Two Gentlemen of Verona – Theatre Thursday


(“Two Gentlemen of Verona” Poster Image, as always, lovingly stolen from Theatre Calgary. Their site is always adding more incredible, informative material about their shows, please take the time to explore it.)

First off: I probably should have written about this show a month again. Actually, if I were really good at my job, I would have seen the show early in it’s run and written an actual review to actually encourage my readers to go see it. But long-time readers know that’s not what I’m here for. I’m here for ruminating on things for far too long and then vomiting my thoughts about important theatre onto this blog. And today? The #importanttheatre that I’m talking about is #ShakesBow‘s production of Two Gentlemen of Verona.

What’s #ShakesBow?

Shakespeare by the Bow is our forever evolving summer outdoor Shakespeare theatre in Calgary, Alberta. It’s varied in format over the years – sometimes two shows running in currently, sometimes just one… sometimes allowing experienced actors to work with those of all levels, sometimes emerging artists being allowed to tackle amazing roles. They have partnered with different theatre organizations in town and recently rebranded from “Shakespeare in the Park” with their most recent partnership with Theatre Calgary. ShakesBow has even experienced variety in its performance spaces when flooding in 2005 and 2013 damaged their usual space at Prince’s Island Park. (Note: this is an incredibly vague and non-detailed history. Don’t come at me.)

However, one thing that has remained consistent over the years is that ShakesBow offers donation-based, accessible classical theatre. It is Shakespeare to help people who maybe only ever read Shakespeare in high school – if that – “get it”. It is equal parts fun and touching. Above all else, it is completely understandable. (Note: Again, don’t at me. Anyone can understand Shakespeare when it is done well and ShakesBow does it.)

So, what makes Two Gentlemen important?

Aha! Great question! After all, why am I writing about this show over a month after it closed?

I don’t love Two Gents. Part of it may be that I saw an insane musical adaptation of it almost a decade ago. (Seriously. It was over the top. I thought I had an old livejournal review of it somewhere, but I couldn’t find it and also I don’t want anyone reading my old livejournal from a decade ago.)

A bigger part of it is that I don’t love watching Julia, who is spunky and fun and takes action, chasing around Proteus who immediately falls in love with his best friend’s girl. I don’t love that Proteus and Valentine are big ol’ dummies and Valentine volunteers to “give” his girl to Proteus. I know, I know, it’s a different time and potentially Shakespeare’s first play but I’m still allowed to not love it.

Unless…?

Unless. (tm. McElroy brothers)

ShakesBow does the play. And doesn’t actually change the dialogue, but completely reclaimed the play for the women. With a look, blocking and a very specific song choice, our heroines realize the boys are bozos and truly become heroines.

You guys. It was so good.

I love Shakespeare.

Bonding in Musicals – Theatre Thursday

wicked

Here’s a fun picture of the time I did Popular for a talent show thing in high school. In my defense, it was 2003-2004 and incredibly timely and not overdone at that point. Musicals!

I feel like sometimes when I write about theatre topics (especially some of the more serious ones like fear in theatre or auditioning for shows), the most important thing about why we do theatre doesn’t come across. Creating something is fun. It’s scary and exhausting and hard work, but it’s also fun. I find theatre especially remarkable because it is a collaborative creative experience, when so much creation is very solitary. Recently, someone commented to me they enjoyed doing musicals more than straight plays because they found that the cast bonded better during musicals.

Well, huh. That stopped me in my tracks. It’s been a long time since I’ve done a musical – I love them, but this girl does not sing, like to the point that when I have auditions that require singing, I sing Sing from A Chorus Line… wait, what was I talking about? Oh yeah, it’s been a long time since I did a musical but, in my experience, that actually is a pretty true statement. But why?

Is it because the rehearsal period for a musical is typically longer? (There’s so much more to learn – not just lines, blocking and motivations but choreography and songs as well!?)

Is it because choreography so often leads to touching each other? (Okay, that sounds creepy… I just mean that you need to get comfortable with each other pretty quickly because trust is important and… okay, you get it. I think.)

