Ottawa Theatre

I Like To Move It, Move It

Rehearsals have begun with A Company of Fools for an upcoming school tour at the end of the month. The show is called Shakespeare's Interactive Circus and is based on the loose premise that our lead, Sir Richard Somethingorother (I swear I'll learn his name by the end of the run, but it's really long) has disappeared (in all likelihood he is passed out drunk somewhere) and since he pretty much played ALL the parts, we, the lowly minions, are now forced to present something to the anticipating crowd. That "something" includes Romeo & Juliet: The Rap, the mechanicals bit from A Midsummer Night's Dream, Macbeth: The Musical, and the first meeting between Kate & Petruchio in Taming of the Shrew done as a tag-team match. I'm kind of exhausted just reading all of that. Actually, I'm kind of exhausted (in a good way!) doing all that.

I've only had two rehearsals so far and my body is reminding how sluggish it's been for the past few months. I've been either sitting at a desk, driving a car or standing around on a set doing very minimal movements. I'm going through the initial phases of muscle pain. My hamstrings ache from all the high kicks I've been doing (don't ask) and I've got to include more stretching into my daily routine. With all this beautiful weather, it's even inspired me to pick up my running once more, which is great as completing a 5K is one of my goals for 2010.

Rehearsals, as you can imagine, are also incredibly fun. I can't believe that this is a job that I actually get paid do to.

A Learning Experience

Happy World Theatre/Earth Hour Day! It's my only day off from both stand-in work and the day job and my agent got me a sweet little gig on a student film. When she first asked me if I'd be interested in working with students from La Cite Collegiale so they could get experience working with professional actors, I immediately said yes (after all, I would be getting paid to do it). I didn't know what to expect, but figured we'd be in a classroom at the college, working through scenes as they directed us and moved lights around. Boy was I pleasantly surprised when I got the script and callsheet (really?) and saw that we would be filming in an actual bar. Although I brought my own wardrobe, I was called in early for hair and makeup (even more awesome that the makeup person is the same gal who's working on The Stepson - I guess we're both making use of our day off). Wow! I might even be able to use some of this footage in a demo reel.

The crew is really sweet and somewhat nervous. Most of them have never done this before, but you can tell they're very keen.

We have to be done at 7 p.m. before tge bar opens, which means I might still be able to make it to the Ottawa Theatre Challenge at the National Arts Centre, organized by A Company of Fools. I can't think of a better way to spend my 2010 World Theatre Day.

What will you be/have you done this year?

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!

Rideau Awards Nominations

From the Official Press Release: NOMINEES ANNOUNCED FOR THE THIRD ANNUAL RIDEAU AWARDS Peer-assessed awards celebrate Ottawa-Gatineauʼs professional theatre in both official languages

The votes have been tallied and it's time to announce the nominees for the third annual Rideau Awards, which celebrate achievement in professional theatre in the region of Ottawa-Gatineau. This year for the first time, Les Prix Rideau Awards will be fully bilingual, with a full slate of awards to be presented for both English and French-language productions. The awards will be handed out during a celebration to take place on Sunday, April 18, 2010, at De La Salle High School. Tickets go on sale March 15 at La Nouvelle Scène.

The nominees for English-language productions are: Outstanding Performance – Female Mary Ellis, Doubt Patricia Fagan, The Syringa Tree Teri Rata Loretto, Shirley Valentine Margo MacDonald, A Midwinterʼs Dream Tale Emily Pearlman, Countries Shaped Like Stars

Outstanding Performance – Male Pierre Brault, Portrait of an Unidentified Man David Fox, The Net Kris Joseph, Doubt Andy Massingham, Peer Gynt Paul Rainville, The Drawer Boy

Outstanding Lighting Design Martin Conboy, Portrait of an Unidentified Man Martin Conboy, The Drawer Boy Rebecca Miller, Henry V David Mcgladry, A Midwinterʼs Dream Tale Jock Munro, The Children's Republic Jock Munro, The Syringa Tree

Outstanding Set Design Robin Fisher, The Drawer Boy Robin Fisher, The Syringa Tree Ivo Valentik, A Midwinterʼs Dream Tale Ivo Valentik, The Final Twist Sarah Waghorn, Old Times

Outstanding Costume Design Louise Hayden, A Midwinterʼs Dream Tale Louise Hayden, The Girl Who Was Eaten by the Dark Jennifer Triemstra & Karen Rodd, A Guy Named Joe Sarah Waghorn, Henry V Sarah Waghorn, Old Times

Outstanding Stage Management / Technical Award Donna Bourgeault, A View from the Bridge Sean Green & Tina Goralski, Noises Off Louisa Hache, The Children's Republic Samira Rose, The Lieutenant of Inishmore

Outstanding Fringe Production Countries Shaped Like Stars, Mi Casa The Girl Who Was Eaten by the Dark, Ottawa Stilt Union Inclement Weather, Mi Casa Squatter Heart, ReduxDelux We Never Clothed, People with Principles

Outstanding Director AL Connors, A Midwinterʼs Dream Tale Todd Duckworth, The Drawer Boy Janet Irwin, The Children's Republic Lise Ann Johnson, The Syringa Tree Brian Quirt, Portrait of an Unidentified Man

