Meet Jayson McDonald.
I’ve mentioned him within these pages before, mostly as the producer of one of my very favorite little festivals – London’s Big Comedy Go-To (coming up in an April near you!) But Jayson is also the creator of some of the most awesome Fringe shows I have ever seen (including one that I was so very proud to be a part of The Last Goddamned Performance Piece). The first McDonald show I saw was in Ottawa in 2008. It was called Boat Load and it just blew me away. In a previous post I said of it that “I never realized until then that one person could do so much on stage with so little and still tell a beautiful and compelling story.”
I remember talking to everyone I knew at the Fringe Tent about Boat Load and how amazed I was by it, so much so that I think I saw it twice. The general response from people in the know was along the lines of “well of course it is, haven’t you seen him in Robot?” Oh Giant Invisible Robot, how you have haunted me since then.
Giant Invisible Robot was Jayson McDonald’s first solo Fringe show and it has always been an incredible success. It had played at the Ottawa Fringe Festival the year prior and, somehow, I had missed it (if you can believe it, there was actually a time when I didn’t see everything). In 2009, I started my own touring adventures on the Fringe Circuit and Jayson became a good friend. He’s produced Giant Invisible Robot multiple times to unbelievable success everywhere he’s gone, but somehow I always missed it. I would never be in the same city at the same time. Robot became my Polkaroo. This went on for FOUR goddamn years. It got to the point where I was asking Jayson if I could just give him some money RIGHT NOW would he just do the show for me.
One person shows work that way, right? Unless they take place on roller skates, in which case I will tell you I am wearing the wrong pants and can’t give you a personal performance of Roller Derby Saved My Soul.
I thought this trend was going to continue even after hearing that Giant Invisible Robot would be clearing a path of destruction all the way to the Gladstone Theatre in Ottawa, because, BLAST, I was going to be in Toronto. But then Fate intervened. It just so happened that I would have an audition in Ottawa on the very same day that Robot would be opening. Now, my plan was to attend the audition and then boogie back to TO in time to catch my roommate’s opening night of Dying Hard because, I don’t know if I’ve mentioned it before, but I love my uber talented roommate very much. When she caught wind of my plan and realized that I hadn’t seen Robot yet (“What do you mean you still haven’t seen it? How is that even possible?” – see my response above), she convinced me to stay in town to watch it. I’d be able to catch her show later on in the week anyway, but this could be my only chance to see Giant Invisible Robot. And, in her words, I just HAD to see this beautiful show.
And you know what? She was right. So right that I sent her flowers. The show is as worth it as everyone has told me it was.
Well, what are you waiting for Ottawa? I waited FOUR years to see Giant Invisible Robot, you shouldn’t wait another minute. It’s at the Gladstone Theatre until Saturday. And if you’re feeling extra keen, stick around on Friday or Saturday night and catch another personal favorite of mine, Paul Hutcheson, in Third Time Lucky, right after Robot. That is one awesome night of theatre right there!
I’ve been so stupid tired in the last few days, my blogging has fallen off the map, so get ready for an influx of posts in the next little while.
And why, you might be thinking, would I be feeling so tired? Although you might not be thinking that. Maybe you’re thinking “should I have another coffee right now” to which I would respond, yes. You should always have another coffee right now. Anyway, on Monday night, I caught the train from Toronto for a busy Tuesday in Ottawa. It started out with a meeting with my Mary M director (PRO-TIP: if you want to schedule a meeting with your director, just crash at his house), a French theatre audition, lunch and chat with my dear friend and former Evolution Theatre partner, picking up my tax information, audition prep for another French theatre audition in Toronto the next day, dinner with my director and his beautiful partner, and finally a show – Jayson McDonald’s Giant Invisible Robot. (more on that in my next post, but trust me, just go see it)
I felt good about my day. The audition was one of those amazing group ones that last about two hours; where you just get to play with a bunch of strangers and create something beautiful. It’s a testament to the Artistic Director that brought us all together that within the first 15 minutes strangers quickly became trusting friends and coworkers. I love those types of situations because they are incredibly fun and leave you with such a high.
