Ottawa Theatre

Standardized Testing

Through my twitter updates in the past few weeks, I had made mention of working as a Standardized Patient. This led to a few people (ok, one - Hi Wayne!) asking for a post on the topic, so here it is. Wikipedia gives a pretty good definition of Standardized (or Simulated) Patients which can be summed up as: an individual who is trained to act as a real patient in order to simulate a set of symptoms or problems. Simulated patients have been successfully used in medical education, evaluation, and research.

I've been doing work over the past couple of months through the University of Ottawa Medical School and the Royal College of Physicians and Surgeons in Canada. Though I've been sworn to secrecy regarding the "roles" I was playing (literally - we had to sign confidentiality agreements), I can tell you a bit about what it entails.

At the U of O, I've done in-class standardized patients, practice exams, and the actual exams for the Med Students. I've also been sent out to some psychology department so the students could sit in on a "session" and I've been used in a training session where doctors have to practice their empathy skills in difficult or delicate situations. At the Royal College, I've participated in the specialization exams. This is where current doctors have to pass an exam so that they may specialize in a particular discipline in the field of medicine.

It's a pretty interesting form of acting work when you think about it. You're given a character, some given circumstances/symptoms and sometimes you even get lines. You get training sessions (and like any rehearsal process, you have to attend every one you are called for) and, in certain situations, you get to improvise a lot. Sometimes it's just a matter of thinking quickly on your feet (say a candidate asks you your husband's name or your current profession - which was not outlined in your information packet), but other times it may be a full blown improv (like the psych and empathy ones were for me - "You are Person X and you did this - Go!").

I also run into a lot of fellow actor friends when I do the SP work. It's understandable. When times are slow, it gives you a chance to somewhat stay sharp and still get paid for it. And the pay is pretty darn good, though it takes a quite a while before the cheque comes in. Oh and sometimes they have food. I like food.

The work is pretty sporadic - every Spring and Fall, but if you are interested in doing this in the Ottawa area, let me know. I have the names of people you can get in touch with. They will pretty much take anyone who is responsible and willing to do the work. I've also heard that this type of work takes place for Law and Police exams, though I have yet to find a contact for those. If anyone knows how I could get into this, please leave a comment and I will be in touch.

The Struggling Artist

I've never really loved the term struggling artist because honestly, does the artist really have to be struggling? But currently, I find my situation to be just that. As I just previously mentioned, I have not gotten work since last November. Incidentally, that was also voluntary work, so in all honesty, I have not gotten paid work since last October. I've been getting by on savings and the help of a certain government program, but those savings have now dried up and my ability to use this government program ends in August. While looking for work I've had many marvelous opportunities to develop and grow as an artist. Growth that I do not think would have been possible had I been working full-time. I am grateful for the time that has been allocated to me. I've written three plays, one of which I am producing myself for the Ottawa and Winnipeg Fringe Festivals, taken a multitude of workshops, traveled all over the province, and met some amazing new people. But now? I'm scared. I'm really f'n scared. For a little while today, I thought I wouldn't be able to breathe anymore. It felt like someone dropped a rock on my chest and added three sumo wrestlers on top for good measure.

The thoughts that keep running through my mind all involve desk jobs, condo sales, and community theatre... not exactly where I thought I would be.

I'm not looking for sympathy or answers right now. I know that the answers can't come from anyone but me. Still, I wish my mind would stop racing long enough for me to figure it out.

The Bigger Fear

Generally, writing a play does not scare me. Not to belittle the job of the playwright (because there is a tremendous amount of work involved), but I can just write something and, if someone decides they like it and want to produce it, I can just sit back and enjoy the show. It doesn't matter if I've revealed a part of myself in the lines or not because no one really sees me in the words. They now belong to the actor speaking them. The problem, or should I say the paralyzing/gut jarring/appetite destroying fear, occurs when that actor also happens to be me. Maybe it's because I haven't done it in so long (last November and counting). Since appearing in Meta Schmeta, I have had many auditions with zero results. It was one of the main reasons I got back into writing - to create something that I could appear in. That said, it's during these bouts without work that many actors begin to doubt themselves (What am I saying? Actors are always doubting themselves) and I'm no different. I start to think maybe there's a reason I haven't been working in so long. You know those thoughts of maybe I'm simply not good enough... Maybe everyone else has come to the realization I'm not really that great of an actor and I'm just oblivious to it all. Yesterday, I had a talk with a friend who mentioned the mistakes an actor keeps making which prevents them from getting work, but their ego is so much in the way that you can't approach them about it. I couldn't help wondering: is someone somewhere having that same conversation about me and I've just been blind?