Emerging Artist Award Simon Bradshaw, Actor, The Rideau Project Nicolas Di Gaetano, Creator/Actor, Countries Shaped Like Stars Patrick Gauthier, Director, Countries Shaped Like Stars Brad Long, Actor, The Pillowman Emily Pearlman, Creator/Actor/Writer, Countries Shaped Like Stars

Outstanding Adaptation A Midwinterʼs Dream Tale, A Company of Fools Much Ado About Nothing, A Company of Fools The Net, Great Canadian Theatre Company Pirate Jennyʼs Circus, Counterpoint Players The Radio Show, Gladstone Productions Outstanding New Creation The Children's Republic, Great Canadian Theatre Company/Ottawa School of Speech and Drama Countries Shaped Like Stars, Mi Casa The Girl Who Was Eaten by the Dark, Ottawa Stilt Union Inclement Weather, Mi Casa The Rideau Project, Théâtre la Catapulte

Outstanding Production Countries Shaped Like Stars, Mi Casa The Drawer Boy, Great Canadian Theatre Company A Midwinterʼs Dream Tale, A Company of Fools Portrait of an Unidentified Man, Sleeping Dog Theatre The Syringa Tree, Great Canadian Theatre Company

The nominees for French-language productions are:

Interprétation féminine de l'année Nathaly Charrette, (RAGE) Larissa Corriveau, (L'Illusion comique) Geneviève Couture, (L'honnête homme/ une one woman show) Magali Lemèle, (Le Bout du monde) Emmanuelle Lussier, Martinez (Le Bout du monde) Interprétation masculine de l'année Benjamin Gaillard, (Projet Rideau) Richard Léger, (Et si on tuait l'ennui?) Gilles Provost, (Mardis avec Morrie) Pierre Antoine, Lafon Simard (L'Illusion comique) Victor Trelles, (RAGE)

Conception de l'année Marcel Aymar, (Le Bout du monde), env. sonore Josée Bergeron-Proulx, (Le Bout du monde), décor Diane Bouchard, (L'effet réel des polluants sur les animaux imaginaries), marionnettes Julie Giroux, (Les sept jours de Simon Labrosse), décor Guillaume Houët- Brisebois, (L'honnête homme/ une one woman show), éclairage

Artiste en émergence Josée Bergeron-Proulx, (Le Bout du monde) Emmanuelle Lussier Martinez , interprète, (Le Bout du monde) Pierre Antoine Lafon Simard, interprète, (L'Illusion comique)

Prix technique / de la regie Tina Goralski, (L'Illusion comique) Guillaume Houët- Brisebois, (L'honnête homme/ une one woman show) Benoît Roy, (Le Bout du monde) Lindsay Tremblay, (Le Projet Rideau)

Mise en scène de l'année Joël Beddows (RAGE) Dominique Lafon (L'Illusion comique) Marc Lemyre (L'honnête homme/ une one woman show) Pier Rodier (Cyrano Tag) Anne-Marie White (Le Bout du monde)

Adaptation de l'année Le Bout du monde, Le Théâtre du Trillium Cyrano Tag, Vox Théâtre

Nouvelle création de l'année Cyrano Tag, Vox Théâtre L'effet réel des polluants sur les animaux imaginaires, GESTES théâtre Et si on tuait l'ennui?, Théâtre Dérives Urbaines L'honnête homme/ une one woman show, poésie électrique Le Projet Rideau, Théâtre la Catapulte

Production de l'année Le Bout du monde, Théâtre du Trillium Et si on tuait l'ennui?, Théâtre Dérives Urbaines L'honnête homme/ une one woman show, poésie électrique Le Projet Rideau, Théâtre la Catapulte RAGE, Théâtre la Catapulte

40 English and 11 French professional theatre productions were juried by two teams of local arts professionals (14 English and 10 French) during the 2009 calendar year. Nominations were submitted by secret ballot and tallied by local accountants, Chong Pelot and Marcil-Lavallée. Complete details on award definitions, terms and criteria are available at www.rideauawards.ca

Les Prix Rideau Awards initiative was undertaken in late 2006 as a result of discussion at an open meeting of the regional Canadian Actorsʼ Equity Association. The program aims to raise the profile of locally-produced professional theatre by celebrating its successes.

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!

Where To Find Da Money

In my grant writing post, I mentioned putting up a list of locations where you can find grants available to performance artists, so here it is. Please note that while this list may be of use to many of you, it's focus is more on Ottawa-based performance artists. Also, if I've missed anything, please let me know and I will add it immediately.

Municipal City of Ottawa Deadline - End of January Includes funding opportunities for Individual Artists, Projects & Operations

Council for the Arts in Ottawa Deadline - December & May Awards for Emerging & Mid-Career Artists Community Foundation of Ottawa Deadline - February & October Must be a registered charity and the project must have strong community impact

Provincial Ontario Arts Council Deadline - varies Opportunities for a variety of disciplines and projects, for both individuals and organizations. They also have Skills Development & Touring money. Follow them on Twitter!

Theatre Ontario Deadline - March & October Funding for those wanting to train with a mentor in a particular theatrical discipline, not including performance. They also have a great range of courses and other information. You can also follow them on Twitter.

Metcalf Foundation Deadline - May & October This is the program I went through to fund my current internship/job opportunity with the Great Canadian Theatre Company. Similar to the program through Theatre Ontario, but for a much longer term. The internship is available throughout the province, but they also fund companies based in Toronto. You must be a charitable organization to apply (for the internship, the GCTC had to apply on my behalf).

