Magnolia Tree

As I prepare to leave the blossoms are falling and the leaves will soon come. A productive time, made it through a draft of “Ordinary” and began making notes toward other things. Learned a bit about gardening. Elsewhere in the world “His Greatness” seems to be running well at the Finborough Theatre in London, “In On It” just opened in Edmonton and appears to be going well and “A Beautiful View” is still running in Brazil. Here in Halifax “I, Animal” is in its last week of rehearsal for the Supernova Festival. I saw a run on Monday and it is in very good shape, from my seat in the back. I will get to see in it August when it plays in Toronto as a part of Summerworks. It’s a simple play in that it is three monologues and a difficult play for the same reason. It’s hard to believe that a week from now I’ll be day three into rehearsals for “The Best Brothers” at Stratford. Such is city life.

Over The Avon River

My neighbour Greg arrived at my door yesterday telling me “put on some pants, we’re going to the quarry”. I was wearing shorts. One doesn’t go into the back country in shorts. We drove in his side by side – which is like a cross between a golf cart and an 18 wheeler – deep through the woods and up and down embankments in a way that clearly defied gravity. After about 40 minutes we arrived at an area above abandoned gypsum quarries that boasted a view that took in all of Hants County and if you looked hard enough you could see New Brunswick. Holding the odd dog in my lap the whole time I couldn’t help but feel occasionally like Alma Garrett from Deadwood in a fancy hat being chauffeured through the pioneer wilds. On the way back we took a series of “short cuts”,  down a steep path that had just been cleared – “maybe not for me” Greg said as we barely squeezed through thick brush – and across an abandoned rail bridge across the Avon River – as we approached the bridge Greg said “I don’t know if I should tell you now or later but the bridge is condemned” – I told him that later would be better. Greg’s the kind of guy who has been doing this his whole life and knows every back trail and possible passage in the area, I never felt nervous on the drive, though even sitting it did feel like a workout. Like riding a horse where a horse would never go. When he dropped me off back at home Greg said “Welcome to country living”. Once in the house the odd dog spoke for the first time. He shook himself out and looked up at me and with a slight southern accent said “That was bananas!”

Students Margo Kokay and Jack Bennet

Last week went into Halifax to see the Citadel High production of “How To Succeed In Business …” directed by my pal Mary Lou Martin. I don’t think I’d ever seen a high school musical before, certainly not on this scale with 90 students. It was great. Stirring. The kids all came off very well and even the non-dancers pulled it off. There’s something about seeing 90 people on stage all moving the same way – even if it’s just: turn left, turn right, lift your arms, drop your head – that is remarkable. This musical theatre thing just might have a future.

Still writing away. Hoping to have something firm by the end of the week.

We Are Here

Arrived in Avondale yesterday. Long time on the road. Today getting things in order then starting on writing the play I’m calling “For Now” for now. I don’t think that title is going to stick. It’s the third of the three plays for three women. I have a first act and the idea for a second but that’s it. And it looks like the first act is going to change dramatically. I must remember that “Communion” started out as a four actor multi-scene play called “The Communion of Saints” and ended up three actors and three scenes. The job now is to get out of the way and see what the play is/wants.

Today Buddies In Bad Times announced the new season and Brendan Healy will be directing the world premiere of “Arigato, Tokyo” with an amazing creative team. Very excited about that. Also “The Solder Dreams” is currently running in Baltimore and based on the review below it sounds like it’s going well.

http://baltimore.broadwayworld.com/article/BWW-Reviews-Iron-Crow-Theatres-THE-SOLDIER-DREAMS-Wages-War-on-Death-Through-Joy-and-Dancing-20120416#

Stephanie and Jenny

Arrived in Ottawa last night in time for the opening of “Communion”. The women had a great show and the audience was engaged and appreciative. Peter Hinton spoke beautifully at the reception after the show – and later reminded me that we were born on the same day, the same year. That’s gotta mean something somewhere. Everyone told me how well and respectfully they were treated by the National Arts Centre here. A very good thing. Tomorrow back on the road toward Avondale.