My gut tells me that's not the case, so I carry on. And this summer, I'm laying it all on the line - words and voice. I've written a show which I am producing for both the Ottawa and Winnipeg Fringe Festivals (see my Upcoming Appearances page for details). I've been blessed with a fantastic director and an amazing scene partner. These people, I'd like to think, would not be working with me if they didn't believe in the project (they sure as hell aren't doing it for the money). They're faith encourages me and reminds me that I also have faith in myself... somewhere... I think it's near the stomach... I am proud of what we are coming up with in rehearsals and I know already that this production will be ten times better than my last attempt at self-production (live and learn). Success, for me, is just making this happen. I guess I'm on the right track.

Who am I trying to be good enough for anyway?

No Exit Upstage

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).

pool (no water) Photo Credit Tim Ginley

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

pool (no water) Photo Credit: Tim Ginley In Photo (l to r): Kate Smith, Jerome Bourgault (behind), Christopher Bedford, and Kel Parsons

May Day Improv

I have the utmost respect for people who do improv. You're up there, in front of a (hopefully) large crowd of drunkards who want you to do something funny and you have nothing to fall back on. No script, no planned rehearsals. Just you, your wits, and the support of your teammates (who may or may not be the drunkards themselves) . It's a scary feeling and when/if you bomb, it can hurt. But when it is done well? Man, is the victory ever sweet. Lately, the Ottawa Improv Scene has truly been blossoming thanks to a variety of Improv Awareness events brought about by the fine folks at Crush Improv. And they're not done yet!

This coming Friday, May 1st, at 8:30 p.m., they will be hosting the first of many improv events at GoGo’s in the Byward Market (349 Dalhousie St.). Crush Improv hits the stage in what "promises to be the next great comedy venue in Ottawa" (here's hoping!) for a show scheduled to take place every second Friday. Since it's improv, it will be a different show EVERY TIME, so you better attend them all to make sure you don't miss anything! Oh and it's an all ages event. Just be sure to bring some i.d.

I look forward to seeing you at the May Day event!

Sulu and I

Allow me a little moment here to fully dork out. I have a few secret "shames" (quotation marks because I'm not ashamed of them at all, though others tend to be). These include such things as ABBA, video games, professional wrestling, comic books, and anything Star Trek (and all other SciFi by extension). Well, yesterday, thanks to the National Arts Centre, I got to fully geek-out at their Sci-Fi Spectacular with the NAC Orchestra. In what I consider to be an absolutely brilliant marketing move, the NAC sought out local bloggers and not only gave them free tickets to the show, but also the chance to meet the evening's narrator, George Takei (Mr. Sulu himself!) I think this is a fantastic idea since it gives the NAC an incredible web presence and shows that they are open to new media in order to attract an audience. The show was really good though everyone was wondering when George Takei would show up. Suddenly, the lights went out and there was that ever familiar hum... of course he would BEAM in! I got to chatting with a few others in Blogger Row (the very last row of the NAC balcony seemed to be set aside solely for us - no worries though, we still got an incredible view). I demonstrated my ultimate dorkdom when I pointed out that Mr. Takei wasn't narrating the text from the original Star Trek, but the one for The Next Generation. You see, in the original series, Kirk would say "it's five year mission" and "where no man has gone before" whereas Picard updated the mandate to "it's continuing mission" and made it more PC with "where no one has gone before." Contrary to what you may be thinking, I was respected for my knowledge.