In the evening, by the time the show was over, I was ready for drinks, even though I knew that I had a train to catch at 5:30 a.m. the next day. Why so early? Because I wanted to be back in time for work and I had another audition to get to in the afternoon. But a little devil on my shoulder started telling me I should postpone the trip to a later one, maybe call in sick to work, stay out, sleep in, HAVE FUN! And to tell you the truth, I was tempted. Oh so very tempted. Because let’s be honest, what are my odds of booking this gig in TO anyway? But the later trains were sold out and, no matter how freaked out I was about the audition, I had done all this prep work for it and didn’t want to miss it.
So I did what any responsible grown-up would do in this situation: I drank like a fish, closed the bar and then stayed up all night before heading directly to the train station… Ugh.
Ok. Let’s be honest. I am not the best example to follow. (Won’t somebody please think of the children?) But I knew what I was doing and I did not give up along the way. I dozed as best I could on the train, showed up for work and did my job. Well, I might add. (Though special shout-out to my roommate for dropping by with some life-saving acetaminophen.) Then I went to my audition and knocked it out of the fucking park. My body knows, because I’ve done this before, that the show must go on. Something always clicks inside me when I have to get something done, something that makes sickness and hangovers disappear until I am able to deal with them. Maybe that’s my Mutant Superpower?
It was hard, it was painful, and I am getting too old for this shit, but I pulled it off, crashing into bed somewhere around 8 p.m.
Years ago, I was at a Leadership Camp where you had conferences and events during the day and big ass parties at night. During the very first session, someone said something to me that I will never forget: You’re only allowed to play as hard as you are ready to work. I’d add to that, you are only allowed to play hard if you are ready to work even harder.
It’s too important. This career is my love and people are counting on me. I’m not ready to throw that all away for a few nights of fun.
About two years ago, an incredibly talented director friend (or ITDF) told me over drinks that he had a script that would be perfect for me. I was floored. This is a critically acclaimed, award-winning director whose work I admire very much saying that he wants to work with me. ME!
That script? Mary Magdalene and Adventures in Sobriety.
Being one of the key members of Evolution Theatre at the time, I immediately approached the company to program it into our next season. It was eventually scheduled for April 2012. Unfortunately, about a year and a half ago, things changed for ITDF and he had to bail on directing the show. He however insisted that I continue with the project and that I had his blessing to find someone else to direct. Names were tossed around. Having really enjoyed Twelfth Night at the Ottawa Theatre School, I mentioned Andy Massingham. We had wanted to work together on a project for a while now and, to me, this seemed like a perfect fit.
Andy had wanted to do more directing, but he wasn’t sure he would have the time to work on this project. After all, you don’t end up with Rideau Award nominations for four separate shows by being “available”. Plus, he wasn’t sure he liked the script all that much. So one beautiful summer morning last year, we sat on his porch, script in hand and had a chat. His first question for me: “Why do you want to do this show?”
You mean other than the fact I am dying to perform and the only way I seem able to do so is by producing it myself?
Well, I think it’s a great script with a lot of humour and a lot of heart. If I said to you “homeless alcoholic woman who believes she is the bride of Christ” – hahaha probably wouldn’t be the first thing that comes to mind, but Mary M makes me laugh. A lot. (Side note – on the way to NYC I read a few sections of the play out-loud in the car. In less than one paragraph, my friends were hooked.)
But it’s more than that. There’s a lot of myself I see in this character: East Coast way of speaking (playwright Berni Stapleton is from Newfoundland) – check; troubles with alcohol – check; not having a home and being ok with that – #hobokenny check; filling her bag with free food when it’s offered – check; seen as promiscuous even when you’re not – check; being so in love with someone you can’t be with and spending your whole life waiting for him to come back – check to the check to the double check check.
