OUTSTANDING NEW PLAY/MUSICAL Layne Coleman Tijuana Cure Brendan Gall, Mike McPhaden, Rick Roberts & Julie Tepperman The Gladstone Variations Tara Beagan Miss Julie: Sheh'mah David Yee lady in the red dress Anton Piatigorsky Eternal Hydra
OUTSTANDING PRODUCTION You Fancy Yourself Produced by Contrary Company in association with Theatre Passe Muraille The Gladstone Variations Convergence Theatre lady in the red dress fu-GEN Asian-Canadian Theatre Company in association with the Young Centre for the Performing Arts Eternal Hydra Crow's Theatre Appetite Volcano in association with the Exchange Rate Collective
OUTSTANDING DIRECTION Mary Francis Moore You Fancy Yourself Rebecca Benson, Alan Dilworth, Ruth Madoc-Jones & Aaron Willis The Gladstone Variations Nina Lee Aquino lady in the red dress Chris Abraham Eternal Hydra Sarah Sanford Appetite
OUTSTANDING PERFORMANCE BY A MALE David Ferry Someone Who'll Watch Over Me R.H. Thomson Someone Who'll Watch Over Me Steven McCarthy Norway.Today Ins Choi lady in the red dress David Ferry Eternal Hydra
OUTSTANDING PERFORMANCE BY A FEMALE Maja Ardal You Fancy Yourself Janet Amos The Gladstone Variations Christine Horne Miss Julie: Sheh'mah Karen Robinson Eternal Hydra Liisa Repo-Martell Eternal Hydra
OUTSTANDING SET DESIGN Victoria Wallace Mourning Dove Teresa Przybylski Miss Julie: Sheh'mah Camellia Koo lady in the red dress John Thompson Eternal Hydra Gillian Gallow Appetite
OUTSTANDING COSTUME DESIGN Shawn Kerwin Miss Julie: Sheh'mah Julia Tribe + Reva Quam Wise.Woman Gillian Gallow Appetite Barbara Rowe Eternal Hydra Victoria Wallace And Up They Flew
OUTSTANDING LIGHTING DESIGN Andy Moro Miss Julie: Sheh'mah Trevor Schwellnus minotaur Michelle Ramsay lady in the red dress John Thompson Eternal Hydra Rebecca Picherack Appetite
OUTSTANDING SOUND DESIGN/COMPOSITION Christopher Stanton minotaur Romeo Candido lady in the red dress Richard Feren Eternal Hydra Robert Perrault Appetite Waylen Miki An Inconvenient Musical
The agreement, which is not technically an Equity contract, but is "promulgated by Actors' Equity Association to allow its members to participate in productions in small theaters without the benefit of an Equity Contract."
Members receive no salary or benefits and the performance and rehearsal schedules are limited in number. The terms of the code, created by and for the members, are designed to protect both the Equity actors and the interests of those theatres in New York City that operate under an Equity contract.
Approximately 1000 productions went on in NYC last year under this agreement, which does not forbid producers and actors coming to a sub-Equity standard agreement on pay. This code can only be used by Equity actors working in theatres with less than 99 seats in two types of situations:
A) The Basic Showcase Code for use on independent one-time productions. B) The Festival Showcase Code that allows actors to work for not-for profit producers who create a season of work.
Some of the recent changes include:
Maximum ticket prices have been increased from $20 to $25.
Maximum rehearsal time has been increased from four to five weeks.
Maximum budget to fall under the basic code is increased from $20,000 to $35,000.
Performances may now be held over a six-week period.
These changes were the result of the Off-Off Broadway Committee, which is made up of members of Equity who have worked under the code and producers who have produced under the code.
Will this significant shift by AEA towards allowing its membership greater ability to leverage their labour to kick-start careers and productions have an impact in Canada?
The 2009 CAEA AGM held on February 24th in Toronto saw a massive turnout to support a Member Resolution calling for Equity to provide a Showcase-type agreement for use by its membership. The final vote in support of this motion was 96-1. The issue brought out so many members, that the minutes to several previous AGMs were passed by an assembly that had finally achieved quorum. Clearly CAEA has a mandate to come up with a new system that supports members that want to hustle to get something off the ground, but no one knows what will be proposed.
What do you think? Should CAEA adopt a Showcase-type code? Should the rules in the U.S. have anything to do with Canadian rules? Are these agreements “the thin end of the wedge” that will spell the end of reasonable protections for performers? Has that been the case in New York? Is this a good way to facilitate artists creating their own work?
There is a 10 question quiz making the rounds on Facebook that allows users to determine definitively Your True Theatre Calling.
Forget for a moment that almost all the theatre artists you know under 35 years of age do more than one thing, and that the new era of artists seems to be an entrepreneurial set that refuses to be defined by a single job desciption out of both necessity and ambition. The real question is, "Does the quiz work?" Judging by the results below, the technology may need some refining. (This may also be a window into why online dating results in so many ill-suited matches. It all makes sense on paper.....)
Praxis will be holding it’s biannual Praxis Gourmet on the evening of Thursday June 4th, 2009.
Praxis Gourmet is an exclusive fine-dining and wine-pairing event, featuring a gourmet five-course meal with wine pairings. This will be accompanied by a live jazz trio and a sneak-preview scene from the upcoming shows this summer. It has proven in the past to be a magical evening and is an essential part of how Praxis raises funds for its productions.
Here’s a look at the menu for June 4th:
Hors d’oeuvres Endive cups with blue cheese, pecans, dried cherry, and maple vinaigrette. Heirloom tomato and watermelon gazpacho
First Course Cured wild caught Rainbow Trout, with wild arugula, Bartlett pear and citrus vinaigrette.