Ontario Trillium Foundation Deadline - March 1, July 1 & November 1 From what I hear, this is the mother of all grant applications. It is incredibly long and varied. Your project must also have great community impact.

National Canada Council for the Arts Deadline - varies Like the Ontario Arts Council only with a broader, national scope.

In the meantime, you might also want to check out the great discussion happening in the comment thread of Praxis Theatre's blog post entitled How Do You Get A Grant. I find Brendan Gall's words pretty inspiring.

Also from Praxis Theatre (because they are awesome and I hope they will eventually add me to their blog roll if I keep pinging back to them enough times - Hey, it worked with the Ottawa Fringe Festival...), I haven't stopped laughing at their fundamental contradiction at the core of this discussion. So I leave you with this:

Good luck!

Message from Théâtre Action to the City of Ottawa

For about a year now, I have been trying to reconnect to my French roots as an artist. One of the best ways I have found to do that in this city was by joining Théâtre Action (site in French only). This organization is at once an advocacy group, an educational alliance and a link to a greater community and a broader spectrum of work possibilities. The executive director of Théâtre Action, Marie-Eve Chassé recently spoke to the City's budget planning committee on the arts and funding in the region and I just wanted to pass along the message to you who all seem to gather here. This is the official translation of her French speaking notes. I have included the original text below and, if you understand the language, I highly recommend you read that version instead.

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

Hello everyone, and thank you for giving me the opportunity to speak with you today.

My name is Marie Ève Chassé, and I am the executive director of Action Theater and chair of the Alliance Culturelle de l’Ontario. In that capacity I am here to speak on behalf of the francophone theatre and culture community in Ottawa.

The planned budget for 2010 for the city states explicitly that there will be no reduction in funding for the arts. So I would like to start by offering a big thank you for having heard and understood our needs.

However, it’s important to understand the need to remain vigilant. History teaches us that the battle isn’t truly won until the war is won.

The arts and culture have always been the poor relations when it has come to policy issues. We have had to cry out constantly to reaffirm our importance and value to society.

So I would like to remind you that it is vitally important to ensure that the promised allocation for the arts in the draft 2010 budget remain in place and that it be adopted when you make your final decisions on the budget.

For those of use working in the cultural community, there is no doubt that what we do isn’t just a pleasant “extra” but a necessary factor for our city’s economic recovery future growth. We would like to remind you again that what we do generates billions of dollars and stimulates the entire economy.

Moreover, our creative communities also provide Ottawa with other kinds of benefits beyond dollars and jobs. They contribute to our collective well-being, social cohesion, and sense of community.

Indeed, we would argue that during a time of economic recession the people of Ottawa have a greater need than ever for the arts as they nourish our hopes for better days ahead. Through their works, the artists of our city share offer a different kind of wealth which, unlike consumer goods, are resistant to economic pressures and analytical reports.

Our artists invite us to live and understand reality in ways that are personal. They open our eyes to new ways of thinking. They offer us a glimpse into the future. Through their work they give meaning to what happens in our personal lives and in our society.

In contrast, the absence of dreams and culture causes despair and hopelessness. The arts provide a backbone for our society. As the soul of our city they are our guides for generations to come.

I assure you that your decision not to cut funding to the arts is the right one.

Let me offer you a few more thoughts in this vein.

Continued support for the arts provides us with the means to help Ottawa to become a model city in Canada that makes its mark in history.

As you know, any society is invariably judged through its art and culture. So I invite you to become visionaries in considering the future of our city.

Let us invest in the arts and culture!

You will support the emergence and the continued development of our artists by providing the best possible conditions for the creation, production and dissemination of works of art.

These works of art contains will stir our consciences and inspire our daily activities.

In offering financial support to the arts, you help the people of Ottawa to contribute to the creation of beauty in our city.

I hope you will take into account my thoughts as you consider our needs in your deliberations.

Thank you once again for your attention.

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

Ottawa le, 25 janvier 2010 : Théâtre Action est fier de vous divulguer ici le texte intégral du plaidoyer en faveur d’un financement congruent des arts et de la culture que sa directrice générale à fait le 25 janvier dernier à l’Hôtel de Ville d’Ottawa.

« Bonjour à tous et merci d’avoir accepté de me donner la parole aujourd’hui.

Je me présente, je suis Marie Ève Chassé, directrice générale de Théâtre Action et présidente de l’Alliance culturelle de l’Ontario. J’agis ici en tant que porte-parole du milieu théâtral et culturel francophone de la ville d’Ottawa.

Nous savons que dans les faits saillants du budget provisoire 2010 de la ville d’Ottawa, il est fait explicitement mention qu’aucune réduction ne sera faite dans le financement des arts.

Aussi, je suis venue ici pour vous dire un gros merci! Cela prouve, en effet, que vous nous avez entendus et surtout compris!

Cependant, vous comprendrez surement qu’il nous faille rester vigilants, car souvent le passé nous a appris qu’une bataille pouvait être remportée sans que pour autant cela signifie que la guerre soit gagnée!

En effet, le milieu des arts et de la culture a toujours été le parent pauvre des enjeux prioritaires en politique et il a dû sans cesse crier et réaffirmer son importance et sa valeur sociétale!