If you are an actor, have you ever realized that whenever you have a new character to play, no matter how different they are from you, there is always something in there that makes you go “man, I am totally going through that shit in my own life right now.” It’s almost spooky how that works out. An acting teacher once told me that you only get the parts that you are meant to play. In essence, you don’t choose the parts, the parts choose you.
Mary M is lonely, which is why she overcompensates so much. I get that. Boy, do I ever get that.
He nodded thoughtfully and finally asked me to read. The sun was bright and warm as I read and he stared out at the neighbourhood movie playing in front of us. The trees frame his street like a perfect natural TV screen and the effect is stunning. By the time I was done, he was quiet for a moment. Finally, he looked at me and nodded some more. He tells me he’s changed his mind. He really does love this script after all.
“We’ll make it work.”
Mary Magdalene and Adventures in Sobriety
by Berni Stapleton
Directed by Andy Massingham
Featuring Nancy Kenny
Arts Court Theatre
2 Daly Avenue, Ottawa, ON
April 18th to 28th, 2012 – 7:30 p.m.
Pay What You Can Matinee: Sunday April 22nd – 2 p.m.
(no show on Monday)
Tickets $25, $20 for Students/Seniors
Available by phone by calling Arts Court at 613-564-7240
Meet Mikaela Dyke.
She is currently one of my absolutely favorite people in the whole wide world. And I just so happen to be lucky enough to get to live with her too.
She is funny, entertaining and quirky in all the right places. She’s an independent artist who inspires me everyday because she is able to live fully doing what she loves best. She’s really smart, a hard-worker and incredibly multi-talented. Not a single day goes by that I do not learn something new about her; whether it be the fact that she speaks Russian (among many other languages), used to do gymnastics for years, or can reprogram a computer just by looking at it. She always knows the right thing to say when a boy breaks my heart (“Fuck that guy!”) and makes sure I don’t do things like burn down the apartment, which she tells me would be inconvenient.
And did I mention she’s funny? If you live in the Greater GTA and you happened to laugh at something today, chances are Mikaela Dyke made it happen with her magic laughter creating powers.
But, if you live anywhere else in Canada. You also know that Mikaela Dyke is an incredibly gifted dramatic actress.
In 2009, in one of my annual “must-see” Fringe lists, I wrote the following about a play called Reflections on Giving Birth to a Squid:
I saw this show in Winnipeg on a whim without knowing anything about it or anyone in the cast and I have to say I was pleasantly surprised. This was a very original show with an interesting concept that never got too hockey or sentimental. I believe this was due to some very strong acting from the lead actress whose name I have unfortunately forgotten. In the spirit of Fringe, take a chance on this show.
That actress who’s name I unfortunately forgot? Yup. Mikaela Dyke. I’m not going to forget that name again (mostly because it would make things awkward at home), but you won’t either Toronto, after you see what all the fuss is about in Dying Hard, next week at the Tarragon Extra Space.
I had the privilege of seeing this show in Ottawa, before the two of us had even entertained the notion of being roommates, and I was simply blown away. And I’m not the only one. Dying Hard has toured coast-to-coast, picking up awards and accolades in every. single. city. Seriously. You can check it out below, along with all the proper show details.
I will be seeing this beautiful show next week. Of course, since I live with the lead actor and principal creator of this piece, I was offered a complimentary ticket, but I turned it down. Why? Because this one is worth paying for.
See you at the theatre!
The Theatre Elusive in co-production with A Vagrant presents:
“There’s whole families here wiped out. It’s time for someone to make a noise.”
One of the Calgary Herald’s most memorable theatre moments of 2011.
Six true stories from a community struggling to survive the ravages of industrial carnage. Taken from archived interviews, Dying Hard reveals the strength and grace of Newfoundland fluorspar miners in spite of the extraordinary hardships they faced.
