Evolution Theatre

And Here's the Crash

I haven't done a play since last summer and as soon as rehearsals started on Saturday, I felt that blissful high invade my body. If you are an artist, or perhaps and athlete, of any kind, you know what I am talking about. That incredible rush, a mixture of joy and adrenaline, that comes solely from doing what you love more than anything else in the world. We've had 4 incredibly amazing rehearsals for Little Martyrs where we've explored, tried new things, made discoveries, and, yes, played (there was even a Nancy-sandwich at one point, so you know, I'm not complaining). We've so far managed to work through every single scene in the play at least once and things are looking good.

And tomorrow we get a day off.

My body knows this and, like any good addict being separated from his or her junk, I'm crashing. Hard. Yup, rehearsal ended a few hours ago and the crash was almost instant. I'm feeling moody, experiencing body aches from moving into new physical areas, and then there's the pain.

Yes, actual pain. Because this is more than some kind of show crash.

You see, yesterday, I had minor surgery. Just a couple lumps that I had been on a waiting list to have removed. Seriously no big deal and I've had it done in the past without any trouble. Of course, me being who I am (which is totally crazy), after my surgery, I showed up for rehearsal.

Yes, I showed up for rehearsal after being told to "take it easy" by the doctor (rehearsal is easy, right?), looking pale, queezy probably from the local anesthetic leaving my body, and with blood seeping through the bandages from where the stitches were placed... Cuz I'm a trouper (also RE: totally crazy). I was promptly forced home by the stage manager once the whole bloody bandages thing was discovered and we couldn't find any replacements in the building.

Even showing up today probably wasn't the smartest move because of the awkward location of the stitches, but you know what adrenaline does? It blocks pain! Which is awesome! Until the adrenaline goes away. And you end up going home by yourself crying into a bottle of wine you just bought but realize you probably shouldn't drink because you're not sure how that would work with painkillers. Also, I really wish I had someone to tuck me in. Because when you're sick or you have a booboo, you immediately turn 5 again.

So part of me is happy to have the break to rest and get better, but the other part of me really wishes that I could have more of those adrenaline rush rehearsal blockers because this ibuprofen is just NOT CUTING IT.

He's Dead

On Saturday, I sat on the train in Toronto, heading back to Ottawa, with my director for Little Martyrs, Christopher Bedford. I had been in town for an audition and he had spent the past two weeks studying Bouffon with Philippe Gaulier. Along with directing the show and being Artistic Director for Evolution Theatre, Chris is also a very dear friend. Who after two intensive weeks of training just wanted to sleep before we got back to Ottawa for our first rehearsal that night. I, on the other hand, felt that it would be a much more productive use of my time to bombard my director with all my questions & neuroses about the play. You know, since he couldn't get away.

Before we had even left the station, I had already let it be known that I found the first scene to be hard. I always find the first scene of a play difficult and especially hate having the first line of dialogue. If you have the second line, you can play off whatever the other actor has fed you, but the first line? Fuggeddaboutit.

Chris kindly held his sighing to a minimum and indulged me: "What do you find so hard about it?"

"Well, why am I back in town? After all this time, why did my character choose now? It can't just be because of x, y & z. There has to be more than that and I just don't know what it is!"

He smiled and related a story that Gaulier had said to his group during the intensive.

*For full effect, please picture a scruffy young guy doing an impression of a scruffy old guy with a bad French accent.

...

**To be clear, the old guy doesn't have a bad French accent. I am certain that his accent is quite legitimate.

Chris picked up an imaginary phone and started speaking into his finger: "Hello?... Stani? (pause) Stani? (longer pause) Lavski? ... Stani? ... Oooooooh. Stani? Stani? ... (long pause) Lavski? ... Ooooooh. He's not well. (longer pause) Stani? (long pause) Stani? ... Lavski? ... (pause) Oooooooh. Five minutes? ... Stani? ... Lavski? (pause) Stani? ... Ooooooh. He's sick."

OK, picture this going on for about another five minutes. And it's funny. And the longer it goes it stops being funny. And then it keeps going. And it becomes funny all over again. Like that Family Guy video where Peter hurts his knee.

Anyway, the whole thing ends with Chris hanging up the phone-finger and telling me quite sombrely: "He's dead."

Which, if you are not familiar with the dead man or his practices, basically means that the answer to my questions is a very simple "Who cares?"

What's going on in the scene? There's a knock at the door. Do you or don't you want to answer it. End of story.

I laughed. Because if you are a theatre nerd this is one of those "it's funny because it's true" moments.

Satisfied, Chris put his headphones in, secure in the knowledge that I wasn't going to ask any more stupid questions. At least, not during this trip.

And just like that, my trust level in my director skyrocketed, my actor doubts disappeared and I just knew, in my gut now, that we were going to have a great show on our hands.

Little Martyrs - February 9 to 19 in Arts Court Studio A - 2 Daly Avenue

The Problems You Want

Is there a term for that? A "good" problem? I'm curious. My year is off to a very good start. I've got work lined up for January/February with Evolution Theatre's Little Martyrs and it has been confirmed to me today that tickets are now on sale through the Arts Court Box Office - 613-564-7240 (Details about the show can be found under my Upcoming Appearance tab.)

I've also been requested for two general auditions in Toronto. After years of sending in packages without answer, I'm thrilled! (Though I'm quite sure this is partly due to my Equity status and partly to my use of a Toronto mailing address.) Since rehearsals for me don't really begin until this Saturday, I can attend one of them no problem. The other? Is at the same time as rehearsal next week. Did I mention that rehearsals are in Ottawa?

As actor's these are the kinds of problems we want: being too busy working at our craft to do more, no matter how much more we want to do.

Still, it sucks. This is not for work during the run of the show, this is for work this summer, so it's unfortunate that I can't even give it a shot. In these situations, all you can really do is shrug it off and keep going. This one was just not meant to be.

Reflections on 2010

2010 has come and gone and here I am alone in my condo reflecting on the time that has gone by with the Simpsons/Family Guy marathon that seems to be continuously  on Global on Saturday afternoons playing in the background. January 2010 was a pretty dark time for me. After months of no work, I was starting a new job at the Great Canadian Theatre Company and feeling completely overwhelmed by it all. My finances were a mess, my heart was broken, I was experiencing panic attacks... I was feeling utterly and completely lost.

And then someone very special walked into my life. Our time together was brief, but also incredibly illuminating. His lust for life was contagious and, as he disappeared back into whatever magic vortex he came from, he left me with a very simple: "Hey, life is awesome."

I'm very grateful to this person because my entire attitude changed after our encounter and every risk, every move, every dream I've dared to pursue to its fullest this past year can be directly traced back to the impact he had on me.

After that, things began to change almost immediately and 2010 was a very good year.

