Going On

Going On

Neptune Studio Theatre, Halifax

May 19-20 2012

Moving onto the stage as an understudy in performances with Peter O’Toole. Moving forward on the path to mindfulness with a Buddhist retreat in Cape Breton. With those experiences, going forward with relationships and with aging.

In a one-woman play she both wrote and performs in, Elizabeth Richardson portrays an amazing array of at least a dozen characters. Going On is quick moving and well performed. With everything from singing “Mrs Worthington, Don’t Put Your Daughter On the Stage” to impersonating British actor Peter O’Toole (from Lawrence of Arabia fame), Richardson shines.

In an interview featured in Tuesday May 15^th’s Arts East, the Artistic Producer of the SuperNova Festival through Eastern Front Theatre, of which Going On was one of eight featured performances, says that “Art reflects life back to us and when it’s good art it is true and we see ourselves up there on the stage.” Using Rhindress’ explanation of good art, Elizabeth Richardson’s play Going On is certainly good art.

That is not to say good art is easy art. Richardson’s play demanded a lot from the audience – both in terms of attention and reflection. Just like the play demanded all of Richardson, the play demanded the same of the audience, as if they too were on stage. The cast of characters she moved through and the non-chronological nature of the work meant that to keep up, the audience needed to make the same jumps in personality and time frame (admittedly, as an audience member, at times I was a bit confused and wished for a moment to catch up in the marathon of realizations). However, it should be noted that the production did try to guide the audience through lighting and verbal cues.

That may have been the beauty of Going On. Like life, it’s not until after the events are complete that you have a moment to connect all the dots and see how a certain event in your life influenced other portions of your life. For Richardson, it was the demands of trying to negotiate the path between being a practicing actress whose life is lived on stage and being a practicing Buddhist whose mindfulness happens internally that is portrayed. The apparent paradox is revealed through both her phone conversations with her mother and her relationship with herself in meditation.

The play’s run at the SuperNova Festival is the Canadian debut of the play, which had its world premiere in Mexico in February of this year. Richardson was raised in Toronto and studied acting at the London Academy of Music and Dramatic Arts. Her Buddhist retreat in Cape Breton, and her appearance in the Halifax’s Neptune Theatre’s production of Frankenstein earlier this year tie in nicely to SuperNova’s theme of stories that speak of life in Nova Scotia. ~ Jen Powley

Sunday, 7pm at the Neptune Studio Theatre in Halifax

http://www.easternfronttheatre.com/

SuperNova Snap Shots!

Gone Fishing!

Neptune Studio Theatre, Halifax

May 18, 2012

Atlantic Canadian audiences have come to expect both warmth and wit from Halifax actor/writer/comedian Jeremy Webb.

Both were in effect last night, as the U.K-born ham-on-wry presented his latest effort, Fishing, as part of the SuperNova Theatre Festival.

Based on Webb’s own real-life experiences, the 90-minute production is a fun and fascinating foray into the sometimes murky depths of online romance.

Three-years divorced, Paul Fisher (“Call me Fish”) receives an invitation to his ex-wife’s wedding. Desperate for a date, the 44 year-old does more than merely dip his toes into the waters - he dives right into the deep-end.

Drawing upon a pool of potential partners, Fish lands 7 hook-ups in 7 days. Armed with a dozen rules, the bachelor weeds his way through the stock, failing to net a catch. En route, theatre-goers are treated to musings and morsels concerning our endless yearnings for “the one”, the nature of adult relationships, and the new paradigm of shopping online for ever-elusive love.

While often over-the-top, the work is well-tempered by Webb’s sense of subtlety; the sly glances and soft responses succeed at off-setting the outrageous – all the hallmarks of a seasoned, though at times spicy, thespian.

The simple props – tables, chairs and a raised computer screen complete with an interactive website (gone-fishing.net) – allowed the actor plenty of space to bring a real physicality to the show (singing, dancing, etc…).

Kudos as well to Stacy Smith for her seamless performance(s) as all of the women in Fish’s life (Mother, friend/boss and dates), and for knowing her role on the stage, thus bringing out the best in her counterpart.

Saturday, 9pm / Sunday, 9pm at Neptune Studio Theatre in Halifax

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This is Cancer

Neptune Theatre, Halifax
May 18, 2012

Who knew that cancer-personified wears converse sneakers, sings, dances, swears on occasion and quite endearing? This is how Bruce Horak, a survivor of cancer resulting in 90% vision loss, portrays the disease.