Based on interviews taken by Elliott Leyton in St. Lawrence, Newfoundland.
Adapted for the stage by and featuring Mikaela Dyke
Directed by Dahlia Katz
March 13th – March 17th, 2012 – 8pm
March 17th – March 18th, 2012 – 2:30pm
Tickets $25, $20 for students/arts workers.
Box office: 416.531.1827
***Winner – Best in Fest – Halifax Fringe Festival 2010***
***Winner – Best Performance – London Fringe Festival 2010***
***Winner – Best Female Performance – The Beat Magazine 2010***
***Winner – Outstanding Solo Performance – Ottawa Fringe Festival 2011***
***Winner – Best Female Performance – CBC Winnipeg 2011***
“★★★★★ – Pure Storytelling Magic” – Calgary Herald
“Larger than life… Strikes a chord of classical tragedy.” – CBC Ottawa
“Her performance is a wonder” – CBC Manitoba
“Riveting.” – Ottawa Citizen
“Intense, if not stilling.” – The Telegram, St. John’s
“I challenge you to see this show” – The Coast, Halifax
My last haircut was in July 2011.
For the first 3 or 4 months, it was just unnecessary, then it was unaffordable (#hobokenny) and finally, I decided to make it work for me. The show I’ve got coming up with Evolution Theatre – Mary Magdalene and Adventures in Sobriety – is about a homeless woman who crashes into an AA meeting. At some point in December or January, re-reading the script, the theme of hair was coming up. At various points in the script, my Mary M mentions never getting gray hair, drying his darling feet with her hair, soaking up his blood with her hair…
(Luke 7.38 She waited behind him at his feet, weeping, and her tears began to fall on his feet. She dried them with her hair, kissed his feet, and anointed them with perfume.)
I had a chat with the director and said that chances are a homeless woman would not have nice hair and I would like to let mine grow out for the show. He agreed and now here I am with hair that probably hasn’t been this long since my high school days. The ends are split and dry and, as I realized during roller derby tryouts yesterday afternoon, get caught in my armpits. And there is A LOT of it. I’ve always had really thick hair and these days it feels like I’m wearing a sweater on my head. A very shedd-y sweater.
So here I am, about a month and a half from showtime, with hair still growing, and having stopped plucking my eyebrows about a month ago.
Mary Magdalene or Cousin It? The things we do for Art.
In the meantime, I know I’m late on the bandwagon, but this one really made me laugh. Personal favorite: “It’s for a part.”
Meet Kate Drummond.
Kate is my beautiful, talented, funny and most athletic of all my friends. She’s also pretty damn hilarious. So what happens when you mix all those traits together and your throw them in the kitchen? Well, you get A Jock’s Guide.
She’s been getting a lot of awesome buzz so far with her short cooking episodes on Youtube and recently launched a pretty awesome looking site.
About A Jock’s Guide:
We’ve all seen those cooking shows. You know, those ones. The shows that make us all feel incompetent in the kitchen and never seem to lead us to a creation that is as lovely or jaw-dropping as the one depicted.
A Jock’s Guide is the “most real” reality cooking show online!
It’s a one-woman show, from start to finish. It’s filmed and edited on a laptop, with no script or retakes and in whatever kitchen will have her! Really, it’s cooking in its rawest form, and even though the process may not be always pretty, the recipes are 100% crowd pleasers.
Here’s the latest episode on making Beaver Tails:
I personally enjoy her discussion on Dutch Ovens and Boney M.
Plus, she’s now teamed up with registered charity Kids Sport Ontario so donations to the site can go do a good cause.
I highly encourage you to check out all her episodes (there are 8 so far) and, if any of you have any connections to Wendel Clark whom Kate would love to get on her show (see Episode 6 for more), please let her know! It’s for the children after all. Won’t somebody PLEASE think of the children? … And you know, Kate’s lifelong dream to meet Wendel Clark.