The Fort Garry

In and out of Winnipeg quickly. Shot a scene for a thriller being directed by Keith Samples – he directed me on “Republic of Doyle”. I play a psychiatrist – either very aggressively or very understandingly depending on which take they use. Flew in last night and back out tonight. The film world is always a whirlwind – even when waiting for a driver or lighting. Last night a lovely dinner with Bob Metcalfe, King of Prairie Theatre Exchange. Next, on to Ottawa and “Communion” at the NAC.

It is Spring

More reviews out today. One online that basically called the play “dull” – which was, basically, dull. And one in the Globe which was thoughtful but pretty much an outright pan. Although he did make a lovely comment about a particular line that rather broke my heart – in the good way. Overall he didn’t buy the conceit – which is valid, some won’t – and he says I shouldn’t have directed – as did the Sun which was the one complaint in a otherwise great review. I do look forward to another production with someone else directing but I do feel that I had to helm this one or I never would have got to the play of the play – I really had to be there to walk through every line. The good news is that the negative comments didn’t bother me as much as I thought they would – so perhaps I am evolving after all.

Met with Richie Wilcox yesterday to discuss the draft of “I, Animal”, my play of three monologues that he is directing for Eastern Front’s Super Nova in Halifax this Spring and at a festival (which I don’t think has been announced) in Ontario this summer. Kathryn’s company Kazan is co-producing and they will be rehearsing while I’m in Nova Scotia in April/May. I’m taking a back seat on this one though – I’ll be there for the first read through and for a couple of runs but I want to let this one off on its own. That was part of my idea in writing it – a simple and accessible piece of theatre that didn’t require my presence to make sense of it.

Backstage

My opening night gift to the women was fixing up the extra dressing room so they’d have a place to rest between shows on two show days. Ah, the glamour. The first of our three openings went well. Because we’re in the smaller space Tarragon has three openings, the first for press and subscribers, and the next two they call “Community Nights” so that the theatre community can get to see the show.  Tonight is the final Community Night. The first couple of reviews have come in and they’re good, that’s always a relief. No matter how long I’ve been doing this there’s always anxiety about how a show is talked about in the press. I get annoyed with myself about worrying about it but it’s a pretty human thing to be concerned about I guess, and as evolved as I hope that I am there’s only so far this human can expect to get. Audience response has been great and that’s really what matters at the end of the day.

Jess, Clare and Caroline (photo by Cylla Von Tiedemann)

One more preview tonight and we open tomorrow. The women are doing a wonderful job – and by women I mean everyone since the whole in-room team besides myself and my AD Matt MacKenzie are female. It’s certainly a challenging play – on many levels – but sitting with audiences each night I can feel their engagement and their questions and a movement toward understanding something about a life. It ain’t Bingo! that’s for sure. I’ve always been a little scared of this play and it’s hard to say why. The writing is poetic and the conflict on stage is one woman’s internal conflict. The voices in her head, the ghosts that visit her. It doesn’t play out like a traditional narrative, the story is never overtly told, to define it I guess it’s an experimental memory play. Whatever you call it it’s a play one is asked to watch with an open heart.

A Moment on Stage

A tech run last night. Brooks and Kate (my god-daughter) were our audience. They both had some excellent observations. We struggle a bit now with the weight of the space. Having come from a white room with open windows and sunlight, and now adjusting to the black room with reflective surfaces and no movement in the air. But I think we have discovered how to bring the white room into the black room – a sense of buoyancy. Also, the fact that we are telling two stories at the same time – the story of the character Kathleen, and the story of the re-integration of the three elements of that character Kit, Kath and Kitty – is never overtly stated – and that is part of the journey of discovery but it’s not like it’s a “reveal” – it’s not a mystery to be solved, but as I said, a fact. The audience will come to understand that fact at different times. Some will figure it out in the first ten minutes others might take until the end of the play, but the important thing is that it shouldn’t matter. I don’t want to be coy about hiding something, as if the play tilts on the fulcrum of that information. How to say something without overstating – how to trust the audience’s sophistication yet not be obtuse. This is the journey of the previews.

This is the poster for “A Primeira Vista”, the Portuguese version of “A Beautiful View” that opened in Brazil last week. It looks like a wonderful production from the stills and videos clips I have seen. An excellent chemistry between the actors and a heartfelt understanding of the text by the director. Much thanks to Enrique Diaz.