Alors, sachez, Mesdames et Messieurs, qu’il est crucial, voir vital pour nous que cette dépense de fonctionnement allouée aux arts dans le budget provisoire 2010 reste réellement en l’état et soit bel et bien adoptée lors du vote du budget!

Pour nous artistes, artisans et travailleurs du milieu culturel, il ne fait aucun doute que la culture n’est pas une composante additionnelle, mais un facteur nécessaire à la reprise et à la croissance économique de notre Ville! Nous répétons une fois de plus que son activité génère des milliards de $ et stimule des pans entiers de son industrie!

De plus, créatrice de richesses et d’emplois pour de nombreux Ottaviens et Ottaviennes, la culture fait également naître encore davantage de bénéfices non quantifiables, en termes de bien-être collectif, de cohésion sociale et de projet commun de société!

En effet, en ces temps de sortie de récession économique, la population d’Ottawa a plus que jamais besoin des arts et de la culture pour pouvoir nourrir l’espoir de jours meilleurs.

Par leurs œuvres, les artistes de notre ville offrent en partage des richesses sans pareil qui, contrairement aux biens de consommation, résistent aux raisons économiques et savent faire fi des rapports analytiques!

Nos artistes nous invitent à vivre ou à appréhender le réel selon des voies toutes personnelles auxquelles ils ont su donner un sens selon ce qu’ils vivent ou ont vécu.

Ils nous ouvrent d’autres perspectives pour penser! Ils nous permettent d’entrevoir une sorte de lumière pour avancer. Ils sont nos quêteurs de sens!

Oui, Mesdames et Messieurs, c’est le manque de rêve, d’espoir et de culture qui provoque le désespoir, la contestation et la morosité…

Les arts sont et resteront la colonne vertébrale d’une société, ils sont l’âme de notre Ville et des guides pour les générations à venir!

Aussi, je vous garantis que votre décision de ne pas effectuer de coupures dans le financement des arts est bonne et vous assure que vous faites un choix qui vous honore!

Cependant, permettez-moi tout même d’aller un peu plus loin dans ma réflexion…

En effet, je vous suggère fortement de vous donner d’ores et déjà les moyens de devenir une ville modèle au Canada qui marquera de son sceau l’histoire!

Comme vous le savez, toute société est immanquablement jugée à travers son art, alors, anticipez l’avenir de notre ville et devenez des visionnaires!

Investissez financièrement dans les arts et la culture!

Vous soutiendrez ainsi l’émergence et le développement continu d’artistes, d’artisans et de travailleurs culturels d’ici en leur offrant les meilleures conditions possible de création, de production et de diffusion d’œuvres d’art!

L’art contient en lui un nous pluriel qui réveille les consciences, anime et inspire toutes les activités humaines!

En injectant encore plus d’argent dans les arts et la culture, vous donnerez le goût à vos concitoyens de produire de grandes et belles choses dans notre ville d’Ottawa!

J’ai l’espoir fou de penser que mon discours ne restera pas lettre morte et que vous saurez le prendre en considération!

Je vous remercie pour votre écoute et vous souhaite à tous et toutes une bonne soirée! ».

Théâtre Action tient à remercier ses partenaires financiers pour la saison 2009-2010 : le Conseil des Arts de l’Ontario, le Ministère du Patrimoine Canadien, la Fondation Trillium de l’Ontario, le Ministère de l’Éducation et le FondAction de la Fondation franco-ontarienne.

BASH'd Reviews

Okay, just so everyone doesn't think it's all doom and gloom. BASH'd! A Gay Rap Opera has been receiving incredibly positive reviews across the board and so I thought I'd give you a sampling of them here.

Oh and if you'd like to meet the guys from BASH'd, Chris Craddock and Nathan Cuckow will be at The Lookout Bar in Ottawa tonight. Tomorrow's show (affectionately dubbed BASH'd Bash) is also a fundraiser for a variety of local groups in town, including Toto Too Theatre. The guys will be participating in a post-show talkback and there will be a reception following the performance and chat at the GCTC. Click on the links for ticket information.

What the critics are saying:

"…BASH’d is simply that good." - Denis Armstrong, Ottawa Sun

"...a performance that, on Thursday night, left the audience practically humming with energy." Patrick Langston, Ottawa Citizen

"The rapping… is very clever and easy to follow." - Katie Marsh, Apartment 613

"BASH'd: a gay rap opera for everyone." - Wayne Current, The Wellington Oracle

"I defy anyone to keep their foot from tapping or head from bobbing…" - Connie Meng, North Country Public Radio

"Don't fear the rapper" - Andrew Snowdon, Ottawa Tonite

What the audience is saying:

“Amazing show. You Rock.”

“It was brilliant on every level!”

“That was friggin awesome!”

Remember, those are their Viewpoints, come on down and let us know yours! BASH’d! A Gay Rap Opera continues until January 31.

Just Like Opening Night, Only Cheaper

In an awesome post giving us a glimpse of the behind the scenes adventures of the National Arts Centre's Resident Acting Company's production of Mother Courage, local muckraker Kris Joseph declares: This is a week when I must remind myself that there is a difference between a preview performance (which is still a rehearsal) and an actual performance; and even though we will have members of the public watching us work as of Tuesday, we don’t actually open until Friday. Our preview audiences will, I expect, get a few glimpses of the foundation as we put the finishing touches on the walls.