I had more professional acting gigs than ever before. It started out with this fun little number: [youtube=http://www.youtube.com/watch?v=iBDXhhuEfDA&feature=related]

There was not one, but two jobs as a stand-in where I got to work alongside people like Adam Beach, Elisabeth Shue and Jennifer Lawrence; a school tour with A Company of Fools (which I may very well be reprising in 2011) that lead to a one-off in Montreal and at the Lumiere Festival; a seven or eight week contract in Morrisburg at the Upper Canada Playhouse and a Fringe Festival run in Ottawa and Calgary; a workshop for Evolution Theatre's Little Martyrs as well as a reading of We Won't Pay! We Won't Pay! for our five year anniversary party; a voice-over contract in French for a birth control website; and a bilingual gig at the Upper Canada Village.

All of this led to accomplishing two of my goals for the year: I became a full union member of ACTRA and CAEA (and got a few more credits towards my full UdA status) and found an agent to represent me in the Toronto market.

And if you're looking at that pseudo goal list I created at this time last year, my laptop died and I moved myself into the wonderful world of the MacBook Pro. I didn't schedule time to write, but I did finish a first draft of my Roller Derby script. I completed a 5K Race and I'm now working towards being able to run a 10K. I took a bunch of incredible acting classes in order to keep training with more consistency and, as many of you know, I traveled a whole heck of a lot.

As for my marketing work, I was at the GCTC where, among other things, I implemented a social media marketing policy and gave my first workshop on the subject to the staff. Since they're still going strong in this area now that I'm gone, I'd like to think I did pretty alright there. After giving a presentation under the banner Art as Business, Business as Art - my chosen topic being Branding the Artist - during the Ottawa Fringe Festival's brilliant Lunchtime Artist Series Ignite the Fringe event, I was approached by Odyssey Theatre to help them with their marketing and promotions for They All Do It. (Oh and I learned that I probably influenced at least one new blogger in town.) And I also ran a pretty successful publicity campaign for 'I', which took place at The Gladstone in November.

As I briefly mentioned above, my theatre company, Evolution Theatre, after a year of workshopping new shows, celebrated its five year anniversary, became a resident company of Arts Court and announced the two shows we will be producing in February and May of 2011 (which will be a whole other post in the ver near future).

And though I can't beat this guy, I saw over 75 stage productions - give or take a couple that I'm sure I'm forgetting.

Oh and I became an auntie and a godmother to the most adorable little boy in the world.

It wasn't all sunshine and lollipops though: my grandparents passed away; I kissed a lot of frogs, but didn't find any real princes; I got sick, tired and depressed more often than I cared for; I never knew where I would be sleeping next or how I might be able to pay for my next meal; and, sadly, until I've figured out a more permanent home for myself, I've had to leave my cat, Winston, with someone else.

But Winston is being well taken cared of, my life feels like an incredible adventure, I've discovered that I have wonderful and generous friends, and there was making out. All in all, 2010 was pretty gosh-darn amazing!

I can't wait to see what's going to happen in 2011.

Hello God, It's Me, Nancy

I've been ignoring you, dear blog.  I recently realized that when things are not going super well, I avoid talking about it here, because frankly, who likes a whiner?  Nothing's been really wrong.  In fact, lots of great things have been going on.  I saw some absolutely incredible theatre in Toronto  - The Silicone Diaries at Buddies in Bad Times and Studies in Motion at CanStage, in collaboration with Vancouver's Electric Company.  For both show, I managed to catch a post-show talkback, which I always find incredibly illuminating.  In the case for Diaries, I was moved to tears.  Seriously, I tried to congratulate the performer of this one-person show on my way out and all that came out was a bunch of garbled "so great/thank you *sniffle* *choke* kthxbai!" And then, my little theatre company - Evolution Theatre - (maybe you've heard of them?) - turned five FIVE years old. Can you believe it?  I have trouble keeping a relationship going for that long and yet, somehow, my little partnership with the Bedberts has outlasted them all.  I believe that Christopher & Linda Bedford and I have known each other for almost ten years now.  Just incredible.  We celebrated with cake and a special reading of the first show ever produced by the company, Dario Fo's We Won't Pay! We Won't Pay!

But wait! There's more!

At the birthday party, we had a few announcements.  First up, Evolution Theatre was named one of three resident companies of the Ottawa Arts Court Foundation.  This means that starting in September of 2011, we now have a permanent performance home until 2013 and we will be producing two shows a year in the Arts Court spaces.

And if that wasn't enough, we also announced our 2010/2011 season.

Up first is an original translation of Dominick Parenteau-Lebeuf's La petite scrape. It was translated by local Evolution collaborator, Mishka Lavigne, with the assistance of Canadian dramaturgy heavyweight Maureen Labonté.  This is a show that has been in the works since 2008 and we are thrilled to be bringing it to the Arts Court Studio from February 9 to 19, 2011.

The production, now titled Little Martyrs, will be directed by Christopher Bedford and features the amazing local talents of Jody Haucke, Brad Long, Margo MacDonald, Matt Miwa, and, you know, yours truly.  Rehearsals have just recently started and I am incredibly excited to be a part of this project.  More details will be up on my blog and the company website soon.

The second show is an original script by local playwright Lawrence Aronovitch and is entitled The Lavender Railroad.  It will be directed by l'incroyable Joël Beddows (whose Swimming in the Shallows was probably one of my favorite productions in Ottawa this year).  As both Lawrence and Joël were out of town for the party, we received a message from our former Professor Beddows which I would like to share with you, as I got a little misty-eyed when I first read it:

I was a young professor when I first met this trio.  They were all opinionated, argumentative and ambitious.  Our rapport was not always harmonious: this often happens among people too similar to one another. They seemed determined to question any and all statements I made. History would state that they were correct to do so.

They graduated and started making theatre.

I was intrigued; then I was impressed; suddenly, I could not “not” see their work.

For awhile, I was proud; then I was fascinated; today, I am trying to keep up!

Working with Evolution Theatre this coming season represents many things to me; first and foremost, the opportunity to work with a creative team that has and will continue to make a mark on practice in Ottawa and someday soon, beyond.

Joël Beddows

Wow. Details are still being finalized for this production, I'll let you know additional information as it comes up.

I've also had two great auditions in Ottawa and Montreal during this time, but even after all that, I still felt... sad. Though I miss my friends and my routines, I keep trying to remind myself that there is a reason I'm doing all of this; there's a reason I'm working so hard.  Because I have a dream.  And fuck it! I'm going to see it through.

Now back to our regularly blogging schedule.

What You Waiting For?

Last night, I had the pleasure of attending the DiGi60 Festival in Ottawa. A movie I appeared in was getting its premiere.   It's a good little film called Connecting by Randy Kelly and I'm proud to say that it even won an award in the acting category. With all these indy filmmakers in one room, it got me thinking: here I am in Toronto (well, at the moment I'm somewhere in the Quinte region between Kingston and Belleville, but you get the picture) waiting for something to happen. Again. Some more.  But if Beckett taught me anything it's that waiting for something usually leads to more waiting. And guys on leashes. Which technically I guess I'm ok with.

Anyway, where was I?  Oh yeah. Waiting.

