treat.  Though this was as cheesy as musicals get ("bad" guy finds out he has a son, meets a "good" girl, falls in love in like 5 minutes and decides to change his whole life around if he can just stay out of jail, happy endings all around - It's like Grease meets... something else and swing music - Sorry, I really don't know my musicals), it was a lot of fun.  I was actually really impressed with the choreography, though the prop "drinks" could have been anything else than what they had.  I didn't realize so many speakeasies served daquiris.

To top that off, I had a great meeting with a Toronto agent that I need to follow up with and a fantastic reference from some former teachers, which led to an audition prior to my departure.

I also somehow managed to work out everyday for five days, which is some kind of record for me, and the long train rides gave me plenty of time to write and, of course, read.

And now I'm back in Ottawa, finishing up some grant applications and organizing a fundraising event before jetting off again.  This time, I'll be off to Kitchener to see a staged reading of a show I wrote and after that, well, I'm not sure.  Will I be popping by Toronto to meet with that agency again or to shoot an industrial video?  Or will I be heading back to Ottawa to study clown with the craziest bunch of Fools I know?  Only time will tell, but until then I'm just enjoying the sweet, scary embrace of the unknown.

Nothing but Fear Itself

I would like to say that my mom and I are close.  However, for as long as I can remember wanting to be an actor, I have desperately wanted her full-fledged support in my unconventional career choice.  Though she 's always encouraged me to do something that made me happy, every conversation about day jobs would inevitably turn to talks of "Maybe you'll actually like doing that instead." I know it's a parent wanting peace of mind and security for her children, but I have to admit that I have avoided taking many career risks because in the back of my mind I've always worried about what she would think/react/say.  That's my own fault for not being strong enough to take a stand and do it anyway.  I've learned that lesson now and have started making the hard decisions.

But suddenly, something's changed.  It was so subtle at first, I'm not even sure when it started.  Maybe it was when my mom came from New Brunswick to see my first professional theatre gig at The Gladstone.  Or maybe it was when I decided to head out to Toronto.  Or maybe when I approached her for donations for my theatre company, informing her that we gained charitable status and showing her all the good press we've been receiving.

Or maybe, she just realized that after 10 years this isn't just a hobby that's going to go away.

Whatever the case may be, my mom has loosened up tremendously, which I'm also sure has a lot to do with my grandma's passing.   When I told her I felt the need to go back and study my craft in a more intensive environment, I had all the reasons why she might say no in my head.  What she said instead surprised me: "Well of course you do.  You're competing at a much higher level now."

Um, hi?  Who are you and what have you done with my mommy?

So all of a sudden, I'm bringing up the excuses as to why she should say no.  Because there is no way this Dream Mommy can be real, right?

Me - Well, I guess I would have to sublet the condo if I went back to school.

DM - Oh that would be great!  No payments for a few months.

Me - But how would I handle paying the bills?  I don't want to disconnect the internet.

DM - Trust me.  The bills will find you and if you're not making mortgage payments, you'll be able to cover them.

Me - Well, I guess I'd have to put my stuff in storage.

DM - Just lock it up in the basement.  It's not like you have to take everything out.

Me - ...

So I had a revelation.  It turns out that I'm scared.  Acting scares me. The possibility that I might actually be a good actor scares me even more because it means that I have to throw myself out of my comfort zone and actually do some hard fucking work.  The thing is, instead of dealing with my own fear, I've projected it onto my mom and turned her into my excuse for not getting any work done.

Well, without knowing it, she's put a kibosh on that.  The apron strings have been cut and I now have exactly what I've always wanted.

Be careful what you wish for because you just might get it...

This Is A Remount

I've often caught myself musing from time to time about a show I may have done in the past and how different it would be if I got the chance to do it again at this point in time.  Theatre and acting are such fluid art forms.  A performance you see today will be different from the one you see tomorrow or next week or six months from now. For the first time I get to remount a show and I am incredibly excited about it.  Though the original production of Daniel MacIvor's This Is A Play took place only five months ago, a lot has happened to me since then.  Some pretty life-changing stuff, actually.

I was amazed at how easy it was to get back into the character.  It was like slipping into some old fuzzy slippers and wondering why you ever took them off in the first place because they feel so damn comfortable.  I always figured that when I finished a show, the lines just disappeared from my brain, like a hardrive being erased, to make room for more stuff.  Colour me surprised when I realized at our first rehearsal how much everything came back so incredibly quickly.  On top of that, we got to rework a few moments that just didn't click right the first time around.