Jess

Lovely Jessica Moss in a lovely moment.

And now a few words on dramaturgy. Even Iris, a dramaturg herself, is reluctant to try and define the job when people ask about it. Traditional dramaturgy is easier to understand – creating a context for the production. And the key to understanding modern dramaturgy is in that word “production”. People seem to think that the job of the dramaturg is like that of a story editor but in fact dramaturgical work goes beyond the page to the stage. The dramaturgical concern is how the story is being told –  not just on the page, and how the art of theatre is served by the production – and of course how the production is served by the tools available to us. It’s a partnership that goes beyond words.

Caroline

Finished up the week today with a run. We invited some civilians to be our audience. Well not exactly “civilians” since they were theatre luminaries Shawn Wright and Dayna Tekatch – but civilians in terms of our “Was Spring” world. It was great to have new eyes on the piece, both for the actors and for me. They were both very generous with their attention and their comments. Iris was also at the run and had a series of notes for me which were both incisive and painful. Erg. But all is going well. It’s a complex little world we’re building but it feels like it’s starting to lift off. I’ve had to do quite a bit of press on this show and it is an odd one to talk about. It doesn’t really allow itself be expressed in a simple “what is it about” the way some plays do. Have been doing some thinking on the next play in this series – it has gone by many names but I think I’ve found the right one, for now. Once we open I’ll spend a few days writing and then two days with the actors in a table workshop and reading. But first things first and next week we start tech.

Blocking?

Making an attempt not to block the play right away. Trying to be fluid. Of course there will come at time when that must happen. My usual method is to block immediately. But this play is different for me. It exists in a psychological reality where the normal rules do not apply. So I try to keep it open. The play is both delicate and muscular at the same time. It needs a particular kind of attention. It’s a deceptive animal. One thing on the page and quite another on its feet.

Clare

Started “Was Spring” yesterday with a reading in the morning and then table work for the rest of the day. Today we get up on our feet.

Banff Interior

Banff Exterior

Just finished the Playfinding Masterclass at the Banff Centre. A great, engaged, open-hearted group. Hopefully I’ll be able to post a pic of the gang tomorrow. The more I do the class the more it settles into its own energy. A lot of energy expended, but much returned. This kind of work continues to remind me why I make my home in the wonderful world of theatre – where the art is the creation not the product.

“Inside”; Everyone

Worked the last week and a half at the Theatre Centre with David Ferry and the cast on “Inside” – also working on the text with Iris. Much to discover as it begins to move around the room a bit with these excellent actors.  Streamlining the scenes and finding new connections. The structure remains the same – that’s always worked in its uncomplicated way. Saturday night there is an invited reading. I unfortunately can’t be there as I’m heading off to Banff tonight to lead a Playfinding Master Class with 12 diverse and eager participants.

Stephanie and Jenny in “Communion” (pic by Neptune Theatre)

A very positive and beautifully written review by Elissa Barnard in The Chronicle Herald this weekend.

http://thechronicleherald.ca/artslife/61663-communion-takes-viewers-keen-state-agitation

Today start work with Iris T and David Ferry on the “Inside” workshop. Been rewriting all morning.  Getting there.

“Communion” at Neptune

Saw the dress rehearsal yesterday. Looking beautiful. Back in to Halifax to see the 1st preview tomorrow night.

Today

Snowed in a bit today so took the odd dog for a long walk down along the river and through the farmland there. Have been working on two short essays the CBC asked me for – as part of a series they do called “But then again”. The first essay states a point a view and the second argues against it. This version of the series is in honour of Valentine’s Day and will run on As It Happens that week. “Communion” rehearsals have been going well apparently – I’ve not spent much time in the room. I’ll be seeing the dress rehearsal on Friday and then the first preview on Tuesday before I hit the road for Toronto on Wednesday.