Nearing the 11th Hour, I handed in my application to the Ottawa Fringe Festival. Whether I get in or not - lottery is tonight at the Raw Sugar Café - my Roller Derby show is a go!  The first draft is done (mostly), I've been applying to every grant available to me to get it off the ground and talking to potential choreographers and movement coaches.  I also found out that I was accepted into the "Fresh Meat" program with the Toronto Roller Derby League. I start training next year.  I'm really excited about that.

I'm also working on translating a one-act play from English into French.  I got permission from the playwright and I'm shopping it around for a potential future production.  I've been dying to work more in French, but I can't seem to get my foot in the door as a performer.  Again: fuck it. Why wait?

And then, of course, there's Evolution Theatre.  I've been teasing about a big announcement for a while now, but just bear with me a little longer.  Details should be finalized this week.

So, if you've got an idea or you just want to do something, just go ahead and do it.  There are plenty of inexpensive ways for you to do so in the arts.  Oh and if you're checking out the Ottawa Fringe lottery tonight, could you please text me the results?

Back in O-Town

Work was pretty awesome.  Late Thursday night, I arrive in Morrisburg.  I was booked into a room at a cozy little motel in the middle of nowhere that, in the middle of the night, would serve as a beautiful setting for some kind of slasher flick.  I mean that in a positive way.  I was pretty stoked to be put up somewhere for work. The day turned out to be pretty gorgeous.  I got wardrobe/hair/makeup done, which is always fun, chatted with some fellow actors, worked on my lines, and basically waited around until they needed me.

At some point next summer, you'll be able to see the fruits of my labour at the Upper Canada Village when they open a new discovery centre for the visitors.

I got a ride back to Ottawa, settled in and got to work on an audition piece for the next day.  It was for a feature film. I think it went well, but who knows, really, with those things?

I got to see some friends, checked out the sweet Rachel McAdams movie, and even did some work for both 'I' (which opens at The Gladstone this week - I saw a rehearsal today and, folks, I'm telling you, this is going to be a good show! You need to check it out!) and for Evolution Theatre (big announcements coming real soon!)

Now, it's the middle of the night.  I'm sitting in a living room that is not my own and grateful for the generosity of my friends.  I'd be lying if I said that in these quiet moments the doubts don't come flowing in, but I try and breathe and let it all go.  I thought I might have had a shot at some additional work while I was here in Ottawa, but it doesn't look like it's going to work out.  I'll be back in Toronto soon enough.  That city just isn't done with me yet.

My Last Day at the Toronto Fringe

So I didn't blog as much as I had hoped too, but that's because I ended up being much busier than I could have possibly anticipated. I think my time in Toronto is exactly what I needed.  I saw some fabulous shows and a few duds - 16 shows in total.  I didn't get to see everything I had wanted to, obviously, but I did see a lot.  Highlights included Chris Craddock's Public Speaking, Morro and Jasp: Gone Wild!, Christel Bartelse's ONEymoon & The Shakespeare Show. I got to audit an acting class with my favorite teacher.  I spent time with friends I hadn't seen in a very long time, made some new connections, and learned all about another fringe festival happening in Canada. But best of all, I got my inspiration back.  I feel refreshed and ready to work harder than before.

Tomorrow, I'm back at the Great Canadian Theatre Company for another two weeks, I'm working for Odyssey Theatre, I've received some excellent news about Evolution Theatre, and I'm back to creating my own work.

I can't wait to see what comes up next!

The First Day of School (Part 2)

For Part 1, click on the link. It's so beautiful out, many people are sitting outside the theatre. They say hello and smile. Everyone is really nice. The stage manager starts giving me a tour. There's snacks. I quickly realize as I sit down for our first read that everyone here knows each other and have multiple shows at this theatre under their belts.

I'm the new kid.

And the new kid gets to say the first line in the play. No pressure.

Personal insecurities aside, we have fun. The play is called The Amorous Ambassador. It's a farce with an eight person cast and we laugh a lot throughout.

Then, after the break, we do something I've never experienced before on the first day of rehearsal: we move onto the set. Though the finishing touches aren't there, since we're the first show in this theatre company's season, the set already built onto the stage and we immediately start blocking (i.e. deciding where we will be walking across the stage) the show. Since, like any good farce, there are a million entrances and exits, this is a very good thing.

I'm thrilled and shocked at the same time. We're just going to do this? Now?!? Alrighty then.

I take one look at my "boyfriend" in the show. We do a lot of kissing right off the top.

"So, uh, should we just do the smooching now?" He responds with an "I was just going to ask you about that."

We decide it's best to, ahem, dive right in. No, literally, I dive right on top of him at one point.

I just met this person less than three hours ago. My life is awesomely weird.

We spend the rest of the day blocking through the first half of the show. We have all sorts of rehearsal props to play with. It's so great not to have to mime anything. I wish I was off-book (i.e. knew all my lines) right now so I could play more. I try my best to just enjoy myself and not let my doubts and insecurities get the better of me when I have to repeat something over and over again (You know the inside voice: Did I do something wrong? Why is my voice so high-pitched? What does he mean when he says keep the line up? Everyone knows what they're doing! What am I doing here? Where am I?)

We finish an hour early. The director beams at me. "Good job! Wasn't that fun?"

I giggle. Yeah. It totally was!

The drive back is just as lovely as the drive there. Regardless of the record heat wave, the waterfront air is cool. I'm back in town right on time for an Evolution Theatre meeting. I duck into Arts Court and take a few minutes to freshen up before heading into the Market. I actually know where all the clean bathrooms are in downtown Ottawa. My life is so glamorous.

The meeting was great. There is so much going on with this theatre company that I can't wait to discuss. Stay tuned for more this coming June.

Blissed out from such a wonderful day, I head back to my car. It's about 9 p.m. I feel light because I suddenly realize that, for the first time in a long time, I don't have to do any work once I get home. And that's when the day, the sun, the fun all catches up to me. As I sit in the car, I feel the fatigue wash over me. I drive home. I take Montreal Rd. because it has more character than the highway. It's so peaceful, I don't want to stop. Sorry environmentalists, but I really enjoy driving.

As I get home, I remind myself that I get to do this all over again tomorrow and pull into my parking spot.

I take a shower. As the cold water hits my back and my muscles relax, I start to cry because I am so happy.

This is why I do this.

Can You Keep A Secret?

Apparently, some people think a girl with a blog and an unhealthy addiction to her iPhone social media programs is the best person to entrust with the most TOP SECRET news in Ottawa Theatredom. Yes, ladies and gentlemen, somewhere among the hanging out on movies sets (with Cuba Gooding Jr!), working at the Great Canadian Theatre Company (season launch on Monday!), learning to rap Shakespeare, making women feel beautiful, discovering hidden abilities to translate small documents from English to French, watching some "bloody" good theatre (check out a solid production of Blood Relations at the University of Ottawa before it closes this weekend, as well as the musical Blood Brothers at The Gladstone), working on my own theatre company's project, performing improv with some lovely ladies, and training for a 5K race; somewhere among all that, I became the new anglophone publicist for the upcoming Les Prix Rideau Awards.

(Of course, all of this must have happened after I discovered that necklace from Harry Potter that allows Hermione to attend to classes at the same time, because there is nothing short of wizardry to explain how I manage to do all this stuff...)