I am so proud of Kate for doing these videos. Do yourself a favour and check them out.
I’ve talked about Improv in these pages before. And I’m pretty sure I’ve talked about my desire to work more in French here too. So imagine my surprise and delight when a friend sent me a link to some FREE French Improv classes in Toronto (they had me at “free” and it is ongoing if you’re interested in participating). I went once and had a lovely time with a large group of civil servants, lawyers, teachers, ect but very few actors. It was a lot of fun, but I didn’t find it all that challenging. At the end of the session, I asked the instructor if there was maybe something a bit more advanced that I could attend. He told me my timing was perfect since a group of people have just gotten together to form the very first French Improv League in Toronto – Les Improbables.
Long story short, I went, got accepted into the league and was even named, in the style of hockey-improv everywhere, assistant captain. (Side note for all my anglophone friends French Improv is very different from English Improv and I’ve written more about it here.) I can’t tell you how much I needed this. I don’t know why I never took improv more seriously in Ottawa. Possibly because the English teams in Ottawa intimidate me. As for Francophones in the Outaouais region, they just intimidate me in general – like they’ll think I’m a fraud or something because I’m an Acadian and not Québecois.
But here in this Toronto mecca of English, we are all outcasts and I find it easier to fit in. The French comes from all over too. We’ve got three Acadians, a bunch Quebecois, and a lot of people from France and the rest of Europe. It’s quite beautiful, really, to hear us all speak in our different accents and I’m learning a lot of new words too… including the proper French term for “dildo” – “godemiché” if you’re curious (it’s improv, of course that came up – ba dum dum!)
And now, after a few weeks of practice, we’ve got our first game coming up on Tuesday, March 6 at the Fox and the Fiddle – 27 Wellesley E – right across from the Wellesley Subway Station. My team will not be playing that night, but I will be MC’ing the event. It’s been a lot of fun so far and everyone is super excited. The room is great and Tuesday nights mean $5.50 beers and martinis at the FnF!
Oh and if you are curious, my team will be playing two weeks later on March 20th.
Here’s the link to our Facebook event. It says 7 p.m. but I’m pretty sure the match actually starts at 8 p.m.
J’espère que vous vous joindrez à nous en grand nombre!
Une ligue d’improvisation théâtrale en français à Toronto? Oh que oui.
Les Improbables vous invitent à leur tout premier match: un retour au jeu pour certains, un baptême pour d’autres et une première pour bon nombre de spectateurs!
Deux équipes, pour votre plus grand plaisir, devront faire avec les contraintes de l’arbitre et vous offrirons des sketchs, des situations et des personnages plus colorés les uns que les autres.
C’est aussi une occasion de se réunir entre francophones et francophiles torontois: la pinte de Creemore et les Martinis sont à 5,50$!
Le mardi 6 mars 2012 à 19h
Au 3e étage du Fox and Fiddle du 27 Wellesley Est
(Au coin de Yonge, en face du métro Wellesley)
Les Improbables vous présentent leur tout premier match!
En échange d’un beau billet de 5 dollars.
Arbitre: Guillaume Touzel-Bond
Juge de ligne: Heather Wong
Les équipes sélectionnées par Sonia D’Amico et Barbara-Audrey Bergeron auront donc l’honneur d’inaugurer cette toute première saison! S’affronteront donc:
(C) Sonia D’Amico
(A) Mathieu St-Laurent
(+ Catherine Berthiaume et Edgar Aguilar Cardona)
(C) Barbara-Audrey Bergeron
(A) Georges Raymond
Yannick Ariel Bihan Torres
(+ Marion Bonafos et Léticia)
Donc on se voit le 6 mars 19h!
Last night, the nominees for the 5th Annual Les Prix Rideau Awards were announced and I couldn’t be happier. My little Roller Derby Saved My Soul received FOUR nominations! They are Outstanding Fringe Production, Outstanding New Creation, Emerging Artist for myself as playwright and Emerging Artist for my director, Tania Levy. This is all for the production that took place at the Ottawa Fringe Festival this past June.