Photo by Stewart Legere

Met at Ann Marie’s place on Tuesday for a “star(dust)” debriefing dinner with Stewart, Stephanie and Lousia. Dale was the central unseen character in the “star(dust)” document we developed in the workshop. I guess Tuesday was his birthday. Making plans for another workshop later this year. The object will to be broaden the base of the work by making the point of the workshop – and potential public presentation – the dissection and analyzation of the document from the first the workshop. Of course this has the potential to become a bit of a devised theatre wank, but we feel that even that concern itself might broaden the base and make for interesting conflict. In the end though I guess it’s really all just about how in the world anyone can communicate with anyone considering … everything.

“Communion” is in rehearsal at Neptune. Dropped in on Tuesday to watch a work through. Good shape for the end of the first week. They preview on the 7th of February.  I’ll be departing for Toronto the next day.

Week Two

Ann Marie, Stephanie and Stewart.  No one is acting in the above photo.

We spent the week at the Bus Stop putting together the various ideas, bits, notions and scenes into a kind of document that we shared with a few other people. In the end it was more about the heart than anything else. Not sure if that’s really the basis of devised theatre – it seems to me more a theatre of ideas than emotion. However that’s where we ended up. Next week we meet for a dinner and a debriefing and decide what’s next. Lovely people.  Good times.

Morning Walk

That’s Louisa, Stewart and Stephanie during week one of the “(star)Dust” workshop. We spent the time in Avondale working on the basic ideas and this week we are in Halifax working at the Bus Stop generating new material. Devising theatre is both darkly challenging – impossible questions about purpose and point – and exhilarating – the forming of a group energy toward a goal. And sometimes the goal is unclear other than knowing that there is a goal. Everyone is participating very well, engaged and game. We finish this Sunday and will hopefully emerge with a sort of blueprint toward a further workshop.

Wentworth Park Bandshell, Sydney, Nova Scotia

Caroline and I were both in Sydney yesterday so we spent the day together. She is seen above doing her dance steps from “Oliver” in which she just performed at the National Arts Centre. I was her audience of one. As a dancer she’s a wonderful actor.

I’ve been working through my rewrite for “Inside” and as of tomorrow Ann Marie Kerr and Louisa Adamson and I will be in Avondale working on a new piece of devised theatre we’re … devising … along with Stewart Legere and Stephanie MacDonald called “(star)dust”. Thursday Stewart and Stephanie will be joining us for the weekend and then next week we will be working in Halifax at the Bus Stop Theatre and then showing the result on the final night of work. We’re working from a very rough outline I have been kicking around for the last couple of years but as of this point all bets are off and no holds are barred. We’ll see what will become of it. I will keep you posted, as it were.

The View Yesterday

The View Today

And suddenly it’s a winter wonderland. Tomorrow I head into Halifax to spend a couple of days with the MacLellan clan. The last couple of days I’ve been finishing up my rewrites on the drafts of “The Best Brothers” and “Was Spring”.  The “Was Spring” draft will be the rehearsal draft. There’s something about that play that rather terrifies me. I think it’s my ego concern about being current and hip. I suppose if “Marion Bridge” was a play I wrote for my Mother “Was Spring” is a play I wrote for my Grandmother. There’s also something … mysterious about the play. For the first time I don’t have the impulse to get to blocking the play immediately in rehearsal – not that I want to be sitting around the table with it but there’s something deep to be discovered in the movement of it. But for now that’s put to bed until we start rehearsals at the end of February. My next order of business is a major rewrite of “Inside” my play David Ferry directed last year at University of Victoria. David has set up a Toronto workshop for the play in February and I want to get my hands into it before we meet with the actors.

And if you’re at all feeling Christmassy – or perhaps more if you’re not – you should check out the McGarrigle Family Christmas concert on CBC Radio 2 tonight at 7pm.  Or listen to it here:

http://www.cbc.ca/radio2/cod/concerts/20111211mcgar

The Loft

The great thing about the Avondale house is that there is working space. The girls can be in the mail house and I basically live in the loft over the garage. That way I can sit with them to go over material and then leave them on their own to work through their beats and be far enough away that we can’t even hear one another. That wasn’t the original plan with the house but that is how is has worked out. It evolves as a place where group work can happen. Last night my neighbours Murray and Sherry and Greg and Nancy – down the hill and down the road respectively – came by and were treated to a evening of Newfoundland hospitality and conversation. Even this was constructive for the work – one one level it was great to see them since I love my neighbours but on another level it was good for the girls to interact with new people in this energy of creation, and good for me to see them in that energy. By the way I keep calling them “girls” because the working title for the play is “Girls, Girls, Girls”.