You know, I actually do think it has to do with the choreography and the songs. Not the touching or the time it takes, but the process of learning something together. Theatre is so collaborative but when you really think about it – only the actor learning the lines actually learns those lines. You can run your lines with your co-stars, they can help you, but at the end of the day it’s all on you. The way that we learn the things that are specific to musicals – song and dance? Those things happen together and they can’t be performed without each other.

But damn, what is out there for those of us who sing Buffy the Vampire Slayer songs because Sarah Michelle Gellar isn’t a singer either and they wrote the songs for her?

I’ve figured it out. Collective creation. Write a play together. Completely create something from the ground up. This is what my theatre company does and it’s amazing.

We may have a little project in store for the 2018-2019 theatre season and I’ll track the journey here. Watch this space.

BOOM – Theatre Calgary

boom-final-rgb
(Note: This image comes directly from the Theatre Calgary website, as a girl can only take so many pictures in the semi-darkness of her wine and program in her theatre box before it gets weird and her readers get tired of looking at it.)

Much like Theatre Calgary’s first offering of the season, BOOM crazy surprised me with how much I enjoyed it. I did a little reading on the TC website, as well as a little exploration of Rick Miller’s Official Boom website prior to seeing the show and I just felt like I couldn’t get a grasp on the show. The description made me think of a theme park variety show and, to my mind, did not do it justice.

Of course, I was wrong. Why do I even try to read about shows beforehand? The reason I love theatre is because it hits you in a visceral way, touching something inside you, that is hard to put into words so why do I expect copy written for a website to communicate that?

BOOM is a tapestry, not a variety show. It is a mixture of the sweeping world history between 1945 to 1969 and the personal stories of important baby boomers in the playwright/actor’s life. It is a collection of music, stories, imitations, news clips, advertisements, cultural touchstones. I personally don’t truly have a baby boomer in my life – my mom was born in 1961 so she didn’t remember any of the events referenced in the show, but my grandparents were already well grownup and established by 1945 – but I do love history and I was able to give myself over to the three characters that were growing up over the twenty years the show covers.

I don’t know that I can truly put into words what seeing BOOM is like any better than the Theatre Calgary website can – the show is running until October 29th, though, and tickets are available on at Theatre Calgary. I highly recommend seeing this one for yourself, I can guarantee it is like no other show you’ll see at Theatre Calgary this year. When picking your seats, I would pick ones in the centre section of the theatre (even in balconies) rather than any of the side boxes – though I loved being away from the riff-raff, I felt like I missed the full experience of some of BOOM’s projections from my angle.

Disclaimer: I know it sounds like I love every show I see. This is not the case… I just prefer to write about the shows that I love so that I can get other people to see them which thus gives me someone to talk to about them. I’m really terrifically selfish in that way.

I’m In a Play – Secondary Cause of Death – Theatre Thursday

secondary cause
(Caption: This is the face of a girl who slept for four hours during the daytime on Tuesday because she was sent home from work, and went on to kill it at the theatre that night. This is the magic that theatre does.)

I’m in a play!

Let me be real here – this is not a review for the play that I am in. Mostly because I think the show is pretty great but it is nigh impossible to be objective about a play that you are in. This also isn’t really an advertisement or promotion for the show that I’m in – I’ve been doing a ton of that on social media, even including a “tech week selfie” game with Claire since we always seem to manage to be in tech week at the same time. So, what is this? I guess it’s really more of an ode.

I can’t remember the last time I was so thrilled to be in a play – maybe when I did Scorpio Theatre’s world premiere of Blood of the Red Queen, had a role rewritten for me and knew that I was a part of something that was going to just take off? I don’t know… I’m always pleased to be in a play and I always love it (otherwise I wouldn’t do it), but this time I’m just thrilled.

Part of it may be that I was asked to step into this show to fill a role once they lost an actress after rehearsals began – I hadn’t met the director before so I did do a bit of an audition, though nothing like the ones I’ve written about before – and it’s always nice to be needed/wanted.