After the show, Blogger Row was ushered into the NAC Salon for a private meet and greet. I have to say that Mr. Takei was a very warm and genuine individual. I could listen to him speak all day. For those who are curious, apparently his character will be coming back to Heroes in the new season. Though we were pressed for time (a fan line was quickly growing outside the Salon), he was kind enough to sign my ticket stub and pose for a photo. Though I don't have the photo yet, here's my stub.

georgetakei1

A big thank you to the NAC and @jcovert for organizing all of this. You can still get your very own glimpse of Sulu with one more performance by the orchestra tonight at 8 p.m. It's well worth it!

A Pre-Fringe Experience

I'm currently in London (ON) smack dab in the middle of the Big Comedy Go-To, a brand spanking new festival that includes sketch, stand-up, improv, theatre and musical comedy on the menu at three different venues over the weekend. Though I'm primarily here to support a friend, it's an awesome opportunity for me to mix and mingle with plenty of talented artists who often make the rounds of the Fringe Festival Circuit. A full-festival pass is ridiculously cheap ($50) and allows me to see everything... and so far I pretty much have. The festivities began on Thursday night with Jimmy Hogg's Like A Virgin, a new piece which he plans to tour this summer... so new that this was in fact his first public performance. I drove into town about 15 minutes prior to curtain. I didn't think I would make it, but I am definitely glad I did. Jimmy is an incredibly hilarious and charismatic performer. He had a small but very appreciative crowd, as you can see from this review. For those of you in Southern Ontario, I highly recommend you make the trek down to the newly renovated Arts Project on Sunday at 6 p.m. To all my Ottawa friends, have no fear! You will get your chance to see Jimmy at the Ottawa Fringe Festival this June. I know I'm really looking forward to seeing it again once it's had some time to develop.

A real stand-out performance for me came shortly after with Nile Seguin's Fear of a Brown Planet at the Black Shire Pub. This guy was amazing (and he's from Ottawa). His show is a bit of a long form stand-up routine, which can often be hit or miss. However, Nile delivers a smart and witty performance that made the hour just fly by. Every joke was solid and when he was done, I still wanted more. If you ever hear that this guy is doing a show in your area, drop whatever you are doing and go see it. You will not regret it. He is also doing a show on Sunday at 6 p.m.

That said, not everything is amazing. I saw some improv which was just alright. Improv is such a tricky art form. It is really difficult to do well and I have the utmost respect for those who attempt it. I found the main problem with what I saw was that people often didn't know when to just end the scene and so they'd just keep going once the joke had peaked or they'd just go for the tried and true guy on guy action, because gay-ness is funny. Then again, if I see it done again tonight, who knows, it will be completely different and may be the best thing I see all weekend... That's the beauty of improv and theatre festivals in general: you never know what you're going to get.

So that was Thursday. On Friday, I caught The Power of Ignorance by Chris Gibbs and TJ Dawe. The show was great but I was completely distracted in the venue by people coming in and out, chairs being moved around in the room above us, and staff coming by our table to take food and drink orders (um, no I'm not hungry I'm watching a play!). The turn out for this show was also incredibly low (in fact, I heard the show that came before, Who's Afraid of Tippi Seagram? had to be canceled due to nobody showing up) which was unfortunate. Really low numbers, meaning four, for Rob Salerno's Fucking Stephen Harper too. I don't know if this had something to do with the hockey playoffs or perhaps a general lack of awareness of the Big Comedy Go-To (unless you're on Facebook, it's hard to find an online schedule). Things picked up for the London favorite, The Boneyard Man though.

I've got to head out and see more shows today, but I will leave you with the schedule in case you're in the area. Come and support your local artists. They're doing some really good stuff! I'll post more later on if I manage to find another internet connection.