It's true. When a show has never before been seen in front of an audience, it needs those previews to find its legs. It's not uncommon in New York for a new show to be in previews for a month before its official opening night. That's because the audience is the last key component to any performance. The audience response will affect everything from timing to actor reactions to, sometimes, entire sections of the script.

But what happens when a show has been on tour for years?

BASH'd: A Gay Rap Opera goes into previews tonight and tomorrow at the Great Canadian Theatre Company. It was written by Chris Craddock and Nathan Cuckow with music by Aaron Macri.

I had the pleasure of meeting Chris (can't believe I know someone in the Canadian Theatre Encyclopedia) at the Winnipeg Fringe Festival this past year (we were billet neighbours), but Ottawa audiences might remember his writing from the sold out one-woman show, PornStar (and if Brian Carroll is reading this, he will probably have a list of other shows that have also been seen in town).

BASH'd toured the Fringe Festival Circuit in 2007 before being picked up for an off-Broadway (yes, THAT Broadway) run in 2008. Recently, it was seen in Toronto at Theatre Passe-Muraille and it held its dress rehearsal at the Irving Greenberg Theatre Centre on Sunday. Overheard by one of the guests in attendance at the dress rehearsal: "This is probably the most polished dress I have ever seen on the GCTC stage."

As I said, BASH'd goes into previews tonight and tomorrow at 8 p.m. and these guys are ready to go! So, dear readers, as a special public service announcement to you (and as a part of my promotion work at the GCTC), I'm letting you know that you can see the full production of BASH'd at rates that are heavily reduced from the regular run because, well, that's how things are scheduled.

In addition, I just found out that the theatre has implemented a new Rush Ticket policy for every performance. As of noon (NOON!) on show day, you can contact the Box Office for your Rush Tickets which are $10 for students and $20 for adults.

Since it's about 1 p.m., you could get ridiculously cheap tickets for an amazing performance right now! Call 613-236-5196 to reserve your spot.

I'll be seeing you at the Theatre!

*Side note: I wonder if my blog stats will go up now that I have PornStar in the tags?

So You Need To Pay Your Bills

The bank wouldn't accept my mortgage payments in the form of artistic integrity. I tried, but they just kind of looked at me funny; this "What is artistic integrity?" kind of look before realizing it wasn't money and then having security guards beat me with clubs for having a bohemian on their premises. I may have made some of that up.

Being a full-time actor often feels virtually impossible. Gigs are few and far between and, let's be honest, you don't become an actor for the money (though you always keep faith that the money will one day be there). So you typically need a job to pay your bills and will still offer you the flexibility you need JUST IN CASE an audition pops up.

Back in October, I knew things were getting tough financially and so I started figuring out what I could do. I have a strong background in Marketing, Special Events, and Promotions, but I didn't feel like I had enough clout or contacts to try and push myself out there for contract work. I had applied for jobs through a temp agency because I still wanted the flexibility to do my performance work, but it wasn't enough. That's when I stumbled across the Metcalf Foundation.

I won't go into everything they do, but basically, the Foundation "will support the creation of internship opportunities for administrators, choreographers, composers, conductors, designers, directors, playwrights, and production staff. In this program, the Foundation is particularly interested in assisting individuals who have completed formal training and are in the early stages of their careers."

A quick bit of research and a few emails later and I found myself at the Great Canadian Theatre Company in Ottawa with a proposal. They applied on my behalf and by December we knew that they had received the funding from the Foundation. And so you're looking at (or more accurately now reading about) the new Marketing Associate for the GCTC.

My contract runs until June (which leaves me the rest of the summer for Fringe or Summer Stock Theatre) and I almost cried when I read my Letter or Agreement:

The Employer recognizes that the Intern is a working theatre professional, and that the Intern may negotiate time off to undertake select independant projects that contribute to the Intern's professional development.

This is exactly what I wanted! A day job that understands my artistic aspirations and actively encourages them. They do exist!

So what will I be doing at the GCTC? First up, I will be undertaking the instigation of a social media marketing plan for the company. In fact, I just finished setting up our Twitter account this morning. Please follow us @GCTCLive. This is a really great opportunity because I will gain credibility and experience as a social media strategist, which will allow me to help my own theatre company and follow up on my goal to teach this new wave to the general public (for crying out loud this guy charges over $1000 for his weekend workshop so why couldn't I?)

I'll also be doing some work in Outreach and Development, sectors I'm less familiar with, and will be learning a great deal about traditional marketing methods. (Won't it be nice to attend a media call where the media actually shows up?)

I was scared to come back to an office environment, but this place is just great. Stick around this blog if you'd like to find out more about what goes on behind the scenes of a major Canadian theatre company... that is if I haven't already set up a blog for them on their own site by then.

******************************************************* Sidebar (or an absolutely shameless plug):

Ok, so an internship isn't exactly the most lucrative of endeavors. In addition to my work for the GCTC, I've also picked up a bit of a part-time job. I am also a brand-spanking new Mary Kay rep. Yup, I sell makeup and skin care products now.

It makes sense. As an actor, my face is one of my biggest assets and so I need to take good care of it. Mary Kay offers quality products and the cost is similar to anything you'd find in a major department store. Plus, I just really like makeup and this is a job I can do whenever I am available.

So, dear readers, wouldn't you like to have a little spa pampering session for you and your friends? Or maybe you'd like to treat yourself to a little makeover? Just contact me (nancykenny.mk (at) gmail.com) and we can book a party at your place or mine. As the host, you also get lots of free stuff and there is absolutely no pressure to buy. Besides, this is great practice for me.