The Girls, Near Avondale

Arrived in Avondale on Monday. Allison Woolridge, Amy House and Berni Stapleton arrived from St. John’s on Tuesday morning and we have been working on their show all week. I’m serving as an animateur/dramaturge/ass-kicker. They’ve been working on the ideas for three years and this week is the last blast to get them ready to start staging. An excellent and warm process. The house here is very welcoming to this kind of work and we all have space that we can disappear to when necessary. So far we’re on schedule and we will continue working until their departure on Sunday. I have know all three of them separately and it’s great to get to know them as a team. The great news is not only am I getting a fee but they are cooking for me. I’m eating very well.

Iris and Dean

Read through the re-writes yesterday and spent some time in the theatre today. It’s a great room, not a bad seat really. Tomorrow a day in Toronto preparing to head to Nova Scotia. Unpacking and packing.

Dog Park Ontario Style

Arrived in Stratford Monday night for “The Best Brothers” workshop. An excellent day of work on Tuesday with John Beale, Iris, our SM MaryLu and director Dean Gabourie. Read through the script and did notes. Today Iris and I spent the day at my place working through the script and tonight I’ve emailed off the new draft for a second read tomorrow. All feels moving along at a good pace. Here is the poster image – with the odd dog featured prominently:

And here’s the link to the Stratford website:

http://www.stratfordfestival.ca/OnStage/productions.aspx?id=16145&utm_source=Homepage&utm_medium=billboardlink&utm_campaign=hp-billboard&prodid=41248

Another View from the Booth (by Marcie)

Between shows. A 4pm and a 9pm. Heading back to the theatre shortly. No time for napping between shows. Feeling like a bit of a po-faced dullard. Not sure where I caught that. I’m sure I’ll be fine once I’m back on stage. Packing. Tomorrow a matinee and directly to the airport from the theatre. I’m sure I will have much thought on the long run once it’s briefly behind me. Listening to Iron & Wine’s “Tree by the River” – that would help any po-faced dullard brighten up.

Buena Vista Park

Lots of time in the park with the dog these days with the better weather. Excellent audience tonight, really felt the back and forth of the show. I have felt that before here but more in pockets and moments, but tonight the flow was consistent. The show then comes alive in a different way, I am less concerned about being right and more focused on being present. The room becomes alive.

From the SM Perspective (Photo by Marcie Januska)

Show goes well. I feel very solid in it. Have a little trouble reading the audience, they are more reserved than I’m used to. Also I think perhaps the acoustics might be odd for me – it’s like I can’t entirely hear them. But it’s quite clear by the end that they are satisfied. Perhaps they are not really sure about committing until they begin to see that the show is not just a series of bits but that it in fact goes somewhere. The spot in the show that seems the most troubling for the audience is Aaron – the female to male trans character – there have been walkouts in that section more here than anywhere else – not hundreds – or even tens – but enough that they register for me. Of course I understand that Aaron might be difficult for them – Aaron even tells them that himself.  In her lovely review (linked below) Liz Nicholls says Aaron is the least convincing character. (I’m sure as a trans man Aaron would find the use of the word “unconvincing” rather loaded.)  And I must say he was the one character that I was initially most nervous about giving voice to – being a gay man playing a man who was born a biological woman and who has transitioned to the point where he is fully hetero male identified but chooses to forgo genital reassignment – as an actor one could certainly over-think that voice. But for me Aaron has become the fulcrum upon which the story tilts – into it’s darkest worlds of craving and aversion. He is the messenger.  The Oracle.

On other fronts it’s positively balmy here at 2 degrees.

http://www.edmontonjournal.com/Real+life+only+MacIvor+deliver/5737297/story.html

Hawrelak Park

Cold. Still. Tomorrow they’re predicting a rise to minus 8, so the city rejoices. On a break between shows. Two show days for a solo are always a bit brutal. The worst of it is actually before the first show – with two looming – but now is not so bad. Just the fatigue. But I see the light at the end of the stage – as it were.

