As if the rancid breath of consumer capitalism hadn’t done enough to debase & degrade the integerity of modern childhood, the chthonic footsoldiers of Toys ‘R Us have turned their gaze to the last bastion of reasonably authentic outdoor/environmental education – the school field trip – by directly pitting the natural world (i.e., boring) against the plastic (fun!). It’s enough to make you lose your appetite:
Though probably I surrender some amount of high ground by doing so, I must begin this post with a bashful mea culpa. In her latest, rather moving & impressive article for SpiderWebShow’s #CdnCult Times, National Arts Centre English Theatre A.D. Sarah Garton Stanley calls me out on a rhetorical snafu by citing my previous post:
[Offord] goes on to say: “The fact of the matter is, we Canadians are deeply insecure about most things, & our theatre scene (I’m being hugely Toronto-centric in this, note; Toronto’s all I know, really), … has an inferiority complex for which “Napoleonic” is putting it mildly.
The use of the word “fact” is incredible here and so too is the use of a “we”, or “our”, all of which leads to paradox of the “us”. How interesting.
Yeah, I deserved that one. I should probably avoid making sweeping, nationality-based generalizations while at the same time attacking the substantive value of both nations & generalization. Garton Stanley’s barbed acumen on this point & others (“intermittently accurate” is such a great phrase I may have to steal it) is matched only by the very touching account she gives of her teenage years, inveigled by Levesque’s particular brand of acid-sharp PQ separatism, & the lasting effect this had on her patriotic father. It’s a lovely passage, & apropos; we can forget all too easily that these questions do not dwell just in the suburbs of academic discussion (I almost used the word “discourse” there – without irony – which perhaps says a lot about me). These issues matter.
The impetus for this post comes from Michael Wheeler (Artistic Director of the politically minded Praxis Theatre Company), whose new project is called SpiderWebShow, described as “A theatrical space where Canada, the Internet and performance minds intersect” (the absent Oxford comma is, I assure you, thoroughly sic). Both Mr. Wheeler & Praxis are rare creatures of at least the Torontonian theatre scene that I know, in that they are interested not just in the creation of performances, but in seriously pursuing the “Why” of theatre in Canada. Practitioners too often leave these questions to academics – Holger Syme, for example – & adopt a sort of “See No Evil” attitude which ultimately manifests in the work. Not to say the work is bad, per se; merely that a lot of times it seems disconnected from a public discourse about theatrical teleology. Even in the way plays are marketed (& reviewed) they adopt the qualities of commercial products, of things which are bought & sold but not necessarily important, vital, or immediate.
“The time has come, my little friends, to talk of many things – of shoes and ships and sealing wax, of cabbages and kings; of whether the sea is boiling hot and whether pigs have wings…”
So as it turns out, a daily news post was a tad ambitious. Not to say that nobody read it (but then, what do I know about who reads this thing of mine), but to say that I have to eat and live and sometimes sleep, and working a full-time job whilst doing theatre stuff on my off hours has had a deleterious effect on my ability to regurgitate news media, I’m sorry to say, I know you miss it (no I don’t). I’m going to try to do my best to post a weekly round-up every Saturday or Sunday, which’ll sort of curate the week’s bizness into digestible chunks, for your reading displeasure.
Well, my latest project, Aim for the Tangent‘s Mature Young Adults (which I directed & had no small hand in dramaturging) is now just over halfway through it’s run at the Atlantic Fringe Festival. From all reports, it’s doing very well. We’ve had some nice reviews:
& some not-so-nice ones, the burden of linking to which is no longer mine, since the URL no longer seems to be working. I put this down to a karma, or something like it; perhaps the CSEC.
Wesley Colford, who wrote & is acting in the thing, tells me that houses are small but that audiences are enthusiastic. I guess this is the nature of Atlantic Fringe. No disrespect to my compatriots in the Maritimes, but a beacon of theatre culture Nova Scotia is not. Thanks be to Indiegogo! My actors’ plane fare has been crowdsourced. The only one losing out is me – my scotch fund depends on Fringe dividends.
In other news, my partner, Nicole Wilson, & I have begun serious work on our next project, a show about the slaughter/meat-processing industry. Big, big stuff. I’ll report more when I have more.
Stick it in the fridge, kids.