SATURDAY, APRIL 18, 2009

ARTS PROJECT 2PM Passionfool: 7 Stories 90m $18 4PM Panel Discussion FREE 6PM The Circus Show (Siegfried & Roy - The Comeback/Morro's Sorrow/Steve Seguin) 75m $15 8PM Passionfool: 7 Stories 90m $18

LONDON MUSIC CLUB 6PM Rob Salerno: Fucking Harper 35m $8 6PM Chris Gibbs: Power Ignorance 75m $10 7PM Theatre Nemesis: Which is Better? 45m $8 7.30PM Who’s Afraid of Tippi Seagram? 60m $10 8.30PM Prop Knucks/Project G-Force/ Approximately 3 Peters 90m $15 8.30PM Matt Martin: King Alive/Sexual Tyrannosaurus/You Are Awesome 90m $10

BLACK SHIRE 7.30PM STAND-UP: Your Tax Dollars at Play 90m $10 10PM STAND-UP: The Big One 120m $15

SUNDAY, APRIL 19, 2009

ARTS PROJECT

2PM Josh Cottrell and Aaron Youell: He Ain’t Heavy 60m $10 4PM Paul Hutcheson: Third Time Lucky 60m $10 6PM Jimmy Hogg: Like A Virgin 60m $10 8PM Alex Eddington: Tired Cliches 60m $10

LONDON MUSIC CLUB 6PM Four Lb. Beauty Pucks/Good Game 60m $10 7.30PM Cody Rivers/Fully Insured 90m $15

BLACK SHIRE 6PM Nile Seguin: Fear of a Brown Planet 60m $10 7.30PM STAND-UP: Open Mic 60m PWYC 10.30PM CLOSING NIGHT PARTY!

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.

Funny How That Works

I seem to have a lot of trouble writing from home. I find there are just too many distractions. Have you ever seen the movie Hamlet 2? There's this one bit where he just sits at his computer forever, can't seem to get anything done and then just yells at the cat. That's exactly what it's like which is why I usually find myself at coffee houses (or the office), preferably Bridgehead's since they have free internet access. That said, today there was some sort of protest going on today which detoured buses and prevented me from going to my usual spot. So, instead I met up with a friend who was also stranded and went for a little bus adventure. Once he got off at his stop, I just stayed on. Somehow this change of scenery totally freed up my writer's block and I was able to scribble away a second draft of my Fringe Festival script.

Funny how that works.

Hamlet 2 is not a very good movie, but as an artist there are so many "LOL OMG - yes that's exactly what it's like moments" that I couldn't help but be amused. For those of you who haven't seen it, watch the trailer below. Almost all the best moments are in it... well, the ones that aren't crude anyway. Somehow they weren't able to add Steve Coogan walking away from his computer bare ass or his reaction after reading a bad review of his latest high school play (a two hander version of Erin Brockovich) in the high school newspaper and yells, 'I feel like I'm being raped... in the face!' Seriously, that never got old! And because I feel like it, I few more clips from the movie. My gift to you:

[youtube=http://www.youtube.com/watch?v=u0iR_DRcBbI]

[youtube=http://www.youtube.com/watch?v=meiWRzpil4s&feature=related]

[youtube=http://www.youtube.com/watch?v=GD3s0knCCtA]

60 Words

60 freakin' words That's all I have to tell you all about my upcoming Fringe show and why you should see it.

And right now, I feel like I have nothing.

sigh

I think it's easier to write a whole damn play than 60 words about the play. And I'm suppose to be some kind of marketing expert?

Hopefully sleep brings perspective...

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

90% Perspiration

For the past two years I have been in constant contact with a small professional theatre company on the outskirts of Ottawa in order to get an opportunity to audition for them. Yes, you read that right: two years. Every couple of months or so, whenever I had a project coming up (or better yet, saw that they did), I'd be in touch. And then I'd follow up, just to be sure. Acting is a business of connections. Though a lot of it revolves around who you know, it also revolves around who still knows you exist. Do I worry sometimes that I may be coming off as too pushy or a bit of a nag? Yes, sometimes, but then I remember that no one ever got blacklisted for sending in a resume/headshot.

I know a lot of people who complain that they aren't getting any jobs and yet don't seem to realize that these jobs don't just fall in your lap. You have to network, you have to build relationships, you have to let them know that you take this job seriously, that you are a good actor, and you are exactly what they are looking for.