After learning that Über Publicist, Crystal Parsons would be leaving the wonderful world of theatre promotion for the civil service, I was approached by the awards committee to see if I could fill her sexy shoes.

My first answer, of course, was no. Re: see above schedule & need for a clone/develop magical powers.

However, after much discussion, I eventually said yes for the following reasons:

  • The workload isn't as excessive as I first anticipated.  There is no need for me to translate documents for these bilingual awards, since there already is a francophone publicist, and I'd be doing a lot of stuff from a social media perspective that I'm doing already.
  • This could all wait until I was done my stand-in gig.
  • Being able to say that I'm the publicist for Ottawa's professional theatre awards is a pretty big deal and adds another notch of legitimacy to my marketing belt.
  • With the GCTC holding a whopping 16 nominations, I can make a lot of what I'll be doing relevant to the day job.
  • I think the awards are important and I want to support them in some way.  This is more than just a big party where people dress up to watch somebody get an award.  By recognizing the contribution of theatre professionals in the community, we are raising awareness of our work and acknowledging that there is a a place what we do here in town.  My dream? That one day, when I tell someone I am a professional actor, they will not ask me when I will be moving to Montreal or Toronto because it will simply be common knowledge that such a scene exists here as well.

All that to say that I will now be only one of three people to know the award winner's identities before they are revealed on April 18th because I need to have the press release handy for media as soon as the ceremony is over.  (Note to self: find dress that coordinates well with handcuffs and a briefcase *insert your own joke here*)  And this confidentiality agreement I signed says that no amount of bribing can make me reveal the secrets before then.

But have no fear!  You too may know the results as soon as they become available.  Tickets are on sale now!  Details below (this also reminds me that I will be performing in my first public Sanitas Playback Theatre show that night as well... where the heck is my clone?):

The 3rd Annual Les Prix Rideau Awards celebration is taking place at De La Salle High School (501 Old St Patrick Road, Ottawa) on Sunday, April 18, 2010.  The first-ever fully bilingual awards ceremony will be cohosted by CBC Ottawa’s Alan Neal and not-from-CBC-Ottawa's Annie Lefebvre, with theatrical reflections by Sanitas Playback Theatre and music by DJ AL Connors.

Tickets are $25 each and may be purchased through the Nouvelle Scène box office:

  • online at nouvellescene.com
  • by telephone at 613-241-2727 ext 1
  • in person at 333 King Edward Avenue, Ottawa

Les Prix Rideau Awards III -- Sunday, April 18, 2010 De La Salle High School, 501 Old St Patrick Road, Ottawa Doors open at 6:30 PM; presentation begins at 7:30 PM - Tickets: $25

Having My Cake

In the feast or famine world of the arts, I've now parked myself in front of the buffet table. You're already aware of my stand-in work and I've mentioned the Improv (check out my next turn at a special "Ladies Night" Tuesday Make 'em Ups with Crush Improv) and Playback stuff before. Maybe you even knew about my stint with the Cube Salon? Well, things just keep getting better and better. I am proud to finally announce three other wicked awesome gigs that have come my way. First, Evolution Theatre has commissioned a translation of a Québecois play and I will be participating in a workshop and, later on, a public reading of the piece. This is a very exciting undertaking for us as a company on so many levels and I look forward to sharing more information with you about this very soon! Second, next weekend I start rehearsals with A Company of Fools for Shakespeare's Interactive Circus. This production will be toured in schools around Ottawa and Montreal during the last week of April and the first week of May. And thirdly (though hopefully not finally), after much perspiration, I have been officially cast in a production entitled The Amorous Ambassador which will be presented at the Upper Canada Playhouse in Morrisburg this June. This incredible show will also mark my first steps into the Canadian Actor's Equity Association. All I can say is that it's about damn time.

For once in my life, my performer dance card is full for the next four to five months. I'm so happy I'm practically crying. To top things off, I'm still working full-time at the GCTC. Yesterday, I had a brilliant chat with my boss about my schedule and somehow we can make it all work. As I left her office, she had a big grin on her face and said: "See. You can have your cake and eat it too."

I don't know how I'm doing it. I'm pulling 75 to 80 hour work weeks at the moment, but everything gets done, I still manage to see plays, socialize a bit with friends, feed the cat, and keep a somewhat clean home. then again, hasn't my schedule always been like that? The only difference this time around is that I'm getting paid for every minute of it. I wouldn't have it any other way.

Check out my Upcoming Appearances page for frequent updates!

Enjoying Theatre on a Budget

It bothers me when actors tell me they don't go to the theatre. Excuse me? What? How can you not go to the theatre? How can you consider yourself an actor in this town and not know what the local companies are producing? Or who the key people involved are? Or who your competition might be? Often actors and crew go for drinks post-show, which then becomes a valuable opportunity to network, socialize and find out what the next big project coming to town might be.

"But Nancy, going to the theatre is expensive!" I hear you clamour. "Ah! But it does not have to be," is my reply.

As many of you know, I see almost every bit of theatre that comes to Ottawa. Out of 45 professional productions juried by Les Prix Rideau Awards in 2009, I've seen 40. that's not including the community theatre, Fringe, Magnetic North and student productions I've seen. I think last year I probably saw over 100 theatre performances. That averages out to 2 a week, which sounds about right.

This may come as a shock to you, but I am not the type to sit around in my tub with my bath pillow eating bonbons and drinking wine as I use my laptop to peruse the "next big theatrical event" I will be attending (though that's probably because using your laptop in a tub is just asking for trouble). Nor do I have an ample supply of disposable income which I use on $20 to $40 theatre tickets. No. I am a poor broke artist who just wanted to know everything there was to know about my local theatre community and I figured out the cheapest way to do it.

So, dear friends, this is how you too can enjoy your theatre on a budget.

Are you a student? TAKE ADVANTAGE OF IT! Both the National Arts Centre, the Great Canadian Theatre Company and Third Wall Theatre in Ottawa have rush tickets for students that go for something like $10 or $11 a piece if you purchase your tickets the day of the performance. Not ideal if it's a show like The Drowsy Chaperone, which sold out rather quickly, but trust me, there are a lot of performances in town that do not sell out and you would be more than happy to see your smiling face walking to the door for your rush ticket.

Of course, the tricky thing here is that most of these companies do not clearly advertise their rush ticket availabilities, which I can understand to a point. So how can you find out about them? Well, you could just call and ask. Then again, why would you do that when you have me?

I almost never took advantage of my student status when I had a valid student card and it still bothers me to this day. Think of all the great shows I missed... As an added bonus, the GCTC also has ADULT Rush Tickets for $20. No i.d. necessary, just show up after noon on any show day to get your discounted ticket.

Are You An Artist? Well, since this blog is loosely geared towards actors and other artists, I'm going to go with yes, you probably are. A lot of companies like the NAC, GCTC, Third Wall, Evolution Theatre offer artist rates. How do you prove you're an artist? Usually with your union card. That said, if you are not in any performers union, I believe they will all accept two contrasting monologues at the box office... but don't quote me on that.