Another part of it may be that I’m really getting to stretch myself as an actress. I am playing the type of role that I often get cast in (lovely and graceful) but the process hasn’t been “easy” by any means, and I appreciate that. I swing towards bubbly when I act and I’m playing a character who is on the older end of my age range so there is absolutely no room for bubbly. The show also takes place in England in 1939 (and is very British murder mystery in feel) so accents are imperative. I went to U of C, I haven’t learned accents! But I can do one now…

I think the biggest part of it, though, is that I just feel like such a part of things doing this show. I am a shy person by nature (which people always seem to mistake for my being a bit of a bitch and not just rampantly socially awkward) but everyone in this show has just made such an effort to make me not feel like the “new girl” since Day One. There is a camaraderie in the dressing room that I haven’t actually felt since university (other than during Full Circle Theatre shows, but that’s really just me gathering my friends together and going “let’s make a play!”) and I love it, even when I just sit quietly and listen to everyone else. I absolutely trust every person on that stage to pick me up and save me if I forget a line. (Oh gosh, that better not happen… knock on wood!)

I’m in a play. And even though I am going on vacation the day after it closes, I’m going to miss it when it’s done.

If you would like to see the play that has inspired such gushing from me (and hear my sparkling dulcet tones), Simply Theatre’s “Secondary Cause of Death” runs until October 1 and tickets can be purchased by calling 587-575-656 or by visiting http://www.simplytheatre.ca Come see it. It’s worth it. (This is not a promotion, I’m just happy.)

‘da Kink In My Hair – Theatre Calgary

da Kink In My Hair
Caption: Yaaaasss, Gaga, we got a box this year! We are tired of bozos and just want to enjoy good theatre and that is what the box is for, y’all!

Fall is officially here and that means theatre season is back on in Calgary. Granted, during the summer there is a smattering of theatre offering in Calgary – Shakespeare by the Bow, the Common Ground festival and the Calgary Fringe Festival being some of the most notable – but I tend to take the summer off to regroup and nourish my artistic spirit… by reading a ton of books, laying in the sun and taking fitness classes, I guess? I don’t know… and I actually started rehearsing my current show during August this year so I’m really just rambling now.

tl;dr – Theatre is back and I’m back.

Speaking of the Fringe Festival, the first show I’m writing about this year is one of those stunning Fringe Festival success stories that every theatre artist dreams of happening for them. Fifteen years ago Trey Anthony created ‘da Kink In My Hair for the Toronto Fringe Festival because she was determined to create the type of roles she deserved to play rather than accepting the type of roles that were being offered to her – and it became a runaway hit with productions in the Princess of Wales Theatre in Toronto, across the US and London, and even a tv series. The Theatre Calgary production runs until October 1 and then transfers to the National Arts Centre in Ottawa.

In the interest of complete honesty, I was surprised by how much I related to this show. When I was a teenager, I was always trying to relate to shows that actually had nothing to do with my lovely Newmarket existence and since I was a teenager in the GTA in 2001, I sort of figured that ‘da Kink In My Hair fit into that box without ever having actually seen it. In the grand tradition of “Erin walking into the theatre with preconceived notions”, I was wrong and I’m very pleased. Bits and pieces of every one of the women resonated with me and Virgilia Griffith as Stacey-Anne absolutely stole the show, leaving me with a lump in my throat as she embodied such a real and joyous little girl. For the skeptics out there, the show does get a little bit “Fringe show”-y as it hits every single “big issue” but the performances are full of such heart and are so honest that I was able to fully put aside my inner skeptic and give in to the story.

It’s terribly on brand for me to love this show – after all, my theatre company was also developed to give a voice to all the incredible young female artists I know – but ‘da Kink was transformative and is important. To horribly paraphrase Craig Finn talking about the experience of performing music… There is so much joy in what they do up there.

