Inspiration has been hard to come by in these late November days. The greyness is thick, endless, unrelenting and unmoving, smug in its stifling tofu blandness. New tires spin aimlessly on a car that’s been flipped upside down and left to rot. Nothing goes forwards fast enough, if at all. To borrow from Beckett, “Nothing happens, nobody comes, nobody goes… it’s awful.” No kidding.
Tag: political theatre
Spending this Sunday prepping for a busy week, I received an email from a Toronto artist and photographer who shared a recent experience shooting a visiting celebrity. It lead to a series of exchanges around the nature of fame, the demands of blogging, and the ways some artistic disciplines translate visually. Expressing his frustration with photographing theatre, he wrote, in effect, “they were just talking. How is that interesting?” Good question -not just for photographers, but for audiences, theatre directors, and companies. He continued:
Maybe I’ve just seen too much theatre recently, but the monologuing of character interaction – where two characters talk past each other rather than to each other – and the lack of passion, emotion, or even dramatic moments seems to be areas where someone could be writing something different.
Don’t you sometimes come out of a play thinking it wasn’t really any different than many others you’ve seen?
Surprisingly, I found myself agreeing with him -though I reminded him that the Robert Lepage work Lipsynch is coming in June. But still, yes, on a personal level, I am sick of talk, or talk-and-shock. I’ve seen some great works, unquestionably, but they’ve been very text-centric, and indeed, after a while, they do begin blurring into one another. To me, theatre is more than talk, and good directors will understand the myriad of possibilities at their disposal. Regardless (or sometimes because) of budgetary limitations, creativity and inventiveness are always the hallmarks of great theatre.
So it was with some interest that I came across this recent post about Operation First Casualty. Visceral, immediate, timely, and unabashedly milking the idea of spectacle, IVAW gave San Francisco residents something to talk about. I have a feeling this kind of theatre affected those who experienced it on a far deeper level than words could ever reach.
If you’re in London, there’s the Tony Award-winningAugust: Osage County. New York has the recently extended one-man show Taking Over, while Chicago has Lynn Nottage’s Ruined. If you’re in Toronto, there’s no shortage of goodness either, with the disturbingly brilliant Festen running into next week, and Frank McGuinness’ timely (timeless?) Someone Who’ll Watch Over Me opening this Saturday.
But oh, the best drama for us Canucks right now is in our own Parliament. The drama! The speeches! The fist-shaking fury! It would all be very entertaining, if it weren’t also real. Ouch. The best part is the level of engagement it’s provoked among average Canadians; considering our last election saw some of the worst voter turnout rates in electoral history, being a part of something so starkly different in terms of mood and passion is… refreshing. The downside is the deep cracks in unity the Ottawa drama is revealing to all of us. Forget the “one” part; we’re just simply “not the same.” Or so we’re being told.
Objectively interesting as it all may be, the cause of national unity isn’t helped by our politicians giving deeply dramatic, occasionally hysterical Bernhard-meets-Kean performances. Makes the fuss over the use of a real skull in an RSC version of Hamlet seem tame by comparison. Then again, I can think of a few people who feel as if their own skulls have been bashed around, watching the frantic arm-flapping of Canadian politicians over the last week. I can only hope there’s a great playwright (or two) watching, listening, and writing. We’re going to need someone to make sense of this for us, and I can’t think of any other way to see it, other than a dramatic presentation in the theatre. If Frost/Nixon taught me anything, it’s that human behaviour is often at its most desperate and revealing when put through the fire of politics. Stay tuned for it: Harper Hears A Hoard, on tour soon.
Gerald Schoenfeld, Chairman of the American Shubert Organization, has died. He was responsible for bringing many of the big shows (like Cats, Phantom, and A Chorus Line to Broadway. His obituary from the New York Times is here (you’ll have to register, but I guarantee you, it’s worth it). Schoenfeld was an interesting figure; while he had a lot of detractors, no one in the industry would deny his importance within the theatre world. Rocco Landesman, President of rival Jujamcyn Theatres, credits Schoenfeld with saving commercial theatre. He may not have been popular in not-for-profit circles -“There’s no profit like not-for-profit,” he used to say -but reading his obit, I can’t help but think that his approach is such a good model for theatre, all theatre, anywhere. From the big things to the small things, Schoenfeld never left any detail to chance, and he fought for his productions. He also gave a lot of people jobs and consistent work. And, to quote the article, “Mr. Schoenfeld argued tirelessly that the theater was an economic engine for the city and deserved greater help from City Hall.” Now there’s something we can get behind.
CBC Arts Online reports that British Columbia arts groups are buckling down in light of this week’s B.C. Ballet layoffs. They’re also thinking more about marketing -which probably makes sense for all arts groups right now, really. For example:
Ballet Victoria, a smaller ballet company than Ballet BC with just 10 dancers, is very aware of the need to attract new audiences.
Artistic director Paul Destrooper said he always programs unusual works that might attract audiences that don’t normally come to the ballet.
“We draw in the audience with a bit of a surprise. I always build my season with one big ballet that will draw a crowd that might not necessarily see classical ballet, and then when they see the level of the dancers and the choreography they’re drawn to other works,” he said.
That’s just how it’s done.
Over at the Guardian, Christine Bacon, the Director of Actors For Human Rights with UK-based theatre company iceandfire, rebuts the notion that theatre can’t respond with appropriate swiftness to current events. Not only is theatre able to do this with the required fast action, but, she argues, it should. And it doesn’t depend on funding, either:
Because we use a rolling cast of actors who donate their time and have no technical requirements, we can provide a “rapid response” event for whichever organisation asks us to turn up. We normally perform in churches, village halls, pubs and lecture rooms – anywhere we’re invited, really – eliminating the usually prohibitive cost of hiring a theatre space. This method allows us to act as messengers; rushing the urgent news to audiences who need to hear it now – not, in two year’s time, when the Arts Council funding has come through. It’s the economy and portability of the concept that really allows us to deal directly with some of the most pertinent issues of the day…
It reminded me of Kelly Nestruck’s columns from earlier this year about the lack of current events being portrayed on Canadian stages lately (if anyone can find that link, post it please). Theatre is Territory has opened up the discussion about politics and theatre because of the article. Hopefully it generates a good discussion. Theatre can be, and is, many things to many people, and I believe there’s room for all of us -to learn, to grow, and to expand.
Off to see Soulpepper’s A Christmas Carol tonight; I’ve not seen their production, or indeed, any production of Dickens’ classic tale, onstage, ever. Friday’s booked for Canstage’s It’s A Wonderful Life, the staging of which I find greatly intriguing; it’s set as a radio play, which hits a personal/professional interest-button. But thematically, both are more than just jovial feel-good tales. As Richard Ouzounian wrote, no two works could be more relevant in this economically harsh festive season.