Or maybe you're just looking for a new lipstick? Or a gift for someone special? Check out my website and order online. If you spend over $50, you'll get a wonderful free gift from me. And if you live in Ottawa, I will personally deliver your purchase to your home or workplace.

Oh and gentlemen, skin care isn't just for the ladies, you know.

In the future, I'll probably be posting my reviews of certain products, but if you have any questions at the moment, please feel free to ask.

And if you're looking for some sort of home business for yourself, why not think about becoming a rep? I could help you with that too.

Besides, don't you want to see me in a pink Cadillac?

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!)

Stats, Stats, Stats

I've been inspired by Mr. Sterling Lynch's recent post on his blog's traffic numbers (and absolutely fascinated as well!). He was right: I do find it useful to compare his traffic numbers to mine. After some investigation, I've realized that I'm doing pretty well. Therefore, in the spirit of sharing, I've also decided to publish my blog stats to all of you in the hopes that it might be useful to someone else. I currently don't have any other statistic program running on my site and so my statistics all come directly from Wordpress.

Since 29/08/08 I have had 11, 769 visits to this site. Now, this number is relatively small compared to Sterling's, but that's because I wasn't really all that active on my blog until about March 2008, which is when I started pushing it more by linking the notes to my Facebook account and updates. My individual site visits hit over the 1000 mark in June. In fact my busiest months have been June 2009 - 1,880 and July 2009 - 2,152. This makes sense for a few reasons. First of all, it was around this time that I started using Twitter to promote my blog. It was also during the Ottawa and Winnipeg Fringe Festivals, where I was writing practically everyday and was getting tons of pingback links through their sites. My busiest day was 22/06/09 with 206 visits - right smack in the middle of the Ottawa Fringe Festival.

Not counting this one, I have 117 posts and 235 comments. I don't respond to every comment like Sterling does, so this number is actually pretty close to reality. That said, because he replies to the comments on his site, Sterling encourages discussion, which then brings in more comments and more page views. I can learn from that.

Search engine terms to find my blog usually have to do with some variation of my name or the blog title. Though I was interested to see that a lot of people found me by searching for "Countries Shaped Like Stars" (which sends you to my review of the show) and "Gladstone Theatre Ottawa" (which puzzled me because I went through 5 Google search pages and found nothing about this blog). What terms a person used to find my site is a great source of enjoyment for me. You can find some real gems there including: "hairpulling catfight", "so", "la in me love you long time 9" (not making that one up), "vehicle registration plates in manitoba", and "im struggling upcoming artist?"

Visitors have been referred to my site mostly through Facebook, Twitter and a link from my old blog incarnation. The rest come from something called Alpha Inventions (which I haven't fully figured out) and my friend's blogs. In order of popularity, I get most of my friendly traffic from the Adorkable Thespian, The Many Faces of Wayne, The Ottawa Arts Newsletter, Reverberations, and finally Movement (Welcome to the party, Sterling. Nadine, I owe you a drink.)

Finally, my top 5 most popular posts and pages are as follows:

Nancy's Must See List at the Winnipeg Fringe - 428 Upcoming Appearances - 396 About Nancy - 386 Nancy's Must See List at the Ottawa Fringe - 373 In Loving Memory of my Friend - 161

I'm not surprised by these numbers and they do corroborate Sterling's theory that "When people like a blog post, they often want to know more about the person writing the blog post." I encourage you to read the rest of his theory on the effectiveness of social media tools with regards to personal interactions with the writer. I pretty much completely agree with him on that point.

All in all, this has been a very interesting exercise. Based on the information collected, I'm quite certain that I have approximately 35 to 40 regular readers who check my site everyday for new stuff. When I write a new post, that number easily doubles or even triples.

I'd like to think that this readership also translates into my business world (attendance at shows, networking opportunities, ect.) but I have no way of verifying that information.

So, thank you dear readers, I definitely would not be here on the interwebs without you.

Back To Me - The Power of No

Dear Readers, it's been three weeks since my last confession blog post. And still, approximately 40 of you keep coming back every day to see what's new. I sincerely appreciate that. Over the last few weeks, everything's felt off (and it has not just been a case of show withdrawal either). I've been feeling lost, anxious and overwhelmed all at the same time, which created a big ball of resistance and self-pity that I knowingly indulged in. I stopped writing. I stopped doing the work I enjoy. I threw myself into the comforting and familiar embrace of depression combined with avoidance in pointless busy work.

Then, little by little, I came out of it by doing something that actually scares me: I started saying 'No'.

I've built that word up in my head to mean so much more than what it actually does. To me, I had (and still struggle with) the false belief that saying 'No' leads to closing doors, missed opportunities and (gasp!) having people be mad at me (and, subsequently, not like me). So, I say yes to everything that comes my way: every project, every work opportunity, everything even if I don't really feel like doing it. Then I get overwhelmed and resentful because I'm not doing what I want to do... and the cycle begins anew.

But this time, I'm doing something different. I'm saying no. For my own personal sanity and well-being, I'm saying no to stuff. I think the biggest no of all was to the Ottawa Fringe Festival. After three years of producing shows, I'm taking a break. In fact, I didn't even apply to the lottery. Now, this doesn't mean that my Roller Derby show is kaput or that I wouldn't perform in someone else's show if given the opportunity. It just means I'm taking some time off from producing and I'm going to wait until I have something more solid on paper before I rush head first into another deficit.