Volunteer! Every theatre company in town needs volunteers and it does come with benefits. In most cases, volunteers actually get to see the show on the night of their shift. I know this is the case for Evolution Theatre and it sometimes works out for other companies like The Gladstone and A Company of Fools (unless they happen to need all their volunteers for a secret ice cream experiment...) I wanted to see the amazing Inclement Weather/Countries Shaped Like Stars again when it was presented at the GCTC, but couldn't afford the $20. I offered my services on opening night and boom! I got to fall in love all over again.

The added bonus of volunteering means you get to know the people involved with the production. Today's front of house volunteer may be tomorrow's performer... or at least that's what I keep telling myself.

Join Mailing Lists, Facebook Groups and watch Twitter Feeds How else will you know what shows are playing in town? (Other than the brilliantly up-to-date What’s On – À l’affiche listing by the Ottawa Theatre Network) Lots of theatre companies (perhaps taking a page from my book) run online contests and special promotions for their members. Vision Theatre, Evolution Theatre and Third Wall Theatre have all been known to do this. The Ottawa Fringe Festival ran a brilliant Friday Trivia contest on Twitter where you could win free tickets and other gift certificates. A Company of Fools also sends out a very informed newsletter every once in a while, so you probably want to sign up for that one too.

Pay Attention to Pay-What-You-Can! Every single company in town has a Pay-What-You-Can performance at some point in their run (and if they don't, they probably should). For instance, when I did Shining City with SevenThirty Productions, we had a PWYC matinee on the first Saturday in the run. During the summer, the Fools shows are by Pass The Hat donations. PWYC/PTH means whatever you can afford. Really, you have absolutely no excuse not to go. And how do you find out about the PWYC? See the point above this one.

Previews and Dress Rehearsals These shows are often free or cheap and take place before the official opening night. Sure you might not be getting a final polished performance, but when is a performance ever final? Besides, you're doing the theatre company a great service by being part of the test audience.

Know Somebody Finally, if not a single one of these suggestions works for you, call someone you know who might be involved with the production. (See, this is where all the networking you've been doing after attending performances is going to pay off.) Let whomever know that you can't afford to see their show but you really want to. Perhaps they will be able to offer you a comp or a discounted ticket. That said, only use this method if you really can't make it to the show otherwise. You do not want to abuse of this privilege! It's just not nice.

Or be friends with someone who happens to get a lot of invitations to shows (you know, like me). Typically these people get two free tickets to a performance and they might not have anyone to go with that night (because they happen to be single and can't meet anyone new because they spend all their time attending the theatre by themselves... ahem) I'm sure I they would be happy to have some company with which to discuss the performance post-show. Just make sure you buy me them a drink after. It's only fair.

....

What? This still isn't working for you? Alright. Fine. Here's my final solution: start your own theatre company, build it from the ground up over at least five years, somewhere in there start a blog, become a valued and indispensable part of your city's theatre scene, and watch the invitations pour in. It worked for me, but it's a lot of work. You might just want to pay the $10 instead.

I'll be seeing you at the theatre!

So You Want To Write a Grant Application

Those of you who have been following my Twitter feed over the weekend were probably well acquainted with #grantwritingapalooza - a term lovingly coined by me to describe the sheer volume of grant writing my theatre company and I need to get done over the next little while. Now, I won't get into a discussion about Arts Funding (or the lack thereof). There are enough blogs out there who make a better case for it than I do. I personally think that the current financial model we artists are working in is completely nonviable and unsustainable. (There's actually a discussion about this going on at the Praxis Theatre blog right now.) I hate how much emphasis theatre companies and individuals (myself included) place on government funding, which is never guaranteed, and it breaks my fucking heart when I see projects unable to get off the ground due to a lack of money.

That said, there is money out there for the arts. It does exist. Now let's see if you are in a position to collect it.

According to the good people at Wikipedia, 'Grants are funds disbursed by one party (Grant Makers), often a Government Department, Corporation, Foundation or Trust, to a recipient, often (but not always) a nonprofit entity, educational institution, business or an individual. In order to receive a grant, some form of "Grant Writing" often referred to as either a proposal or an application is usually required.'

Let's get something straight. Grant writing is not fun. It's a long and convoluted process that makes you feel like you are jumping through a thousand hoops while being asked the same question over and over again in a million different ways. Take the hardest essays you have ever written, throw in a detailed budget, put your entire soul on the line, and presto! That? Is grant writing in a nutshell.

However, as a good friend pointed out to me, if you can't clearly express your project idea, why should anyone who doesn't know you give you any money?

So, first things first: Do Your Research Most grant applications require at least four months between the application deadline and the project start date so this is not something you want to get into two weeks before opening night. Also, will you be applying on behalf of yourself as an individual, a company or a collective? Is your company a non-profit organization or a registered charity? This will affect the types of grants you can apply for.

There are a few avenues available to you in your search for grants. I had written many of them out here, but it made for a very long blog post. Instead, I'll be creating another post later on with a list of links. If you have any suggestions for me, please add them in the comment list. *Ed. Note - Post with grant listings can be found here.*

So you know what you want to apply for, now what? See those contact names associated with the various application forms? Call them! Don't be shy. These people are paid to answer your questions and it is a really good idea to approach them with your project to see if it's even viable before you get into the tedious writing process.

Look Over the Application Requirements Carefully Will you need three copies or six? What kind of support materials are required? Will you need bios or resumes of the people involved in the project? Ect... Just because you might be applying for more than one grant for the same project does not mean all the requirements will be the same.

Start Writing There are a lot of opportunities to be creative in your application. It's not a bad idea to introduce yourself under the artistic description for the project to give the jury a better idea of who you are and why this project is important. Grant applications are all about the "Why?" If you are passionate about something, make sure it shines through.

At Evolution Theatre, we write as a group. Grants can usually be divided into three categories, which works well for us since there are three of us in the company. Our Artistic Director writes out the Artistic Vision, our General Manager works on the Budget, and I, as Director of Communications, take care of the Community Outreach/Marketing aspects. Then, once a first draft is done, we pass it around to each other for edits. The Track Changes function in Microsoft Word gets a lot of use in our world.

Be Concise Grant assessment juries can see hundreds of applications a year. Keep things brief and to the point. Bullet points are your friend!

Have a Realistic Budget Make sure your budget is balanced and makes sense. A couple tips: artist grants are usually meant to cover anything involving the "art" - keep your business and admin expenses low; Don't ask for a ridiculous amount of money with the "ask for more, get less" mentality - you might be shooting yourself in the foot with that one; Have detailed budget notes and make sure you have a back up plan in case you don't get the money (some applications may ask this question).

Speaking of being prepared in case you don't get the money: I've probably written about a dozen grant applications now (both as an individual and as a member of Evolution Theatre) and I have been successful in getting three. I'm not sure what the statistics are on this, but I think that's probably a pretty good average for an emerging artist.

Get Someone to Look It Over As I mentioned above, we're lucky because there are usually three of us working on a grant application at the same time. That said, I have done individual applications and, trust me, it never hurts to have a little outside input. They might see something you missed. However, make sure the person you ask has some experience with grant writing.