Opening Night

Well as predicted I was a bit on the sloppy side last night. Not embarrassingly so but more than was comfortable for me. I had that unfortunate experience of being about two centimeters outside my body and two seconds ahead of myself for the whole show. It becomes a lot harder work for me when that happens. But the audience still seemed to get the show, so it was satisfying for them but not for me. But it’s not about me – although on one level it’s all about me – just not on that level. Odd.  Speaking of which. Still hovering around minus 20. The dog is not a fan of that. We’re surviving. Had a great session yesterday speaking to the students at U of A. An alert, engaged group. And the show tonight was much more centered for me. So, despite the savage weather a decent couple of work days.

Marcie J in the Room

Excellent SM Marcie sits with me through the warm up nightly, bless her. Due to her it’s less of a lonely job for sure. Starting to get used to the wide room. We open tonight. Not a huge fan of opening nights.  Or closing nights. They tend to buckle a bit for me under the expectation. They are always my sloppiest shows. But it has to “open” at some point. Freaking cold here in Edmonton. Minus 20 today. But one can get used to anything. Have a talkback session at U of A today with the Theatre students.

The Citadel Theatre

Day off. Ran without a hitch through tech last week and did two previews on the weekend. Two more previews and then we open on Thursday. Initially I felt that we really didn’t need that many previews but now having done a couple I realize that it will take me time to get used to the room – very shallow and wide- and to get used to the Edmonton audience. So far the audience here listens more to this show than I’ve been used to. Last night due to the long stretches of no reaction I was becoming convinced that they were put off by the show but by the end it was clear that they were on the ride,  just quietly so. And as usual when I feel I’ve had an odd show, Brooks came back to the dressing room saying “That was great.” And I can be quite confident that when I feel like I’ve “nailed it” Brooks will show up backstage with a “You were pushing tonight.” So as much as I feel I know about what I’m doing, that’s really how little I know. Once we open the plan is to continue work on the second draft of “Ordinary Joy” – the third in the trilogy with “Was Spring” and “Communion”.

When asked to comment on Joan MacLeod winning the Siminovitch Prize in theatre, Mr. MacLeod responded, “Who’s Joan MacLeod?”

Here is a link where you can check out Joan’s beautiful speech for a most deserved award at: http://www.siminovitchprize.com/ just click on Joan’s name under “The Recipients”.

Luckily it’s just the hotel that’s tired. I’m fine. The Odd Dog is a bit tired though, found a great park near the zoo – acres and acres of fields and trails along the river. Nothing downtown though, I hope he appreciates I had to rent him a car. The Theatre Alberta AGM went very well, the Playfinding workshop seemed to benefit most if not all and the keynote went well. I didn’t realize that I was speaking to a mixed group of theatre professionals, community theatre folks and theatre lovers. I had pitched the tone of the address when writing it to professionals but I really don’t think that made any difference. Theatre is theatre when you come down to the basics. On Sunday drove to Calgary with the lovely and remarkable Michelle Kennedy and the equally both Elyne Quan and on Monday night headed up the highway to St. Albert’s where I did the first ever reading of “I, Animal” – three monologues to be performed eventually by anyone but me – at the Arden Theatre. A great audience turned up and I made some important discoveries about the monologues and how they work and could work better. And then yesterday began rehearsing “This is What Happens Next” at the Citadel. I think I remember how it goes. Dress rehearsal Friday should determine that.

Arrived in Calgary last night. The snow arrived this morning. Tonight I am on a pannel with Blake Brooker and Mieko Ouchi and tomorrow I do a day long Playfinding Workshop and then the keynote address tomorrow evening. Dropped in on Blake and the One Yellow Rabbits this afternoon and had a visit while they were working on John Murrell’s new play with John. It was great to be in the laid-back but slightly buzzy energy of a rehearsal room even as a guest.