Last night, This is Cancer inspired an intimate audience to loads of laughter as “Cancer” shared his Greek god origins and long list of “lovers”. Interactions with his mute assistant Lucinda spurred the comedy further and refreshingly broke several theatrical conventions. Horak also incorporated serious and touching elements into the show, like a recording from his real-life father shortly before cancer claimed his life. A natural improviser, the actor challenged audience members to break out of their comfort zone to share some of their own feelings surrounding the deadly disease. This is Cancer is a therapeutic laugh fest, a treasure-trove of testing taboos, and a moving narrative that will inspire audiences to seize the day. ~ Michelle Brunet

Saturday, 7pm / Sunday 2pm at Neptune Studio Theatre in Halifax

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I, Animal

NeptuneTheatre, Halifax

May17, 2012

There is a lot to like in Daniel MacIvor’s latest work, I, Animal, one of many good home-grown productions that make up this year’s SuperNova Theatre Festival.

The clever Cape Breton scribe has done-well to craft a 90-minute bigger picture from three smaller 30-minute vignettes, all the while doling out tidbits of homespun humour and philosophy.

In the first piece, Antonio Cayonne is bold and brash as a young gay nurse,struggling with both sexual and professional identity. His call-and-response with an invisible dog is a nice side-dish to his deeper musings on the oft-perplexing human condition.

Stewart Legere starts small in the second segment, but quickly comes into his own as a rebellious and lovable teen twisting and turning with the tides of life.Several subtle references to sheep, and questions concerning the nature of human consciousness, noted that perhaps we are not that far removed from our furry brethren as we aspire to be.

Perhaps the performance’s only hiccup occurs in the third person, literally. Despite Kathryn MacLellan’s convincing performance as a meandering, middle-aged pleasure-seeker (the child-like yearnings for a horse were beautiful), severalill-timed pauses and some discordant dialogue brought the show to stops and starts – no fault of the veteran thespian, however, as the script perhaps simply needs some small fine-tuning.

That said – and while it might not be MacIvor’s strongest work to date – there is more than enough here for an entertaining and enlightening soiree.

Saturday, 2pm / Sunday, 4pm at Neptune Studio Theatre in Halifax

www.easternfronttheatre.com 

Dream Role

Actor Steven Gallagher has found his dream role as Albin ~ the quirky, loveable cabaret drag queen ~ in Neptune Theatre’s vivacious production of La Cage aux Folles. Recently he opened up about his professional past, present and future.

What inspired you to start acting?

My dad was involved in community theatre, and I remember being allowed to attend weekend rehearsals with him when he played Fagin in Oliver. I was 8 years old, and I kept thinking that the 12 year old who was playing Oliver was far too old for the role. It was a thrill to be included in something so special. 

Are they the same reasons that you do it today?

Well, I've been doing it for so long now, it is how I make my living. But every once in a while a show like La Cage Aux Folles comes along that transcends musical theatre, and makes one feel like they are part of something bigger. I wish every experience could be as fulfilling. 

What are the biggest challenges of the profession?

Finding my next job. It's like contract work, and you have to keep up the hustle to keep working.

What are the rewards?

Working on a show that is artistically and emotionally challenging will always peak my interest. I would rather work on a Fringe show for no money that is a joy to be a part than something that would just be a paycheque. Luckily, La Cage has been one of those rare experiences that have been completely satisfying on every level.  

How did you get involved with La Cage aux Folles?

I emailed George Pothitos the director, whom I had worked with many years ago, and I campaigned for the role! He is one of our finest directors of comedy, and I knew that in his hands the show would be funny and touching. Then I auditioned for the Artistic team, George, Patrick Burwell and Mike Jackson in Toronto. 

What do you enjoy about the role?

Albin is a dream role. He is funny, heartbreaking, melodramatic, generous, egotistical, and fragile - basically a well rounded human being. And the score is unbelievable. Getting to sing those songs every night is a dream come true.

What can audiences expect during the run?

They can expect to laugh a lot. And I hope that the audience walks away with a sense of pride that they are supporting a show that talks about equal rights and acceptance. In a time when gay rights still come under fire, we show that a family is a family no matter how it is composed. 

What's next for you on the stage?

I will be performing Amelia: The Girl who Wants to Fly ~ a three person show about Amelia Earhart at The Thousand Island Playhouse in Gananoque.

