I’m eating some kind of marinated tofu thing at Urban Herbivore in preparation for what was doomed to be a long, cold, hand-blistering but ultimately sort of bizarrely satisfying strike of the Mature Young Adults set at Videofag, when I get a call from Lindsey Woods over at the Toronto Fringe. She asked me if I was planning on attending the Fringe lottery party at the Transac lounge in the evening (having not entered the lottery, & being 100% certain Iwas not going to be winning any contests, I was not).
After a pregnant silence on my part, she concluded: “Because you’ve won the Fringe Best New Play Contest.”
I am, it (hopefully) goes without saying, totally thrilled & shocked. The script in question was a little cosmological parable I wrote called Potosí, a three-scene meditation on determinism, race, neocolonialism, gender politics, & the Canadian mining industry.
For those of you who don’t know, Potosí is the name of a city in the mountains of Bolivia, where, operational to this day, a massive silver mine sprawls out beneath the rock. Potosí was the major source of Spanish wealth during the 16th century, & became infamous for being basically a black pit of death & despair, something like the fiery pits beneath Isengard where Saruman breeds Uruk-hai.
I can’t wait to get started on production-y stuff, & will be sure to post updates both here & on my Twitter feed, @goodoldneonTO.
Thanks, thanks, & ever thanks to the Toronto Fringe & to the members of the contest’s jury – this is a tremendous honour. But the script is just one component of a show – the same way that the lighting,or blocking, is only one component – & now comes the hard work of making all the other components gel. Should be fun.
If you have Instagram (which I do not), you can check out a little 15-second video of me sounding like a quasi-coherent putz just after winning.