Second Course BBQ locally farmed turkey with lemon, dijon, and smoked paprika. Roast fingerling potato BBQ white and green asparagus Wild leek aioli.
Cheese Course Locally produced sheep’s milk cheese from Monforte Dairy. Marmalade of orange, basil and balsamic.
Desert Home made Orange Spice Ice Cream in BBQ half peach with ginger white chocolate tuile.
The price is $110 per person, with all funds going towards our upcoming Summer Season. A limited number of reservations are still available.
Email simonrice(at)praxistheatre.com to reserve your spot today.
We hope you can make it for this evening of great food, wine and theatre!
If the belligerent relative that showed up late to your cousin Dora's wedding to shout out horrible truths to the dismay of the assembled guests was an awards show, it would probably be the Harolds. It's sort of like the Doras in the way that the Moon is sort of like a football. It's happening on Monday. 14 Harolds are awarded - the recipient of last year's award choosing who to pass it on to next, and the real trick is you have to trick them into going without knowing they're getting Harolded. It works to varying degrees. Visiting, dancing and heckling is strongly encouraged, and although Harold didn't drink, you probably will.
Can Darren O’Donnell and his company, Mammalian Diving Reflex’s newest work with children be considered theatre? Do his theories of Social Acupuncture and his attempt to break down our boundaries and force social encounters have a place in the Toronto theatre community?
Parkdale Public School vs. Queen Street West 2: Eat The Street is Mammalian Diving Reflex’s newest project, where a group of students from Parkdale reviewed eleven restaurants in the Queen Street West area. It all culminated in the awards ceremony at the Gladstone Hotel on May 11th.
I had been to one of the dinners, at Addis Abba, an Ethiopian restaurant where we all shared platters of food and sat at a long table, mingling youth and adults. This involved being watched by the other diners in the restaurant, many sitting atop a higher platform peering down at us. Everyone of us at the table were "the players" - the flash of the camera every few seconds, the video in our faces asking us what we think, the audience witnessing an impromptu celebration of sorts. It was a collective experience, viewed by others, documented extensively and influenced by who was in the room.
Sitting in the back room of the Gladstone Hotel, it all seemed so anti-climactic. We are out of the public eye, in a room that looks a lot like any other small awards ceremony I’ve been to. Not what I had expected.
The Parkdale Pumas enter through the middle of the audience to the stage after a quiet thank you to all the sponsors by Artistic Producer Natalie De Vito, Darren O’Donnell and three of the students act as MC’s for the night. Darren talks about his lucky red socks before announcing the first award for Hottest Waiters is awarded to the Drake Hotel, who went on to win Best Overall Restaurant. They proceed to award Scariest Bathroom: Mitzi’s Sister because of the red light, Least Graffitiin the Washroom: Saigon Flower (causing the little lady owner to look like she might cry with happiness onstage accepting it), and Coolest Chef: Matthew Matheson at Oddfellows because of his many tattoos. You can find full results on the Eat the Street Blog .
There were two dance breaks, by a brother and sister, doing traditional Indian dancing. There were images of the hottest waiters; video of the coolest chef showing off the many tattoos covering his body; O'Donnell attempting discussions onstage with the youth presenting the awards and them responding with awkward one-word answers. There was mention of some of the people in the room who were regulars to the dinners and supportive journalists. Some restaurants showed to accept their awards, some didn’t.
Darren O’Donnell’s past works with children, include the internationally touring Haircuts by Children, where youth were taught to cut hair, then gave out free haircuts to willing adults, and the Children’s Choice Awards, allowing children to experience art, theatre, dance, etc and give awards to their choice of categories. Both events share similarities to Eat The Street in their reliance on spectacle and media.
Jury members rate their culinary experience.
But the awards ceremony for Eat the Street was less about the spectacle and more about celebrating the people in the room, what is around them every day, their diversity and ultimately, their similarities. This was more community focused than a theatrical act and everyone present seemed somehow connected to the project.
Frankly, I was slightly disappointed. I wanted the drama, spectacle and grandeur. But I suppose that isn’t what Mammalian Diving Reflex’s Social Acupuncture wing of their company is about. According to their website, they “bridge gaps between people who may not ordinarily have any reason to form relationships. Simultaneous to its impact in the community, it functions as a laboratory of sorts for the performance work of the company, inspiring new techniques and approaches.”
This is the answer. The Eat the Street Awards Ceremony might have been more about a community coming together to share and less about theatre. But it still has theatrical elements and inspires future theatrical production. And it has taught me more about the community of Parkdale that I live in, the people around me, the children that run by me, the families that have recently immigrated here, the restaurants and ultimately about myself and how I fit into that.
Maybe if more theatre in Toronto had that impact on the audience – involved and taught the community – instead of rerunning the same past successful productions over and over again, theatre would hold a more important and impacting place in general society.
The ancient Poets animated all sensible objects with Gods or Geniuses, calling them by the names and adorning them with the properties of woods, rivers, mountains, lakes, cities, nations, and whatever their enlarged & numerous senses could perceive. And particularly they studied the genius of each city & country. placing it under its mental deity. Till a system was formed, which some took advantage of & enslav’d the vulgar by attempting to realise or abstract the mental deities from their objects; thus began Priesthood. Choosing forms of worship from Poetic tales. And at length they announced that the Gods had ordered such things. Thus men forgot that All deities reside in the human breast.
Gianpaolo Venuta, star of Over the River and Through the Woods at the Segal Theatre in Montreal, was seen leaving the Jeanne Sauvé mansion late Saturday night with a mystery blond on his arm...Does his girlfriend know about this?
“After the years and years of weaker and waterier imitations, we now find ourselves rejecting the very notion of a holy stage. It is not the fault of the holy that it has become a middle-class weapon to keep the children good.” Peter Brook – The Empty Space