Ask for Postage Confirmation If you're like me, you'll be handing in/mailing out your application on the day it's due (which is not the smartest way to go about it people, trust me, it's stressful - do as I say, not as I do!). If you have to mail it out, ask for a post-dated confirmation from the post office. I didn't get a confirmation once and was told by a theatre company my application was three days late, even though I sent it out on the right day. I pleaded my case and they did allow my application, however this is not the norm! Typically, I may never have even known it was considered late until much later, if ever. Spend the extra money, it's worth it for your own peace of mind.

I hope these tips help you out in some way. If you have any of your own, please add them in the comment section below. Now, if you'll excuse me, I've got two more applications due on Monday, which I really have to get to.

2009 And We're Feeling Fine

It's so very easy to get stuck and lose perspective, especially in those doubt-filled moments where you think your life isn't going anywhere. It's therefore important for me to look back every once in a while and take stock of all the things I've accomplished and have going for me. What better time than the new year to do just that? So without further ado, here's a look back at 2009 (most of which you can review by going through my blog archives): I rang in the New Year in a new city, with new people. This was a sign of things to come because 2009 was definitely a year of travel (oddly enough, while looking up my old blog for past resolutions, I predicted 2008 would be the year of travel, which it definitely wasn't). All in all, I've spent time in London (ON), Kitchener-Waterloo, Montreal, Toronto & the GTA, Red Deer, Calgary, Winnipeg, Bathurst & the Acadian Peninsula, and Moncton. I also experienced my first overseas trip when I got to go to Beijing.

I am thrilled to note that most of this traveling was also for artistic/work purposes; either auditions, research or because I wrote something that was being staged in that city.

Speaking of writing, I wrote 3 plays in 2009, all of which have been produced, including one which I toured myself to Winnipeg after an enjoyable experience at the Ottawa Fringe Festival. Critically and financially my tour was a bust, but I learned so much from the experience and one day I will do it again. Also, after a great mentorship program through the GCTC on grant writing, both I and Evolution Theatre landed grants from the City of Ottawa (for me it was to write a show, for Evolution it was pool (no water)).

I took an incredible number of workshops related to acting in topics ranging from scene study to stage combat to physical theatre to clown work. I also completed a Certificate in Conventions and Meeting Management from Algonquin College. What I will do with it, I'm not quite sure, but I do know that I love learning and I am grateful for all the opportunities I had this past year.

2009 was also the first time I dedicated myself fully to being a professional artist and managed to do so without having a day job. In addition, I had an amazing opportunity to work with a theatre company and a director I had wanted to work with for a long time now.

Oh and at the 11th hour, my sister got married and announced that I would soon be an auntie!

It wasn't all sunshine and lollipops though. My grandma and a good friend passed away, I got my heart broken multiple times by the same person, people I trusted to always be there for me let me down in a big way, I struggled financially and creatively, but overall, I learned so much from everything that happened. It sounds corny, but I really feel like a different person from the one who began things in January 2009.

This past year was simply incredible. I am really looking forward to what's in store for me in 2010. Stay tuned for some of my upcoming New Year's Resolutions!

Tequila Sunset, Porcelain Sunrise

Since I've actually got a lot on my mind that I want to hash out, I am now unofficially dubbing this New Year's Week Blogtacular. Stay tuned over the next couple of days as I endeavour to write a post a day. Everyone from news outlets to good friends have compiled a decade in review, which got me thinking about my own past. That said, I'm probably just going to gloss over a lot in the last ten years and put more emphasis on 2009 in another post since it was one heck of a year for me.

Y2K started off pretty piss poorly. I was back home in New Brunswick for the holidays after completing my first semester of my first year of university in Ottawa. I decided to celebrate at a friend's party with a mickey of tequila and a mini bottle of champagne. Possibly anticipating the end of the world, I drank the whole thing. I rang in the new century praying madly to the Porcelain God for him to make it all go away (hence the title of this post). I still can't drink (or smell) tequila without getting violently ill (as I discovered on my birthday in 2009 - but that's a story for another day). I believe 2000 was also the year I got cast in my first lead role in Beth Henley's Crimes of the Heart at the U of O, got elected to serve professionally on the university's student council, went home for the summer only to realize you really can't go home again, got cast in my second lead role (this time it was The Lark), dropped out of school for a semester so I could do both the play and my student council job... and most of this happened before I even turned 19... wow, I didn't realize the year 2000 was such a busy one!

By 2001, things had deteriorated on student council, my roommate and I weren't getting along and I overcompensated for it all by eating and drinking way to much. I almost got kicked off student council because of an incident involving my drinking (one that I am not proud of, but that is pretty darn funny ten years later - again, story for another day) and I swore of booze for the rest of the year. I ran for student council again, but lost. I was devastated but found solace in my first grownup relationship, which would last for close to 6 years.

I honestly can't really remember much of 2002, except that I mostly laid low, organized a few events, wasn't cast in anything, fell in and out of depression, and probably wasn't a really great person to be around at that time.

In 2003, after cheering wildly at a Gee Gee's game, I was spotted by the Promotions Officer for Sports Services who immediately offered me a job on her team. So began my introduction to the world of Marketing and Promotions. I kept up one of my earlier electoral promises (even though I hadn't won) to create the First Annual University of Ottawa Arts Week, which was picked up by Maclean's Magazine as one of their Best Bets for the 2004 campus edition. I also focused on my studies and managed to pump up my grade point average in my last year from a decent B to an A (though this would not really matter for my overall CGPA, unfortunately).

I graduated from the U of O in 2004 with a B.A. Honours in Theatre and a Concentration in Political Science, as well as an additional B.A. Concentration in Canadian Studies. Yes, I have two university degrees. I got my first full-time job out of school working for Sports Services and got my very first acting agent. I also started my first blog.

My contract at Sports Services ended in 2005 and was not renewed. I was hurt but decided maybe this was the right time to take the professional acting plunge. Unfortunately, I didn't do much more than community theatre and watch a lot of daytime reruns on TV. I had moved in with my boyfriend at this point and I was becoming incredibly lazy. Then I was approached by my friend Linda from school to audition for a play she was putting on with her boyfriend Chris. I didn't want to audition because I thought Chris hated me, but I did anyway because Linda insisted. I landed the part and, grosso modo, Evolution Theatre (frankly, all thanks to Linda!) was born. This was also the year that my amazing friend Claudia introduced me to Michele Lonsdale Smith and my life as an actor was shifting into completely new ground.

By 2006, I needed a job and did a brief stint at the Magnetic North Theatre Festival. Acting was still mostly community work, though I did land my first union credit for an internet video which you can still see here.

I became restless in almost every part of my life in 2007. I landed a full-time job working for the Canadian Museum of Civilization and the Canadian War Museum in their Marketing Department and wondered why I was so hurt that Sports Services didn't keep me on since this job was waaaaay better! I also got braces that year. I ended things with my boyfriend and it was one of the hardest things I ever had to do. Then I went and bought my own house which has now become my oasis in this crazy world. I also wrote my first play which I produced for the Ottawa Fringe Festival.