‘da Kink In My Hair is a musical in its purest sense – as I remember so many of my best teachers saying, a show should happen in a musical when the feelings get too strong for mere words and you have to sing them instead. That is exactly where the songs in ‘da Kink spring from and though I didn’t walk away singing any of the tunes, I was completely carried away by each of them. (And, confession: I do sometimes catch myself humming “What am I gonna do with this hair? My hair my hair my hair…” as I try to wrangle my hair into a cute 1939 style for my show.) All the women have beautiful voices but Krystle Chance as Sharmaine in particular is just absolutely stunning. Her second act solo is a true standout.

‘da Kink In My Hair is a strong season opener and an interesting choice for a transitional season (Dennis Garnham has stepped down as TC Artistic Director and Shari Wattling has stepped in as Interim Artistic Director). It runs until October 1, 2016 and you can get tickets hereafter you come to see my current show, which also closes on Oct 1 and I will be writing about very very soon.

Fluffy Theatre – Theatre Thursday

Beach Hat
Guys, I get to go to the beach tomorrow. I’m so excited! I love nothing more than reading a light girl-gets-the-guy book in the sun with a cool drink and maybe a giant hat. Beaches are few and far between in Calgary, though, unless you live in a lake community. (Which my parents actually do, but that means hitting up the beach involves convincing one of my parents to go with me, which is just so uncool.) So that means, even though this is one of my favourite things, I haven’t actually gotten a solid beach day since my trip to Cabo in February 2015. I’m so out of the loop!

Speaking of which, anyone have any suggestions for some good light beach reads? I spent a couple of days earlier this week delving into my Meg Cabot collection, but, unsurprisingly, it’s not going to hold up to a second read within a week so I need something new to borrow from the library (aka: download to my e-reader).

My search for some beach reads got me thinking about theatre, though. Mostly about “fluffy” or “light” theatre. I know I’m not the only girl who is perfectly able to accept some fluff in her literature – as long as the storyline isn’t problematic and the heroine exhibits an appropriate level of unique perspective, we don’t mind if we know from page 32 that she is going to end up with that Or even with tv… we always knew that Mindy and Danny would eventually end up dating, the question was how?

So why don’t we accept the same lightness in our theatre these days?

I feel like we are always asking for a story to be special, for it to be something that needs to be told because no one else has ever told this story before and now it can change the world if the right person hears it. Which is absolutely true of some theatre, some movies, some tv shows and some books. But sometimes you just want a pretty, spunky heroine who has the exact life you always wish you had in your dreams. Or you want the mismatched set of friends who are just like your group of friends only with slightly better references. We accept this in all our media, why not theatre?

My brother once wrote what was essentially a buddy comedy, taking place in a crappy apartment with an eccentric cast of characters including neighbours, a handyman and a landlord. It had a cute little plot, but was essentially a sketch comedy just intended to make you laugh for an hour or two and forget your life. We took a reading of this show to a festival and were just lambasted by a newsboy-cap wearing, muttonchop having, pretentious audience member who couldn’t understand why we chose to make such a thing a play and demanded that Kevin rewrite it so it could be a black commentary on sitcom tropes.

Why couldn’t it be pure entertainment?

I once took a group of girlfriends to see Neil Labute’s Reasons to be Happy and after the play they said to me “Wow, I didn’t know that plays could be like that! They were real people, like us!” I mean, Reasons to be Happy isn’t exactly fluff, but I still think that means there is an untapped market in the theatre community. We want it to be for everyone, let’s make it for everyone!

Which is why my girlfriends and I are working to create a play that takes place in a ladies’ washroom at a club. It’s going to be awesome.

Sherlock Holmes – Theatre… Tuesday…?