So, after two years of persistence, I finally got an audition and it went swimmingly. Though casting depends on many factors that are outside my control, I know I did well and I know I will be on stage in that little community in the very near future.

I'm looking forward to it.

All of this has happened before...

For the second time, I am producing a show I have written for the Ottawa Fringe Festival. For the second time, I'm having trouble putting together my creative team. The people I would really like to work with are unavailable, which means I have to take a chance on someone new. And that scares me like you would not believe. I've mentioned before that this art form is a collaborative effort that is so much bigger than myself and I still believe that. I do. Honestly. However, I'm investing a lot of money, time, and, yes, even a little part of my soul into this endeavor. I'm already taking a big risk. Now I have to take it a step further by trusting someone who's work may not be familiar to me... I'm having trouble letting go.

Breathe

This happens all the time after all. Who is ever truly "in control" when it comes to creating theatre? I just have to keep doing the best that I can with what I have and trust my instincts will help me select the best people for the task at hand.

I want people to trust me. I guess it's time I started trusting them.

Clowning Towards the Truth

Just recently I completed a workshop in Clown and, a little while before that, I did one on Physical Theatre. Both these workshops get you to perform behind some sort of mask (an actual mask in physical theatre and a clown nose for, well, clown). However, what I learned very quickly is that you can't hide behind the mask. It sounds weird, I know, but there is was. With your face covered, your entire body becomes your only true method of communication to your audience. If you try and hide anything you might actually be feeling, they will know it, they will be bored, and, in my case this past week, a crazy man with a tambourine will gong you offstage. And this is when I realized how physical theatre, clown work and all their derivatives will help me be a better actor. It's all about revealing yourself and your truth. It's about being connected to your body, your instrument, and how grounded you are in the moment. It's about giving a compelling performance that moves people and ensures they never feel like looking away. Now, I don't consider myself a "physical" actor by any means (though with more practice, who knows?), but if I can bring all of that to my "strait" performances, I think I've got the beginnings of something great.

My First Time - A Staged Reading of Buds

I didn't know what to expect. I had quite an enjoyable train ride to Kitchener-Waterloo and was greeted by a lovely young woman holding a copy of my script out in front of her. It's better than any sign anyone could have made. We arrived at City Hall and I expected to walk into an auditorium of some sort. Surprise number one: the staged reading for She Speaks was taking place in the City Council Chambers. You'd never see this in Ottawa.  The only performances happening in our chambers aren't usually works of fiction and may involve funding cuts to the arts, not support for them. Not for the first time that night, I wish I had brought my camera.

I took a seat at the top and waited for the readings to begin.

Though I won't go into detail about everyone else's shows, I have to say that there was a lot of good stuff being presented. Also, the imaginative ways people used the space was excellent. Which brings me to surprise number two and three: my play as actually quite good and could be staged around a conference table. Neat!

Since this was a staged reading, I thought the stage directions would be read out loud. Imagine my surprise (number 4!) when I heard sound effects being used. Only once had I heard my piece read aloud, and this was for an earlier draft. It was great to see how the whole thing might turn out with some of the technical elements in place and that I wasn't completely out of my mind for including them in there.

I had purposefully refused to re-read my script before I saw it staged because I didn't want to have any ideas about the piece. I just wanted to enjoy what someone else brought to the table. They did not disappoint!

I got to participate in a talk-back after the show with some of the other playwrights in attendance. Feedback on my piece was incredibly positive and encouraging. One person asked if it was hard to let go of the play and have rest solely in the hands of the actors and the director. My honest answer? I couldn't have been more thrilled. First of all because someone else took an interest in something I wrote and secondly because I truly believe that theatre is a collaborative effort. This art form is simply much bigger than me and I would do it a grave injustice if I selfishly held on to my work in order to assert some kind of creative control. You can't control art once its unleashed upon the world. You can only sit back and enjoy the ride. Who knows, you might even learn something.

I had such a great and inspiring time.  If you're a female playwright, I highly recommend you look into She Speaks for next year.  Also, they've got another event for short plays called Asphalt Jungle Shorts.  It's site specific theatre and I beleive it is open to everyone, male or female.