I’m also really pleased that Evolution Theatre walked away with a whopping SEVEN nominations and that my director for the upcoming Mary Magdalene and Adventures in Sobriety, Andy Massingham is so well recognized.
To tell you the truth, I kind of expected the Fringe nod and I had hoped that Tania or I would get the Emerging artist nomination, but I never thought that both of us would, nor did I even expect the New Creation one. I mean fer cryin out loud, I’m now nominated in the same category as PIERRE BRAULT. That, to me, is just unbelievable.
Maybe four or five years ago, I remember wanting to do a one-person show. I had a theme. Something about roller derby. That was about it. I had no idea where to even begin, so I contacted the one person I knew who might.
“Hi Pierre, do you ever give workshops on creating a one-person show?”
“Not really, but if you have an idea you want to work on, we can meet for drinks and talk about it.”
Now, at the time, I wasn’t the NancyKennyRockStar you all know and love. More like NancyKennyRoadie. So contacting the man who created a show that blew me away so much I actually went back and paid for it twice was no small feat. And just like that we were going to have drinks? (Lesson learned: you can pretty much meet any local artist you want if you buy them drinks and maybe lunch… well, at least you can with me #hobokenny)
I still remember the very first thing he said to me when we met.
“Why? Why do you want to do this? Do you really feel the need to sleep on someone’s couch in Saskatoon?”
Yes. Yes, I do.
We talked for about four pints and the rest, as they say, is history.
Pierre’s advice was a big help in pushing me in the right direction for what was to become Roller Derby Saved My Soul so to even be nominated in this category with him? Whoa.
So much thanks to you, Pierre, my friend and colleague. As they say, it’s an honour just to be nominated, but this one feels just a little bit sweeter.
Full list of nominees below:
NOMINEES ANNOUNCED FOR THE FIFTH ANNUAL PRIX RIDEAU AWARDS
For Immediate Release – Ottawa, February 27, 2012
Founded in 2006 to celebrate, encourage and promote French and English locally produced professional theatre work and its artists, the Prix Rideau Awards is proud to announce the nominees for 2011. Artists and supporters gathered earlier at Le Petit Chicago, where the nominees for outstanding achievements in the year 2011 were unveiled. During the 2011 calendar year, two teams of local arts professionals juried 36 English productions and 12 French productions. Nominations were submitted by secret ballot and tallied by independent accountants.
The Prix Rideau Awards will be handed out on Sunday, April 22, 2012, at the Shenkman Arts Centre, in Orleans. Tickets are on sale now at http://www.shenkmanarts.ca.
The nominees for English-language productions are:
Strawberries in January, Great Canadian Theatre Company
The 39 Steps, SevenThirty Productions
The Fan, Odyssey Theatre
Twelfth Night, St. Lawrence Shakespeare Festival
Under Milk Wood, Ottawa Theatre School
Joël Beddows, The Lavender Railroad, Evolution Theatre
David S. Craig, The Fan, Odyssey Theatre
Janet Irwin, Under Milk Wood, Ottawa Theatre School
Kevin Orr, Bifurcate Me, Theatre 4.669
Craig Walker, Twelfth Night, St. Lawrence Shakespeare Festival
Outstanding Performance, Female
Mary Ellis, Dreams of Whales, New Theatre of Ottawa
Annie Lefebvre, Under Milk Wood, Ottawa Theatre School
Rose Napoli, The Fan, Odyssey Theatre
Kate Smith, The 39 Steps, SevenThirty Productions
Beverley Wolfe, The Lavender Railroad, Evolution Theatre