Two Thursdays ago my mom, Bryan and I went to see the opening night of Vertigo Theatre’s season closer Sherlock Holmes and the Case of the Jersey Lily. Normally this would be a weird time to write about it – the show is still on but it would only have a week to go so it may be hard to get out to see it. However, this show has actually been so well received (it just won a Critter award!) that it has been extended until June 18 (which incidentally is also the day my show closes…)

Sherlock-Holmes
Program Image belongs to Vertigo Theatre

Sherlock Holmes and the Case of the Jersey Lily was a bit of a revelation to me. I’ve seen the team of Haysam Kadri and Karl Sine play Holmes and Watson before, and I’ve seen Haysam in a variety of roles over the last nine or so years… but I don’t think I’ve ever seen Haysam be quite so funny. He – and the entire cast, really – was obviously having a blast onstage, and the enjoyment is infectious.

If Sherlock Holmes isn’t necessarily your jam, you still may love this show because it is peppered with real historical Victorian London references and characters. Paul Welch’s Oscar Wilde looks astonishingly like the real deal and lights up the stage with his witticisms. The script tends to stick to Wilde’s more popular works for its referential humour so even casual fans will be “in on the joke”.

I can’t imagine that I’m in the minority when I say that I love clever humour that throws around cultural references. This past month of theatre in Calgary has absolutely fed into this love and I hope that it is a trend that will stick around for awhile.

And if you’re on the fence about Holmes at all, let me just say… I was offered a ticket to see it again last Friday and I deeply considered it. I decided not to take it though so someone who hadn’t seen the show could have the opportunity. Soooo…

(Please note: This show did just win a Critter award for Best Direction of a Play so that may increase interest in seeing it. You can get tickets by visiting the Vertigo Theatre website.)

(Double please note: I know today is Tuesday… Thursday is the day before my show opens and if I thought I was stressed before… At least Tuesday still alliterates, guys!)

Goodnight Desdemona (Good Morning Juliet)

desdemona
Sometimes you see a show that takes you completely by surprise. For me, Goodnight Desdemona (Good Morning Juliet) was that show.

I read it in university. I’m certain I read it in university – it’s a Canadian play. It was written by Ann-Marie MacDonald (yes, the author of Fall on Your Knees) in 1988 long before Fall On Your Knees. As director Kate Newby remarks in her Director’s Note, it explores a seemingly endless list of important historical, cultural and political themes. I apparently own two copies of this play. I absolutely read this play in university… and I don’t remember doing so at all, except a vague recollection that “this play seems kind of odd”.

My vague recollection is completely wrong.

This production of Goodnight Desdemona (Good Morning Juliet) (a co-production between The Shakespeare Company, Hit & Myth and the newly re-branded Handsome Alice Theatre) absolutely proves the common refrain that plays are meant to be seen and not read. The show is equal turns clever, thought-provoking and downright hilarious.

The production also lands on so many levels. Though Shakespeare fans will have a million “Oh! I get it! I’m so clever!” moments (much of the show is written in iambic pentameter and MacDonald skillfully weaves actual Shakespearean dialogue into her own), the absolutely clear intentions and communication on the part of the five actresses in the show coupled with adept physical comedy allows audience members of any background to enjoy the show.

Oh yes, did I mention? The cast of Goodnight Desdemona is five powerhouse female actors – a virtual “who’s who” of young lady actors in Calgary – who play everything from a Henry V style “Chorus” (Julie Orton) to a swaggering Tybalt (Mabelle Carvajal) to Juliet (Genevieve Pare) and Desdemona (Allison Lynch) themselves. (Each of the aforementioned actors plays at least three different characters and it is never any doubt at all who they are. Stunning.) At the centre of it all, is Ayla Stephen as Constance Ledbelly, an academic who falls into the worlds of two of Shakespeare’s greatest tragedies as she tries to sort out the truth of the plays and the truth of herself. Ayla and I attended university together, so I’ve seen her play a dizzying array of different roles, but she really does shine when she gets to play a fish-out-of-water and lean into her comedic side. She, and, actually, all the ladies in this show, can communicate more with a facial expression than the average person can with a whole speech.

I generally wait until shows close to write about them, but in this case, I couldn’t wait. Goodnight Desdemona (Good Morning Juliet) runs until May 21, 2016 and absolutely everyone should go see it. I’ve done my best not to spoil any plot elements, but I genuinely think I could go see the show again tonight and enjoy it just as much as I did the first time even knowing how it ends. Tell your friends, get a girl (or guy) squad together, grab your lover or guilt your mom into hanging out with you and take in this show before it closes. Tickets can be purchased by visiting The Shakespeare Company’s website.