We had a great, well-received show for the Ottawa Fringe Festival (as evidenced by our sold-out houses night after night), but I honestly think it's even better this time around.

If you got a chance to see the show at the Fringe, please come and see it again (along with 3 other great plays - 2 of which I may also be involved with).  I would be curious to hear after the performance what changed for you.

Meta Schmeta: Cautionary Tales for the Self-Obsessed - An Evening of One-Act Plays at the Arts Court Theatre from Nov. 26 to 29 (ONE WEEK ONLY) at 8pm with a 4pm Pay-What-You-Can Matinee.  Tickets are 20$/15$ Students & Seniors.  Box Office: 613-564-7240

My New Reality

It's been little over a month now that I've left my hum-drum 9 to 5 life behind and things just seem to keep getting better. Earlier this year, my humble little theatre company produced the Ottawa English language premiere of The Ventriloquist by Larry Tremblay.

Last week we found out that director Chris Bedford was nominated for Best Director in the Professional category for his work on the show by the Capital Critics Circle alongside incredible heavyweights like Joël Beddows, John P Kelly and the NAC's own Peter Hinton.  Not bad for a company that still operates out of someone's living room.

To top that off, tonight we were invited by M. Tremblay and the CAED to a staged reading of a few of his shows, including one that has yet to be published.  He also gave great insight into his writing process and the development of his scripts.  I found this part incredibly inspiring since I'm currently working on a script.  Following the readings we got to meet the man himself.

He was very pleased to meet with us and we had a wonderful chat.  After congratulating Chris on his nomination he finally took a really good look at the three of us.

"My God, you're so young!  You're all so young!"

Somehow that made me feel incredibly good.  Yes, we're all very young, we're doing very well, and we still have so much to gain.

There's Nothing Going On

I am so incredibly pleased that the Ottawa Citizen took the innitiative to include an article today about the BC Scene, which is happening in April of 2009, because there is nothing else going on in the Ottawa Arts Community at the moment that is worth mentioning (and I only linked Theatre, there's plenty of visual arts, music and dance going on too).

The Who in the What Now?

I'm pleased to announce that Evolution Theatre has been nominated in the Emerging Theatre Artist category for a Golden Cherry Award! That's fantastic!  That's phenomenal!  That's... wait a second, what are the Golden Cherry Awards?

I pride myself on being an incredibly well-informed individual when it comes to the professional performing arts scene in Ottawa.  I know what's going on within every theatre company (one small exception being what's up at the NAC, but I'm crawling my way in, just you watch me!) and on every film set.  I know who's doing what (or whom as the case may be), when and where things are happening, and how to get involved.  I know so much that I half expect people to come and ask me a favour on this, the day of my daughter's wedding.  I thought my ear was so thoroughly glued to the ground that you'd have to be careful not to trip over my head.

But with these awards I'm at a lost.  I've failed.

Well, technically, I didn't fail.  My vast and intricate network of spies has failed me.

Stupid spies!  Someone's head is going to roll.  Where the heck did I put my chainsaw?!?

Though while I'm at it, would someone care to explain to me just what exactly the Golden Cherry Awards are?  Purty please?

The Band-Aid Slowly Comes Off

I had a brilliant day yesterday. I got up at around 8 a.m. (which for me is sleeping in) and went for a run.  The weather was just gorgeous!  Once I was back home, I settled down in front of my computer with my perfect cup of coffee (the day's special was cappuccino) and started working on a variety of Playing Bare things like media reminders and program revisions.  Then I hopped in the shower before heading downtown.  There I met with a lovely lady who carries Iron Sticks (though not this day) just to bounce off some ideas and get a feel for story structure when writing a one-person show.  I followed that up with some shoe shopping with a friend for a fancy-schmancy gala I'm suppose to attend in two weeks and then more Evolution/Playing Bare stuff.  I ended my evening by reading through the script for my upcoming professional theatre debut and catching up on some TV shows I have sorely missed in the past few months.

Bliss, right?

My point for yammering on about all this:  Today I'm back at work and I can feel a distinct shift in my mood from the previous day.  I've gotten a lot done, but my thoughts keeps wandering to other, more important (in my mind anyway) things.

8 days and counting