All in all, I need to take care of me.

So, in the past few days, I've allowed myself to be inspired by the people and the situations that surround me. I've summoned new people into my life who bring with them a positive and fresh energy and I've let go of others who weren't beneficial. And I've stopped to listen to the messages that come to all of us (whether you call it intuition, your gut, The Universe, your guides or TPTB) in all their forms.

The Universe has been good to me, like a parent who waits patiently while their child chases around Disneyland on a sugar high; not exactly preventing me from doing anything, but waiting until I exhausted myself with all my running around so that I could hear where I'll be going to next.

Though I am not certain where all this will take me, I do know that I am right where I need to be and what I need to do next. Everything else is gravy.

Boulevard of Broken Dreams

The dreams have started. Of course everyone dreams all the time, but I only seem to remember them when I'm involved in some big project, like a show. Last night was a blocking dream. I wonder if other actors experience them? I have the distinct impression I've spent all night running through my show blocking for Shining City. I woke up fairly exhausted still.

The last couple of nights, I've been dreaming about death. Cheerful, I know. My death, other people's deaths, people I know mostly, though it varies. The only constant seems to be that they or I can't move on until they've accomplished something or let go of something.

Gee, I wonder what my subconscious is trying to tell me?

Shining City Promo/Reviews

More links will be added as they come in. Did you miss the interview I did with Richard Gélinas on CHUO 89.1? Well you are in luck. Here it is in full with host Mitchell Caplan on Click Here. It even includes a segment from the show. Check it out here! (It may take a while to get the link and you may have to sift through some ads, but it was the best I could do in finding a free server host for the very large file. If anyone has a better idea, I'm all ears!)

If you'd prefer to see our faces, then go visit our friends at Ottawa Tonite (a great new resource on local arts and entertainment!) and check out the rehearsal footage video created by Cheryl Gain, which also includes an interview with director John P Kelly.

(Cult)ure Magazine and the EMC News also have some great preview articles. (Apparently the print version of the EMC runs for a page and a half, has three photos and is on the cover - if anyone could get me a print copy, that's be grand!)

As if that wasn't enough, (Cult)ure Magazine also has a lovely review of the piece, which you can find here.

I also highly recommend you check out the glowing review the show got from Patrick Langston and the Ottawa Citizen. You may do so here.

Shining City

You've probably noticed, if you are a regular to this site, that I haven't been up to my usual blogging vigor this month. That's because the majority of my month was spent in rehearsals (and public relations work) for Shining City by Conor McPherson, produced by SevenThirty Productions in Ottawa. Well, tonight, live from the Arts Court Theatre, is opening night.

I'm incredibly proud of the work that I and the rest of the cast and crew have been doing on this production. I'm just trying to see tonight as another part of the process of creation. This will be the first time we have an audience and I find that prospect kind of scary. (You mean I have to act in front of... PEOPLE?!?) I hope that throughout the two week run you will all be able to come out and see it.

Details for the production can be found below. If you come out tonight, we will be holding a small party in the theatre lobby with food, drinks, and Irish music. Please stick around after the show to say hi and share a bevy. See you at the theatre!

Shining City by Conor McPherson Directed by John P Kelly Featuring Richard Gélinas, Tom Charlebois, Nancy Kenny & Garrett Quirk

Arts Court Theatre – 2 Daly Avenue – Ottawa, ON

November 17 to 28, 2009 – 8 p.m. Sat/Sun matinees - 2:30 p.m. (No show on Sunday & Monday night)

Tickets: $25 - $20 students/seniors/underemployed Pay-What-You-Can Matinee on Sunday, November 22nd

Box Office: 613-564-7240

Keep the Halloween chills going with the perfect November play!

Set in present-day Dublin, Shining City takes place in the disheveled office of Ian, a former priest turned therapist. Ian's latest patient, John, is in trouble. His wife has just died tragically... and he is visited more than once by her ghost. John is now terrified to return home, but Ian has his own troubles, including a new baby and a crumbling relationship.

"Literally lifted the hairs on my scalp." - London's Evening Standard McPherson is "the finest dramatist of his generation..." - London's Daily Telegraph

Asking For Flowers

This is a Public Service Announcement for anyone out there who might find themselves in the position of dating an actress. May whatever deity you worship protect you. I consider myself a strong, independent single woman. The majority of the time, I am perfectly fine with being on my own. Every once in a while, however, my over-Disneyfied childhood education rears its ugly cartoon head and, gosh darnit, I wish I was a princess... with a tiara and everything.

Opening night for a show I'm performing is one of those blatantly Cinderella moments for me. On opening, after weeks of hard work, there's nothing I would love more than to have some pretty flowers sent to me backstage by my 'Man of Mans' (TM by The Adorkable Thespian). To know that the one special person in my life is out there and routing for me... well, that just sounds so heartwarming. I think most actors feel this way (though they may not want flowers, perhaps it's chocolates or banana bread or a combination of the two).

I was with an absolutely lovely man for a very long time and, though he did give me flowers throughout our relationship, I never got any for a show. His mother sometimes got me show flowers, but it just wasn't the same.