(Note: I was not compensated in any way for writing this blog post. I just really really liked the play and want everyone I know to go see it so I can talk to them about it.)

How Do I Get Into Plays? (Auditions) – Theatre Thursday

Today, I really feel like a super grown-up. My house was built in 1990, which is not old at all though it is older than my roommate for the summer, but the fixtures in the bathroom are original and the water is super hard in Calgary. So there’s a lot of calcium build up in the tub. So as I type this blog post up, I’m doing a CLR soak in the tub, on the shower head and on the faucet. Not a thrilling thing at all, but apparently I am one of those annoying people who wants backpats any time I do anything remotely grownup. (But, guys? CLR works SO WELL. Like, so well. Like my stuff almost looks brand new. I’m impressed.)

Anyway, while my really thrilling cleaning progresses upstairs, it’s time to dash out another Theatre Thursday post on another incredibly common question – “Well, how do you even get into plays?” This question, I think, is usually followed either secretly or actually outloud by “Because I think I would like to do plays!” The follow up comment is super easy to respond to – yes, you would like to do plays, they are real fun and we always want more people involved – so we’ll focus on the original question.

script

Auditions
Generally speaking, you get cast in plays by auditioning for them. Think of an audition as a job interview – you have to make the people in charge of making the decisions (usually the director, sometimes there is a producer or artistic director of a theatre company involved) want to work with you and show them that you can do what they need. Yes, even big stars have to audition to prove that they are the right person for a role… especially if they want to play something that is outside of their usual types of roles.

Auditions are all about making a good impression and standing out. There is an old, possibly apocryphal, story that floats around the theatre community about a young, unknown Barbra Streisand coming in for an audition while chewing a huge wad of gum. As the story goes, she came into the studio, stuck the gum under her chair and proceeded to nail the song… and when the director got up to remove the gum from the chair, there was no gum there. It was acting all along!

What Happens at Auditions?
Auditions fall into two basic types – a general audition and a show specific audition.

Theatre companies may choose to hold what they call “general” auditions which allows actors to audition for an entire season’s worth of shows at one time. General auditions usually take place in the spring, just after a company has released their upcoming season, and are attended by a company’s Artistic Director so they may make recommendations to the individual directors of each show moving forward. Sometimes an actor might be cast directly from a general but most often, they will be asked to come to a second audition (a “callback”) for a specific show and character. At a general audition, an actor wants to show off both their best work and a range of emotions – they may do two contrasting monologues, a monologue and a song or just one killer monologue depending on what the company requests. This is often how professional companies run their auditions.

Individual directors may also choose to hold independent auditions for their specific show – many indie/community theatre companies exclusively work with this model of auditions since their directors are like contractors who are not directly affiliated with the company. Show specific auditions can take a range of different forms.

The director may ask the actors to prepare a monologue or two, just like for a general audition, though they may request that the monologues reflect the feeling of the show. Actors also may choose their monologues very specifically to reflect a specific character and subconsciously – or very consciously – put themselves in the director’s mind for that role.

Alternatively, a director might ask their actors to prepare short scenes from the actual show, known as “sides”, so they can actually see them in the world of the play. The actor may be given the sides ahead of time, or they may be handed the side in the audition in what is known as a “cold read”. The actor may read a scene with the director/stage manager/someone behind the audition table or they may read the scene with another actor who is onstage with them and also auditioning for the play. They may just read the scene once or the director may give them something else to keep in mind when reading the scene again or they may even read the same scene a bunch of different times with a bunch of different actors reading opposite them.

An audition may even look like a combo of all of the above, where an actor does an initial audition with a monologue and then comes back for a callback to read sides for the character(s) that the director saw them as after the first audition!