Outstanding Performance, Male
Richard Gélinas, The 39 Steps, SevenThirty Productions
Andy Massingham, Exit the King, Third Wall Theatre
Andy Massingham, The Fan, Odyssey Theatre
Andy Massingham, The Shadow Cutter, Great Canadian Theatre Company / Sleeping Dog Theatre
John Muggleton, Speed-the-Plow, Plosive Productions
Martin Conboy, Lighting Design, The Shadow Cutter, Great Canadian Theatre Company / Sleeping Dog Theatre
AL Connors, Sound Design, The Lavender Railroad, Evolution Theatre
Ivo Valentik, Set Design, Speed-the-Plow, Plosive Productions
Ivo Valentik, Set Design, A Midwinter’s Dream Tale, a Company of Fools
Sarah Waghorn, Set Design, Dreams of Whales, New Theatre of Ottawa
Outstanding New Creation
Tony Adams, Erin Lindsay and Cory Thibert, Sounds from the Turtle Shell, May Can Theatre
Lawrence Aronovitch, The Lavender Railroad, Evolution Theatre
Pierre Brault, The Shadow Cutter, Great Canadian Theatre Company / Sleeping Dog Theatre
Nancy Kenny, Roller Derby Saved My Soul, Broken Turtle Productions
Julie Le Gal, Andy Massingham and Kevin Orr, Bifurcate Me, Theatre 4.669
Outstanding Adaptation / Translation
A Company of Fools (Adaptation), A Midwinters’ Dream Tale, a Company of Fools
Henry Beissel (Adaptation), Antigone, Third Wall Theatre
David S. Craig (Adaptation), The Fan, Odyssey Theatre
Mishka Lavigne (Translation), Little Martyrs, Evolution Theatre
Charles McFarland (Adaptation), Hamlet 2011, Ottawa Shakespeare Company / Ottawa Theatre School
Outstanding Fringe Production
Glitch…, Ottawa Theatre School
Playing for Advantage, Black Sheep Theatre
Roller Derby Saved My Soul, Broken Turtle Productions
Sounds from the Turtle Shell, May Can Theatre
THE WALK, Moon Dog Theatre
Emerging Artist Award
Katie Bunting, Actor
Pierre Ducharme, Set Designer
Nancy Kenny, Playwright
Mishka Lavigne, Translator
Tania Levy, Director
The nominees for French-language productions are:
Production de l’année
Adieu Beauté, la comédie des horreurs, Théâtre Belvédère
Frères d’hiver, Théâtre la Catapulte
Les Étoiles d’Angus, Théâtre de l’Île
Taram, Théâtre du Trillium
Ti-Jean de partout, Cie Vox Théâtre
Mise en scène de l’année
Caroline Yergeau, Adieu Beauté, la comédie des horreurs, Théâtre Belvédère
Joël Beddows, Frères d’hiver, Théâtre la Catapulte
Isabelle Bélisle, Les Étoiles d’Angus, Théâtre de l’Île
Pierre Antoine Lafon Simard, Taram, Théâtre du Trillium
Pier Rodier, Ti-Jean de partout, Cie Vox Théâtre
Interprétation féminine de l’année
Geneviève Couture, Feu la mère de madame et Un bain de ménage, Théâtre de l’Île
Jocelyne Zucco, Les Fridolinades, Théâtre la Catapulte /Théâtre français de Toronto
Lina Blais, Les Fridolinades, Théâtre la Catapulte / Théâtre français de Toronto
Marjolaine Beauchamp, Taram, Théâtre du Trillium
Micheline Marin, Taram, Théâtre du Trillium
Interprétation masculine de l’année
Nicolas Desfossés, Autopsies de biscuits chinois, Théâtre du Trillium / Théâtre Belvédère
Alain Doom, Frères d’hiver, Théâtre la Catapulte
Pierre Simpson, Frères d’hiver, Théâtre la Catapulte
Richard Bénard, Les Étoiles d’Angus, Théâtre de l’Île
John Doucet, Ti-Jean de partout, Cie Vox Théâtre
Conception de l’année
Geneviève Couture, costumes, Feu la mère de madame et Un bain de ménage, Théâtre de l’Île
Brian Smith, décor, Frères d’hiver, Théâtre la Catapulte
Guillaume Houët, éclairages, Frères d’hiver, Théâtre la Catapulte
Julie Giroux, décor, Les Papillons de nuit, Théâtre de l’Île
Pierre-Luc Clément et Olivier Fairfield, environnement sonore, Taram, Théâtre du Trillium
Nouvelle création de l’année
