The Left, the Theatre, and the Myths We Need to Stop Perpetuating

Given the massive and probably somewhat brand-destroying lacuna between my last blog post and this one, and given the fact that I’ve spent some of the past hour washing my dishes and sort of muttering softly under my breath about god only knows, I’ve decided to take this occasion as an excuse to get back to blogging.

One of the realities of writing about theatre in the blogosphere is that generally speaking, most of the people doing it have political affinities which are remarkably similar to my own, and while this experience can at times be veritably cockle-warming and sort of affirming, emotionally, it doesn’t always yield the most exciting or useful debates when it comes to politics and theatre. One of the characterizing features of theatre-thinking in this country is that it is dishearteningly echo-chamber-like, especially online. Yeah, we get the odd Twitter conversation about Factory Theatre’s decision to delay the invite to critics, or Kelly Nestruck’s recent (and interesting) article about Equity – but these are concerns about particularities; what’s missing (or at least marginalized), it seems to me, is any kind of fundamental disagreement about what, how, or why theatre is, or ought to be.

I don’t pretend to offer a total paradigm-shift here. But I’ve been thinking a lot about, specifically, the influence of the Internet and the proliferation of a post-New Left vocabulary on theatre artists (at least in Canada), and how these otherwise mostly positive forces might be having a negative effect on not only our artistic practice, but on our ability to talk sensibly about systemic and cultural deficiencies in Canadian theatre.

A warning: this is going to be long, and circuitous. I’m nothing if not verbose. Bear with me – I promise I’m going somewhere with this.

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We do not owe fealty to a playwright’s wishes (a response to Howard Sherman)

I recently got myself into a bit of a pissing match with self-styled “theatre pundit” Howard Sherman on Twitter, over his blog post yesterday, “Who thinks It’s OK to ‘Improve’ Playwrights’ Work?” As quick perusal of Sherman’s opening paragraph reveals, the title is itself a total straw man (out of which, rest assured, Sherman proceeds to whack the stuffing), & pretty well emblematic of what’s to come.

The impetus for Sherman’s post is the recent controversy between Sarasota, FL’s Asolo Repertory Theatre & esteemed Irish playwright Brian Friel. The Asolo Rep, which by all reports has had a long history of taking supposedly daring &/or creative approaches to texts (having not seen their work, I can’t speak to the truth of this), has programmed a production of Friel’s play Philadelphia, Here I Come under the direction of Frank Galati. Galati’s original concept for the production included the excision of three of the play’s original eleven characters, & a stripping out of the intermissions, reducing the show’s runtime to a cool 90 minutes. Friel & his estate, upon notification of these changes, instructed the theatre to restore the play to the text as published, or risk losing the licensing rights. The Asolo Rep acquiesced, & has gone back into rehearsal.

Notwithstanding that Galati’s proposed changes constitute a radical or creative approach to the text only in the most deeply conservative & limited sense, Sherman’s ire towards Galati & the Asolo Rep’s AD Michael Donald Edwards is apparently a kind of moral outrage – as Sherman himself writes: “Mr. Edwards appears to have a fundamental lack of understanding of (or respect for) the rights of authors and their estates.” Adducing the Asolo Rep’s evidently successful (& author-approved) musicalized version of Yentl as “affirmation or precedent for this practice isn’t just foolhardy, it’s just plain wrong.” (N.B.: nothing that I’ve read indicates that the Asolo Rep necessarily argued this; Sherman’s straw men emerge as a motif.)

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Rob Ford & the moral lessons of Watergate (hint: they’re not what you think)

Apropos of my post yesterday & my frustrations with Toronto Star editor Michael Cooke’s staunch (not to say callous) refusal to answer any questions that weren’t totally unctuous & self-serving (no fewer than six – six ­- questions on whether Robyn Doolittle & Kevin Donovan were eligible for Pulitzers), I’ve decided to post something of a parable today. I’ve been avoiding writing/talking about Rob Ford’s meteoric decline for various reasons; mostly because it’s been all anyone else has been able to talk about, & I didn’t think there was much for me to add.

But yesterday, after I sifted through the twelve (!) pages of Star coverage on our mayor & endured the secretions of Michael Cooke’s Q & A, I’m relenting. You get one post – one & that’s it. So here it goes.

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