A big thanks to Paddy and the gang for everything!  I look forward to seeing some of the video footage.

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

Interested in producing a short-play?  Might I suggest Buds, now that I've had some time to tweak it a bit (though not much) after the reading.

Buds by Nancy Kenny Approximate running time: 10 minutes Comedy - 2 M, 2 F Description: Great party last night, but how will the Taste Buds ever survive a day at work with a wicked hangover mucking everything up?

Please contact me through the comment section and I will get back to you shortly.

Hack Cough Choke

What is it about auditions that can turn a bright talented young woman into a pile of brainless mush? I prepared a monologue I could recite in my sleep (in fact I wouldn't be surprised if I had).  I worked on a song that I had performed well not two days ago.  I was ready as I was ever going to be.  I went to bed with a smile on my face because I knew I was going to rock it.

Maybe it was hearing the beautiful notes coming out of the audition room or from people warming up down the hall.  Maybe it was running into some incredibly talented people also up for the same part.  Maybe.  But somewhere along the line, I lost my nerve.

First, I blanked on my monologue.  Then I forgot the melody to my song (3 times - don't ask).  Finally, panic started to seep in.  It was over before it even began.

I did learn something however, so there is at least that.  I know my weak points as a performer and I know what I need to work on.  Auditions are so few and far between that I really don't want something like this to happen again.

Now, deep breath, it's time to move on.

Learn to Warm Up, Dammit!

I had a wonderful little audition yesterday (though any opportunity to audition is wonderful) where I was asked to prepare a song and a short monologue.  I was also asked to stick around after for a group audition. Now, I spent a lot of time prepping for the song and monologue.  I warmed up my voice, ran the lines, ect.  However, I wasn't really sure what to expect for the group portion.  I figured maybe they'd have us read together or maybe just play some acting games together to see how we interact.

I wasn't too far off.  They did have us play some movements games set to music to see how well we played and responded to each other.  It was really no pressure and a lot of fun.  I'm a fairly active person so this truly was going to be a blast.

Well, the music began and we all started jumping around when suddenly I got an impulse. (Oh no!  She's got an impulse.)  I was in stocking feet and wearing my lululemon pants which always make me feel invincible.  Like I can pull off daring athletic feats in those pants!  So I suddenly begin to slide down into a forward split.  It took me about a split second to realize that I don't know how to do a proper split, but by then it was too late.  I felt a nasty thug under my right leg.  Did I even manage to perform a proper split?  I didn't have time to dwell on it.  The music was still going and the other auditionees were approaching me.  I kept smiling, somehow pulled off a reverse tumble and bent my back at angles that would make the Matrix proud.

When the music stopped, I tried not to focus on the throbbing in my leg.  "Just shake it off!"  I told myself.  "Shake it off!" (sorry I couldn't find the video)  I was already high on endorphins from moving my body around and begged my mind to forget about the pain my leg for just a little while longer.  After all, there was still a choreographed dance routine to learn.  Fortunately all pain and residual nervousness melted away (Damn, could I do the song and monologue now?)

So I smiled strong and proud and danced my little heart out.  I had a blast and it was probably one of the funnest auditions I've had in a long time.  But then we stopped and the pain returned.

OW!  I definitely pulled my hamstring and it kills.

Next time, I will remember to warm up before an audition that includes movement.  Either that or I will remember that I can't do the splits.  At least not right now.

Gimme a Fucking Break

I heard recently that due to financial constraints, the METRO across Canada is dropping their local Arts Section.  Now, I can't speak for other cities, but the Arts Section here in Ottawa is one, maybe two pages tops on a Friday amongst movie listings/reviews, cd reviews, tv news and celebrity gossip. Yesterday, I checked to see if it was true.  Yup, no more local arts coverage.  The only thing local left was a 6 listings for various events around town.

However, do not fear!  The celebrity gossip section is still there and will be there every single day of the week.  Not that I would know for sure because I will no longer be reading the METRO.

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