Annie Cloutier, Antoine Côté Legault, Marie-Pierre Proulx, Autopsies de biscuits chinois, Théâtre du Trillium / Théâtre Belvédère
Diane Bouchard, Dragon glouton, Gestes théâtre
Michel Ouellette, adapté par Joël Beddows et Marie Claude Dicaire, Frères d’hiver, Théâtre la Catapulte
Philippe Landry, Retour à Pripyat, Théâtre de Dehors
Marjolaine Beauchamp, Taram, Théâtre du Trillium
Prix artiste en émergence
Marjolaine Beauchamp, dramaturgie
Mary-Eve Fortier, interprétation
Lisa L’Heureux, direction de production
Frédérique Thérien, interpréation
Caroline Yergeau, mise en scène et interprétation
Derrière le Rideau Award
Mathieu Charette, régie, Feu la mère de madame et Un bain de ménage, Théâtre de l’Île
Julie Grethen, régie, Les Étoiles d’Angus, Théâtre de l’Île
Lisa L’Heureux, direction de production, Les Papillons de nuit, Théâtre de l’Île
For general information: Source:
Les Prix Rideau Awards Élise Gauthier, Communications Coordinator
C.P. 1087, Station B firstname.lastname@example.org
Ottawa (Ontario), K1P 5R1
Along with my semi-regular Cool People Doing Cool Things column, I’m now going to be adding one called Online Tools for Artists.
Today’s Tool: Pinterest
I’m a little embarrassed that as a social media practitioner, I hadn’t heard of Pinterest until a few weeks ago. And to be fair, even when I did find out about it, I didn’t know how it could possibly be of interest to me. Pinterest is a “virtual pinboard” that lets you share any images you find on the Web. A neat concept that can be used to help decorate your home, plan a wedding, put together fashion & beauty tips, or collect recipes to share with your friends. This is all fine and good, but like I said I couldn’t figure out how it could be of any real use to me in my everyday life. Then I remembered a conversation I had with my director for my upcoming appearance in Mary Magdalene and Adventures in Sobriety (tickets currently available by phone). He told me how when he worked with Peter Hinton as a director, the man would have an entire wall filled with images that inspired him in regards to the production he would be working on at the time. That’s when it hit me. I’m not much of one for using wall space or creating vision boards or things like that (being #hobokenny and not having walls for a while will do that to you), but virtual walls? Sign me up!
Recently, I’ve created two Boards on Pinterest: one for Mary M and one for Roller Derby Saved My Soul. I was even able to add the show info in the Board description. So far so good. I’ve added some photos I’ve taken on my phone, as well as stuff I’ve found online by adding the Pin It button to my browser toolbar. I’ve also done a search for things like “roller derby” in Pinterest and found a few people with awesome photos that I’ve started following.
I’m not quite clear on the whole following aspect just yet. Following someone seems to mean that their Pins show up in your Home window when you log on. I had left a question for myself in one photo to find out who was it in and some strangers actually answered less than 5 minutes later which weirded me out a little bit. However it doesn’t give them access to any of my personal information so, so far, I’m cool with that.
Right now, I think I have found myself a great tool that let’s me work through my own personal actor/writer creation process while letting in folks on my own personal practice. As someone who readily advocates that theatre is about process and not product, I think Pinterest could be a very good step in that direction.
What do you think? Have you tried Pinterest? How has it been working for you?