Calgary, Evening

Well it’s not really his dressing room technically. We shared it. After closing “His Greatness” on Sunday we drove to Stratford to do the company photograph and the photo to be used for the Stratford Festival Vistor’s Guide for “The Best Brothers”. The Odd Dog was a superstar. He posed like a pro. Maybe I should get him on the working dog circuit. The whole thing is done in pieces – everybody in the company poses separately and then are photo-shopped into a group and even though John Beale and I are on the poster together John did his session on Sunday and I did mine on Monday. Which I suppose sounds strange but it works surprisingly well. A brilliant photographer, Andrew Eccles, and a very calm, focused and fun vibe in the room.

Currently working on the keynote address I’ll be giving at Theatre Alberta’s AGM. I’m calling it “The Artificial Authentic” – sounds heady but it’s all rather basic – what we do and why we need to do it. I spoke to the Vic One Plenary students at the University of Toronto yesterday and kicked around some of the ideas. A great group of students, hope it was helpful for them because it was for me. Put the final changes into the proofs for “Bingo!” which is going to the printer today.

The Other Stratford

Coming Soon From Playwrights Press

Above is the mock up for the “Bingo!” cover. The show continues to go well in Winnipeg. Audiences are enjoying it and the reviews have all been glowing – Winnipeg Free Press and Globe and Mail – although apparently there were some quibbles in the local entertainment weekly about “sentimentality” – I think the headline was “less sentimental speeches and more booze” – I didn’t read the review since I have a bit of a bugaboo about people have an issue with “sentimentality”. In my world it’s not a bad thing if handled properly – mostly I find that people who don’t like what they call sentimentality don’t like to feel they are being “stirred”. But I’ve always been a stir-er.  So be it. Saccarine or maudlin is another issue, and Bingo! ain’t that. And anyway, in my experience “more booze” has never been a solution to anything.

Four more shows of “His Greatness” – enjoying it fully. A satisfying experience. My brain is moving on slowly to the next work – the keynote address at Theatre Alberta’s AGM in Calgary on November 4th. And then “This Is What Happens Next” in Edmonton.

“Bingo! at Prairie Theatre Exchange (l-r Marina Stephenson Kerr, Jeffrey Renn, Robert Moloney, Ted Atherton, Miriam Smith)

“Bingo!” opened last night at PTE under the direction of John Cooper in Robert Metcalf’s newly renovated theatre digs. It’s a very important production for me because it stands to prove that the play – set on the East Coast – isn’t just an East Coast play. And though it worked beautifully in Nova Scotia this summer, will it fly on the Prairies? Based on the CBC review below it just may.

http://www.cbc.ca/manitoba/scene/theatre/2011/10/14/theatre-review-fun-watching-middle-aged-men-and-women-regress-to-awkward-boys-and-girls-in-bingo/

Oh my.  Glenn (2 out of 2 ‘n’s for “Glenn”) Sumi tweeted notice of this from the NOW archives.  Yikes.  I haven’t re-read the article yet for fear of how potentially full-of-it my young self was, but it is below for your perusal. It was so long ago I don’t think colour photography had been invented yet.

Show going well. Audiences picking up the last two nights (being it’s the last two weeks). Having a bit of trouble with noise from the theatre upstairs. Really the only two things we need to make theatre (beyond an idea) are silence and darkness. The darkness we’ve got but the other not so much.

http://www.nowtoronto.com/news/story.cfm?content=183169

Waiting To Go On

Hitting a stride with the show. Experiencing how performance develops and settles over time. Things don’t so much change as integrate. A bit of direction that once felt so foreign, in time can feel as natural as breathing. It is so like meditation. It’s about acceptance and equanimity. Moving boldly forward with purpose then letting that go. Then repeat and repeat. It’s not a thinking thing. How it in the world can this be taught I wonder sometimes. Technique yes, but the other thing … it’s hard to even articulate.

The Church of Skating

Kat is in town and she took me up to the Cricket Club in North Toronto to watch Brian Orser’s young skaters during a coaching practice. Talk about “greatness”. We saw his Spanish skater Javier Fernandez working on his program. What skill. Beautiful. I don’t know too much about the sport of skating but I do recognize art when I see it.

Good show last night. Great audience. That always helps. A great audience is the difference between the show buzzing and the show crackling. A buzz is great but a crackle is brilliant.