Photo of Steven Gallagher as Albin by Applehead Studios

La Cage aux Folles at Neptune Theatre in Halifax until May 27

http://www.neptunetheatre.com/

Fishing with Jeremy Webb

If you’re a fan of the Nova Scotian stage, you have likely experienced a play that Jeremy Webb has starred-in, directed or written. His latest comedy, Fishing, is an insider’s look at the Internet dating domain. The witty production runs from May 17-20 as part of the SuperNova Theatre Festival in Halifax before hitting the road across Nova Scotia and New Brunswick.

To write Fishing, did you literally date seven (or more) different women in a seven day period?

Haha! Yes I did…a few years ago now, when the play was first forming in my mind. I had had the basic concept for the show and thought I should give it a go myself. (I was single at the time, so that was ok.) I met some very nice people…and some strange people who probably thought I was strange.  It definitely reinforced my idea that internet dating was ripe for picking for a theatrical treatment. Not all of the things that happened that week are in the play.

What was of the stranger moments from your Internet dating research?

I think a couple of the stranger moments are in the play, but not all! I did chat online to a very nice lady, who turned out to be a pregnant body-builder. Now there’s nothing wrong with either of those things, but put them together and it just seems odd. I had some experiences with some very quirky people that week. I do not want to insult them. That would be mean. The character that I play in Fishing is a bit of a jerk, in the way that he handles it all; in his attitudes towards women. That’s where the comedy comes from – his inability to realise that he’s a bit of a sexist jerk.

What will audience members take away from Fishing?

Well, hopefully, first and foremost they will have a number of laughs! It is a comedy that we are creating. There’s singing, dancing and laughing all in 90 minutes! But there’s actually a deeper story there too. One where my character goes on a bit of a journey of discovery about himself! On a more basic level, some people will get some great tips and lessons on the perils of internet dating. So, I guess Fishing is educational too!

Do you recommend Internet dating?

You bet I do! But it’s definitely something to be very wary of. I always say it’s like smiling and nodding to a stranger across a crowded bar…that’s all internet dating can be and it should be treated with suspicion and respect. The people on the sites have the ability to create versions of themselves. Don’t take anything at face value and be safe, so very safe. Melissa and I met when I went online to log off the dating site after the research. She had just joined it the day before. I thought ‘Wow, she seems great. I wonder whether she’s real.’ Turns out she was. We are expecting our first baby, a son, in a few weeks, just after Fishing opens.

Of your many talents - acting, writing, directing - which is your true passion?

I love all three (except the actual process of writing; that’s really tough.) I have been blessed in my career, getting to do all these things. Halifax has been amazing for allowing me the chances to explore so many different areas of this profession. I get to make a living doing what many dream of.  This year is an amazing one, with so many varied projects to work on. This Summer I get to go back to Antigonish to direct a show (Festival Antigonish Summer Theatre) and then I take another of my plays, Shakespeare On Trial, to Parrsboro’s Ship’s Company Theatre. I have some writing projects (commissions) waiting to get done and then will end the year with A Christmas Carol again. Then there’s the sequel to Fishing…That’s only just come up as an idea this past week!

Have you worked with actor Stacy Smith and director Alexis Milligan before?

I have worked with all my team before. Stacy is hilarious and was actually in my mind when I wrote the play. It’s funny to hear her voice reading the text. Alexis and I acted together last summer in Canning, for Two Planks and A Passion Theatre in Beowulf. She came to me and asked to direct the show… She’s great and has brought so much talent to the table. My tech team are great too. Sylvia Bell and Jessica Lewis have worked on my other shows and are a real integral part of the Off The Leash brand!

How your last work - Titanic: The Fated Voyage - received?

Titanic: The Fated Voyage went over very well, thanks for asking. The cast worked so hard that month. Dinner Theatre is SO hard to do. Those poor actors had to appear in a full-on dramatic musical theatre piece and serve drinks all night, then bus tables. Crazy! But I was thrilled with the response to the show from the critics and the audience.  Thousands came and took a trip on the ship in April.

Is there anything you’d like to add?

Only to say that Fishing is going to be fun and I hope folks come check it out. We are all over the province in May - Wolfville, Truro and Margaretsville – before heading to New Brunswick.

For tickets and information please visit www.offtheleash.ca/fishing

For information on the SuperNova Theatre Festival visit http://www.easternfronttheatre.com/

SuperNova!