In 2008, I fired my agent and found another since I was getting all my own work anyway. After getting cast in my first professional film and theatre gigs, I decided to leave the museum (after getting promoted, no less) for acting. The braces also came off during the summer and I caught my first show at the Stratford Theatre Festival: Caesar and Cleopatra, starring Christopher Plummer.

And this brings us to 2009 (blog post coming tomorrow!)

Evolution Theatre's Arabian Night

The reviews have been pouring in for Evolution Theatre's Arabian Night. See what everyone is saying and then call Cube Gallery to reserve your tickets - 613-728-1750 The show runs from Wednesday to Saturday at 8pm and half the tickets for Friday and Saturday night's performances are already gone.

If you want to stop on top of what Evolution Theatre is doing, be sure to join our facebook group!

See you at the Theatre!

Nancy

Photo by Tim Ginley - Stewart Matthews (front) and Richard Gélinas

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Patrick Langston - Ottawa Citizen "Emily Pearlman('s) physical expressiveness always delights" "Richard Gélinas... does his best work in these disconnected roles" "Evolution Theatre to its credit continues to take risks with its play selection."

Read the full review here.

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Alvina Rupretch - CBC Radio "A VERY (capital letters hers, not mine) interesting play. Good ensemble work. And it’s sure that no other company in Ottawa is doing what Evolution dares to do. So do take a chance and go see it. It's very good."

Listen to the full review here, after the Drowsy Chaperone review

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Wayne Current - (Cult)ure Magazine "One of the strongest casts assembled this year."

Read the full review here.

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Lesley Buxton - The Wellington Oracle "The acting is first rate." "This is an important production..."

Read the full review here.

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Erika Morey - Apt613 "Most noteworthy, however, was Kate Smith’s riveting performance..." "...take advantage of the opportunity to see high-calibre experimental theatre right here in the city..."

Read the full review here.

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Nadine Tornhill - Local Blogger "Emily Pearlman and ... Kate Smith are some of this city’s strongest performers." "Evolution Theatre is never boring."

Read the full review here.

No Rest for the Wicked

Dear Sleep, I know we haven't been on the best of terms lately and, although I think most of the blame lies with your commitment issues, I am willing to be the bigger person here by putting all that behind us. I think the root of our conflict lies in the fact that you are a big fucking tease. You just come in at all hours of the day or night, you make me all happy to see you, and then, instead of sticking around for some cuddle time like we used to, you just up and leave. What is up with that? I'm all for a booty call every once in a while, but let's have some moderation please! What happened to us? It was China, wasn't it?

Listen, I've got a pretty big day tomorrow filled with a lot of running around. I know, I know, when do I not have a day filled with running around? But this one is different. You see, I've got this event I've kinda organized and it's a bit of a big deal. It involves diplomats. You really wouldn't want to be blamed for some kind of international incident, would you sleep?

Also, please, don't decide to show up all of a sudden at my big event either. You know I'm powerless to resist you. If you're there with me, other people might think you are an appropriate guest to bring to the theatre.

I know I sound harsh, but it's just that I miss you so much, you know, and it's driving me a little crazy. It's just not the same without you around anymore. So how about we try and work things out tonight? I've cleaned the sheets and everything.

What do you say?

Love,

Insomnia in Ottawa

Faith in Evolution

As you may know, I am one of the founders of a local theatre company called Evolution Theatre. We are now at the end of our fourth year in existence and I am just blown away by how far we've come in such a short time. We've put on a total of 9 productions, we've received a number of award nominations and acknowledgments (CBC Radio's Alvina Ruprecht once called us an important contribution to the professional theatre scene in Ottawa), and we've become a registered charity with a season sponsor and a variety of donors. We've made it a personal mission to bridge the gap between the French and English theatre communities in Ottawa. Many of our shows have been translations of Québécois work (to the point where next year you will see our first fully commissioned translation of a piece) and every production involves Francophone actors, designers and crew. We've gone from a small independent company conceived in order to create meaningful work opportunities for ourselves into a small independent company that creates meaningful work opportunities for all local theatre artists. In addition, we've gained a reputation in this town for presenting work that is quite experimental, unconventional and takes risks that I fully believe are paying off. All in all, we make good art and I couldn't be more proud or more pleased.

We have a show that opens this week at Cube Gallery in Ottawa called Arabian Night and I want you to come see it. Here's why (in no particular order):

1 - The cast: This play involves some of the greatest actors in this community. People whose names you will recognize and whose work I absolutely admire. Richard Gélinas, Bradley Cunningham Long, Emily Pearlman, Stewart Matthews and Kate Smith. I'm not going to post their resumes here, but I am quite certain that if you have a seen a show in Ottawa over the last year and enjoyed it, chances are one of these people was involved with the production. I don't like to use the word "all-star" but I think you all know what I am getting at.

2 - The director: This is the first time Evolution Theatre has contracted a director from outside the company. I believe this is just another aspect in our growth and it has allowed us founders the opportunity to solidify our administrative skills and bond more deeply as a team. That said, we didn't want just anybody to direct one of our shows and so we sought out an individual whose work we truly admire. Natalie Joy Quesnel was actually one of the very few names that we could all agree on. Having seen bits and pieces of the show throughout rehearsals and during the media call, I can tell you that Natalie brings a solid vision to this piece; one that is very stylized and dance-like, but meshes incredibly well with the dream-like nature of the show. You ain't seen nothing like this, Ottawa!

3 - The award nominations: The cast and crew of Arabian Night have over 15 award nominations and wins among them. These include the Rideau Awards, the Capital Critics Circle, the Ontario Arts Council, the Ottawa Fringe Festival, the Golden Cherry Awards, and the Ottawa Xpress. This production actually reunites the multi-award nominated team that brought you Third Wall's Betrayal a few years ago, among other things.

4 - The show: This is the Ottawa English-language premiere of Arabian Night by Roland Schimmelpfennig, translated by David Tushingham. At Evolution Theatre, we like being able to provide Ottawa audiences with something they have never seen before and this play is no different. We're calling it an erotic urban thriller. On the hottest night of the year, five characters spin an intricate tale that blurs the boundaries between the real and the imaginary while the heat gives rise to their deepest desires and subconscious fears. The show is a critical darling in Germany (hence why His Excellency Dr. Georg Witschel Ambassador of the Federal Republic of Germany will be in attendance on opening night) and has played to much acclaim all over the world.

5 - The company: People who've missed an Evolution Theatre show always seem to say "Oh I heard such good things about that! I'm sorry I missed it." Well, don't be sorry this time around and see what all the fuss is about! I will be absolutely honest with you. Of the 9 shows that we have produced, there is only one that I did not enjoy. I don't know about you, but those are some odds that I am willing to go to the bank with.

6 - The venue: This is the first time that we are putting on a show in a non-theatrical space. Cube Gallery has been an incredibly generous production partner and I believe that being immersed in the current exhibition, The Three Tooners, adds a certain level to the show that you would not find in a regular space. Plus, the exhibition is just amazing. I recommend people come right when the doors open at 7:30 p.m. in order to enjoy it all.