Of course, I could have just told him that's what I'd like, but isn't asking for flowers just like asking you to be nice? (And to be clear, none of my past relationships have been anything like the ones in that song, I just think it's a nice turn of phrase.)

Then again, maybe it's just not that obvious of a thing. So, to any future 'Man of Mans' (or 'Woman of Womans, who knows?) out there who might do some stalkerish research before dating me (or any other actor), I like flowers. Purple lilacs are a personal fave, but you know, it's really the thought that counts. ;)

Oh, The Places You Will Go!

On Friday, I had the privilege of seeing a wonderful little show at the National Arts Centre called Elephant Wake. I'm not going to write a review. However, I will say that I liked it and that it hit me on more than just a cultural stand-point (being from a town divided between French and English lines will do that - though I do wonder how people who cannot speak French appreciated the show?) To me, the show was about loneliness and finding refuge in the past. Though not always perfect, it was beautiful to watch. If you'd like to read a review of the piece, I recommend Jessica Ruano's at the Ottawa Arts Newsletter. I agree with most of what she says. No, what really struck me with this production was where it came from. Elephant Wake was originally created as a production for the Edmonton Fringe Festival in 1995. I've latched on to this little tidbit of information for over three days now. This was a FRINGE SHOW! Now, almost 15 years later, it was being presented at the National Arts Centre, the Cultural Olympiad in Vancouver and even the Magnetic North Theatre Festival next June in Kitchener-Waterloo.

According to the program, it wasn't all sunshine and lollipops for the production. When the show was presented at the Edinburgh Fringe, they were lucky to have 8 to 10 audience members a night. One day, they only had 3 people in the audience. Two people left partway through the show apologizing that they did not speak English. I know many actors who would have canceled a production after that, but Joey Tremblay kept going and performed a one man show for one person. It takes an incredible amount of dedication and integrity to keep going (and I'm sure it didn't hurt that he started winning awards shortly after, guaranteeing a sold-out run for the rest of the festival, but still, he didn't know that.)

I am realistic. This isn't easy and not all shows blossom like this. But what hope this fills me with as I try and create my own work!

Elephant Wake is at the NAC Studio until November 14.

The Popular Vote

It's a regular blogapalooza week here at So You Want To Be An Actor (Redux). For some reason I've been blogging almost every day. I guess there's just a lot going on, including the following on how you can help the Ottawa Theatre Network. I know that this is very much a popularity contest for money. That said, with funding being so difficult to get in the first place, I don't really like passing up any opportunity that might help support my theatre community.

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

Be a Part of Ottawa’s Renaissance: Vote Now, Vote Daily, Tell A Friend

Do you care about Ottawa professional theatre?

Do you want to help the Ottawa Theatre Network and the Great Canadian Theatre Company make a lasting contribution to Ottawa professional theatre?

Here’s you chance! It will only take a few minutes of your time. We promise.

To find out more, click here:

http://ottawatheatrenetwork.wordpress.com/2009/10/27/be-a-part-of-ottawas-renaissance-vote-now-vote-daily-tell-a-friend/

Remember, you don't even have to live in Ottawa to vote and you can do so daily!

A direct link to our proposal itself can be found here: http://www.avivacommunityfund.org/ideas/acf1624

In addition, Third Wall Theatre is also looking for support for their Shakespeare Ensemble Project. Since you can vote for multiple proposals, I suggest you also check them out here: http://www.avivacommunityfund.org/ideas/acf2384

Sealing the Deal

As previously mentioned, I am doing double-duty of acting and publicity for the upcoming production of Shining City by Conor McPherson for SevenThirty Productions. After speaking with the director at a production meeting, he made it clear to me that as publicist my job is to "let people know about the show, not sell tickets." I have to say that this is a bit of a change from my current perspective on arts marketing, which is that it's my job to put bums in seats.

Now, a part of me would love to have this weight taken off my shoulders. I'd love to just sit back, write a press release, create a facebook event and then wash my hands of the whole thing as I focus on my lines and character development.

How many people here believe that's what I will actually do?

*Cue tumbleweed*

The workaholic in me won't let me do that. The control freak in me won't let me do that. The go-getter in me won't let me do that. The financially desperate in me won't let me do that. The artist in me won't let me do that. I can't sit back and do nothing when I know there is something I can do. And do well.

So, I'm looking at group sales and program advertisement. I'm attending events and talking up the show. I'm looking at potential cross-promotion opportunities. My time line is very tight with opening night on November 17, but everything is automatic and second-nature. And I even have help. Our assistant director has also taken up the call to arms and is going far above and beyond the call of duty. He's doing most of our design work and I think we'll be tackling a flyer distribution this weekend.

If I don't do this, then whose job is it?

There is also a major difference with this show from all the promo work I've done in the past. I am in it. Sure, I can invite people to anything I'm doing publicity for, but if I'm not directly involved in the creation and presentation of a piece, why would my non-theatre friends come and see it?

I have over 800 friends on facebook; 70% of which, I am sure, live in the Ottawa area. There is no reason I shouldn't be able to get the majority of these people to see me in a play. Right? You'll come see me in a play, right?

*Cue tumbleweed* ???

(Am I basically saying that if you cast me in your show I can probably get about 500 people to see it/me? ... Uh, maybe. I'll let you know how that worked out on November 29th.)

In the meantime, I'm going to go work on my lines now so that you may have sometime worth seeing.