My CLR needs to be rinsed off and I realize that I could talk about auditions for pages and pages so I think I will leave it there for today… And save more rambles for more Theatre Thursdays.

What Type of Theatre Do I Do? – Theatre Thursday

This is probably the second most common question I get asked, usually right after I say that I don’t do film, just theatre. (Note: I probably would do film, given the opportunity, but theatre has always been my focus. In part because I love to do the entire journey in one go, in part because I love the energy exchange that comes with having the audience right there with you while you do the work.) I suspect that what most people are asking, even if they can’t put words to it, is “Do you do musicals, Shakespeare plays or just plays?” I usually try to break it down a little more than that, without getting too ramble-ly because, really, who wants to get lectured by someone they just met? But lemme break it down for you.

Shakespeare
The Midsummer Night's Dream
I do love Shakespeare. There is something so freeing about telling big stories and feeling big emotions in a way that never seems appropriate to do in “real life”. I mean, how often do you actually get to keen in your day-to-day? How often do you get to make pithy sexual remarks or craft oddly specific insults or choose the perfect Classical reference to describe exactly how screwed over you are? It’s like a puzzle, finding all the nuance and allusions in Shakespeare’s lines and then figuring out exactly how to communicate that to a modern audience who isn’t sitting in the audience with a dictionary and a mythology reference book.

It is important to remember, though, that Shakespeare isn’t the only classical playwright in the world and there are other plays out there that are just as bombastic, descriptive and stirring. Classical Greek playwrights like Sophocles and Aristophanes wrote comedies and tragedies about great women and men in Greek “history” who met their fate in spectacular ways – Oedipus gouging out his eyes after discovering he had murdered his father and slept with his mother, anyone? You could also take in a tragedy written by Christopher Marlowe – one of Shakespeare’s rivals who was largely considered the greatest tragedian of their time and is rumoured to have actually written Shakespeare’s plays. Or you could read a George Bernard Shaw play and luxuriate in his descriptive stage directions. There’s some pretty cool stuff out there.

Contemporary Theatre
What Pushes Are We Wenches Driven To?
On the flip side, I have a real soft spot for theatre that’s been written in the past 20-or-so years. I saw Neil Labute’s The Shape of Things when I was 16 years old and it just blew my mind that theatre could be like this. It was raw, it was immediately accessible… the lines were simple but there was so much underneath them. Like good tv, good contemporary theatre is like your life but elevated. Only the good parts are picked out. There are absolutely still epic, sprawling plays being written (and Classical works are being adapted all the time) but, as my current director put it at rehearsal last night, there is an ever growing trend in theatre of plays being written like movies – all smash cuts from one scene to the next and real life playing out right in front of your eyes. The air in the theatre is electric during the climactic scene.

Good contemporary theatre makes me feel the way every 14 year old theatre kid feels when they discover Rent for the first time.

By the way, The Shape of Things is also a film starring Paul Rudd and Rachel Weisz – people tend to either love the show or think it is terribly overrated, so watch it and decide for yourself.

Collective Creation
Shakespeare's Heroines
Collective creation – a bunch of theatre artists get together with some sort of inspiration (A vague concept? A piece of literature? A striking photograph?) and write, move and brainstorm to create a show together. There could be a cohesive storyline or it could be a serious of snapshotted moments. There could be music, dance, improvisation, projections, it could even tour through different locations. A collective creation can look like anything the creative team imagines it to look like… that’s the beauty of theatre.

My theatre company does a ton of collective creation work. I know so many beautiful, talented women, and we can never find a pre-existing show with enough good roles for ladies that speaks to us the way we want it to. So we make our own plays. Maybe they aren’t always as polished or good as The Shape of Things or A Midsummer Night’s Dream but they are ours. They are honest, they are raw, and they are genuine. And they are always getting better.

So. As always, this is not a comprehensive list, it is wildly personal, but that’s the type of theatre I do. If you ask me in person, I’ll try to give you the short version. If you ask me on the internet, I may just refer you to this blog post…

What types of theatre do you love the most? What do you wish you could see done more?