So, what are you waiting for? Call 613-728-1750 to reserve your tickets as seating is limited. It runs from October 14 to 24 at 8 p.m. (no shows on Monday and Tuesday, though we do have a Sunday performance). Tickets are $20 general admission and $15 for students, seniors and starving artists. Our official opening night is on Friday, October 16th and it includes a reception post show with, as I mentioned, the German Ambassador. Tickets for that event are $40 and include food and beverages post-show, as well as an opportunity to mix and mingle with the cast and crew.

There is a lot of great buzz surrounding this production. Our preview show on the 14 is already sold out and half the tickets are already gone for both opening and closing night. We're also holding a special Facebook Friends event on October 15. If you are our friend on Facebook, you will get a $5 discount on the Thursday night show if you click on the event link and tell us you will be attending the performance. Your name will be on a list at the door to receive your discount.

Though it may seem biased, I sincerely believe in this production and in the people involved. If you see this show, trust me, you will not regret it.

Screw You Guys, I'm Going To China!

(ed. note - I hope no one thinks I'm being mean with this title, I'm just bastardizing a South Park quote because I think it's funny. It's funny, right? Right. Keep reading.) Va... ca... tion...?

What is this foreign work you speak of?

The last time I had a vacation, I was 16 years old and I went to Florida with my family (FYI Universal Studio kicked more ass than Disney, even though the Terminator ride broke down). Of course, you could claim that I went on a family vacation two years ago when my mom, my sister and I drove through the Rockies and ended up in lovely Nelson, BC, but that was more of a workaholic's vacation. I had my laptop with me and I distinctly remember spending an awful lot of time writing press releases for the Ottawa Fringe Festival and reworking drafts of a script. I also remember my mother often gently trying to persuade me (i.e. getting annoyed but trying not to show it in front of company) to get off the damn computer and come spend quality time outside, which I did... I sat on a deck with the Rocky Mountains rising above me and a lake spread out below me... and my laptop hugging my knees.

I'm sick. There is something definitely wrong with me. I'm addicted to work. Everything is work or becomes about work. Going to see a show is about work. Taking a new class to gain a new skill becomes "something I can put on a resume". About 95% of my friends are also my colleagues. I run Evolution Theatre with two such friends. We often say that we're just going to hang out, have lunch, watch a movie, or maybe plan a wedding... the discussion inevitably comes back to work.

Don't get me wrong. I love the work I do. I am blessed and grateful to be able to do what I do. But (and I can't believe I'm saying this) maybe I work too much? Is there such a thing? Yes, I guess there is.

I'm going on a trip tomorrow and, with lots of publicity work for Evolution Theatre's next show ahead of me, I started feeling massively guilty for doing anything that was for myself. Going to class or rehearsal, even eating and bathing were practically taking a back seat to what I so desperately thought "needed to be done". Like I said, I'm sick.

You know what, it did need to get done and, better yet, it did get done, but at what cost? My health? My sanity? My peace of mind? I learned a valuable lesson this week. I'm absolutely useless to anyone if I don't take care of myself first. I especially thank the folks in my Playback Theatre company for putting me back on the right track. Once I finally gave in to being at rehearsal, which was where I really wanted to be, and let go of the guilt, I suddenly got better. I was refreshed and recharged and that's why all my work got done this week.

So when my old roomate (and one of the 5% of my friends not involved in the arts - though Gruppo Rubato is trying to change that with Airport Security - check out a staged reading of it this weekend!), who is also a flight attendant, invited me to go with her to China of all places, I jumped at the chance. Yes, I really am going to China. Tomorrow. I leave tomorrow.

And I'm going to do something crazy... something drastic... something so beyond me...

I'm going to disconnect from the Matrix.

Yes, you read that right. No laptop, no iPhone, no Twitter, no Facebook, no email, no *gasp* flat iron. I'm leaving it all behind. It will just be me, my friend, and my poofy hair. As of tomorrow morning, I will be unreachable and not working... Ok, I'm going to cheat a wee bit because I'm going to be reading a book about Roller Derby but it's a NOVEL, so that's alright.

(And uh, BTW, if I'm not back in two weeks, could someone please call the Embassy in Beijing and make sure I'm not rotting in a Chinese prison somewhere... kthxbye!)

My guess is I'll be going into massive electronic withdrawal at some point over the Pacific Ocean. As long as I don't end up re-enacting the toilet scene from Trainspotting though, I should be ok.

So please go ahead and miss me. I know you will. But I'll be back refreshed, recharged and with plenty of photos to share on all sorts of new media outlets. And that? Is really, really nice.

gonefishin

The Return of Blogger Row

A few months ago, I was granted a wonderful opportunity by the National Arts Centre, as a blogger, to attend a concert with the NAC Orchestra (and totally geek out from a meeting with Mr. Sulu - yes THE Mr. Sulu). The only catch was that I had to blog and tweet about the event. I had seats in the very last row of the very last balcony of the NAC's Southam Hall, which I affectionately dubbed "Blogger Row" in a tweet after realizing that I was sitting with a lot of people I followed on Twitter.

Well, the name's stuck and the NAC is doing it again. I was invited to attend Beyond the Score: Mozart's Final Piano Concerto. I won't be able to attend tonight due to a prior engagement, but I just wanted to take the time to note my appreciation to the NAC for this offer.

I've been incredibly impressed with the NAC and their social media marketing campaign. Here is a great example of an art's organization who has fully embraced new media. Their website includes videos and podcasts to make your experience more interactive; they use Youtube, Facebook and Flickr; you can access live recording's from the NAC Orchestra through their Musicbox; most of their marketing staff can also be found on Twitter.

If you're a blogger, you should definitely get in touch with these people!

As the Director of Communications for Evolution Theatre, I find this inspiring. We don't have a budget that compares to that of the National Arts Centre, but all of these means of promotion are fairly inexpensive to implement. Mostly, you just need the time to keep things up to date.

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With all this in mind, we, at Evolution Theatre, have decided to take on our own social media experiment.

Would you like a discount on our next production - the Ottawa English language premiere of Arabian Night? Then you should be our friend on Facebook!

October 15th will officially be our Facebook Friends' Night for Arabian Night at the Cube Gallery. Everyone in this group will be granted $5 off their regular ticket price ($20 general admission / $15 students, seniors and starving artists - valid id required) for this night only.

Here's what you need to do. Go to the Arabian Night event page and indicate that you will be attending the show:

http://www.facebook.com/group.php?gid=6838688181#/event.php?eid=147376941961

(Check out the incredibly hot publicity photos by the amazing Tim Ginley while you're at it!)

We will be printing out the invitation list as of 3 p.m. on October 15th. You MUST let us know you are attending the event or we won't be able to verify that you are in our group and give you your discount.

Only one ticket discount per person. If your friends would like a discount, just have them join the event and the group! It's that simple.

Seating is limited, so if you would like to reserve your seats in advance (cash payment required at the door), you can do so by calling the Cube Gallery at 613-728-1750.

Evolution Theatre's Next Show