An Actor Takes Pictures

Decent show last night. Lacked a certain crackle. Our smallest house yet – our first Tuesday in Toronto, that’s pretty typical – and as a result we had to work a little harder since the energy flow from the house wasn’t what we were used to. I always say to young actors that the job of the actor is to evoke feelings not have them – but when one has gotten used to “having” feelings in a part in a moment it’s a harder – or perhaps less satisfying – job when those “feelings” don’t present themselves. But that’s where technique comes in. Lovely reviews from Glen S in Now and Johnny W in the Torontoist.

http://www.nowtoronto.com/daily/stage/story.cfm?content=182844

http://torontoist.com/2011/09/macivors-greatness-on-display/

An Actor Prepares

That’s Greg in his dressing room getting ready to be the Young Man. An odd show for me last night, I was about 4 centimeters outside my body all evening. Now, normally in a solo show I would be able to correct that by stating it somehow, or stopping and realigning my connection with the audience. But I don’t have that option here. What I realized today – after a conversation with Brooks – was that I need to look to the other actors in order to reconnect. A simple solution of course but when you’ve spent as much time on stage alone as I have it isn’t the immediate thought. Of course the other thing I have to realize is that the Assistant, whom I play, is in some ways about 4 centimeters outside his body, so this may just be the feeling that will follow me. Below is our review from the Globe and Mail. It’s another good one, the critic Martin M thought Richard was absolutely channelling Tennessee, and I agree. He did feel though that I was not entirely successful in making my character’s plight sympathetic to the audience. When I thought about that I realized that the night he reviewed the show I had dropped some text from my big “I’m leaving for good” monologue and as a result got angry and so my exit was one of anger rather than one of defeat. So I do understand his point. It reminds me that a review is of one single performance. So all in all I feel good about it, if he had had problems with the play I might have felt worse but that all seems to be working. The other thing is that Martin reviewed me in the late 80′s playing Tom in “The Glass Menagerie” at Theatre Calgary and he didn’t find me very sympathetic then either! Perhaps it’s just our chemistry?

http://www.theglobeandmail.com/news/arts/theatre/his-greatness-channelling-tennessee-williams/article2178073/

Act 1, Scene 3 (Photo: Sean Baker)

Opened last night. A good show, a great audience. As an actor lots to find and refine. Two reviews out, both good and very thoughtful. Both Richard O. and John C. make interesting points in their minor criticisms.  Richard feels that the top of the play has been directed a bit broadly, and I get his point but I also see that Ed set that tone so that the second act would have more gravitas. Also, I think we’re all still settling in to the tone, we might still be a bit “on top” of it.  As I said, things to refine. John C. feels the Young Man is played younger than he should be, which I also get, but in defence of that choice I think it’s something that will develop and emerge over the run. These are early days. But I do love it when we can have a dialogue in the theatre between the critic and the practitioner.  I have experienced a kind of community boosterism in terms of a critical voice in some places and in the end this keeps the bar low and doesn’t challenge us. But of course when all is said and done, don’t we all just want people who write things in the press about us to think we’re great and love us. That’s how we humans are.

http://www.torontosun.com/2011/09/22/greatness-abounds

http://www.toronto.com/article/698994–review-his-greatness-has-greatness-inside-it

First preview last night. Went very well. A nearly full house. I feel like I’ve landed the tone of the beginning for myself. The odd thing is even though I’m doing a direct address opening it’s a very different thing than the direct address I’m used to. Normally in a solo my direct address is about developing a fusion of  the truth of “me” and the artifice of the  ”character” as filtered through the audience’s perceptions and expectations of a written-and-performed-by solo work. With His Greatness there is no “me” – I mean of course there the internal “me” from which all the actions and reactions are generated – but this direct address occurs within the fiction of the “play”. If you look at any of my solos they all start with an acceptance of the artifice of the situation: House: “Thank you for coming”; Monster: “Shut up asshole the movie’s staring”; Here Lies Henry: “You don’t want to get me started talking I might never shut up” etc etc.  And even though the first line of His Greatness is “He’d be so happy to see you” this is said within the world of a naturalistic play. It’s a fine line. It’s almost like the solos give me a few minutes to feel my way from the artifice into the authentic but with a play like His Greatness there must be a tone, an energy of authenticity from the first intake of breath.