The 19th annual SuperNova Theatre Festival runs until May 20 at Neptune Theatre in Halifax. This year’s festival will feature 8 full-length productions by local and out-of-town artists, plus a variety of shows and activities designed for youth. The event also features the return of the Ten-Minute Play Contest, which showcases 4 short plays written by Nova Scotian high school students, performed by professional theatre artists. Recently AE spoke with the festival’s Artistic Producer Charlie Rhindress.

How long have you been involved in theatre?

My first professional gig was working as a production assistant at The Ship’s Company Theatre in 1986. That job involved chipping rusty paint off the side of the ship and cleaning the toilets. I eventually got promoted to sound operator.

How did you get involved with the festival?

I became Artistic Producer of Eastern Front Theatre in October of last year. The Festival is a major part of Eastern Front’s operations and one of my first duties was picking the visiting shows for this year.

What are the challenges of the position?

My challenges as an Artistic Producer are probably the same as Artistic Producers all across this country. Theatre is expensive to produce. Box office, while important, probably only covers about twenty percent of our budget. So, the vast majority of my time is spent fundraising and trying to get new sponsors and donors. Then you spend an awful lot of time convincing people to come to the shows. So, it often seems I spend more time making “the case” for theatre than actually making theatre.

What are the rewards?

It is exciting to present new works that no one has ever seen. To have a hand in making those productions possible is very rewarding. The biggest reward however, is sitting in a theatre with a group of strangers having a communal experience.  Art reflects life back to us and when its good art it is true and we see ourselves up there on the stage.  It makes us feel a little less alone.

What is the festival's core mandate?

The mandate of the Festival is to feature Atlantic Canadian works and to give Halifax audiences a chance to see some of the best shows from across the country.

How has the festival evolved over the years?

The Festival started out presenting new works and works in development. It was much more like a fringe festival, with a lot of works still in their early stages. Over time the “tried and true” shows from away were added and production values increased. 

What can audiences expect this year?

The theme of this year’s Festival is Our Stories on Stage. Almost everything in the Festival tells an East Coast story or was created by East Coast artists. This year’s Festival aims to be accessible and is a celebration of our artists and stories.

Are there plans to grow the festival next year also?

Since this is my first year running the Festival I hope to have a detailed post mortem after the Festival to determine what worked and what didn’t. It is important to identify the role of the Festival in the community and to make sure we are fulfilling that role.  Based on what we learn this year the Festival could look very different next year or there may just be some small tweaks. But we won’t be making those decisions until we see our audience and artists’ responses to this year’s offerings.

What are your thoughts on the state of live theatre in Halifax and Atlantic Canada?

I grew up in Amherst, NS and graduated from high school in 1983. At that time there was very little professional theatre in Nova Scotia. There was Neptune, Mermaid and Mulgrave. That’s it. There has been huge growth since then. Thirty years ago there was no Eastern Front. No One Light, 2b, Zuppa Circus, Victoria Playhouse, Festival Antigonish, Live Bait, Shakespeare by the Sea, Valley Summer Players and on and on.  And those are just some of the major players on the East Coast. In order to make a living in this business it is often necessary to create your own work. I sometimes think there is just too much theatre out there now. There is a limited audience and it is strained. I wish there were more opportunities for playwrights to get their work produced and for actors to be on stage so that everyone didn’t have to start a company every time they wanted to do a show.

What are your thoughts on the state of live theatre in Canada?

I think there is some amazing work being done in this country. We are new to theatre.  The Greeks have been creating it for thousands of years. The Brits for hundreds. Even the Americans have been major players for almost a century. But Canadian Theatre was essentially born in the late 1960’s and early 70’s. In that short period of time we have created an impressive body of literature. Playwrights like David French, Sharon Pollock, Joan MacLeod, Daniel MacIvor and Wendy Lill can stand proudly beside anyone on the world stage. But we struggle with funding. Always. Theatre is expensive to produce and people can’t afford $75 tickets. But even with government funding and corporate sponsors theatre tickets can be too expensive for much of the population. It is cheaper and easier to stay home. Over the last twenty years, with the explosion of the internet and now movies on demand and Netflix, it is easier and cheaper to sit on the couch and get your entertainment there.  We have to make theatre so compelling that people are willing to leave the house, give up an evening and part with their hard earned cash to have an experience they can’t get anywhere else. We do offer something unique. What happens watching a live show can never be recreated. That exact group of people will never be together again having that exact experience. It is our job as theatre artists to make that an experience worth having.

www.easternfronttheatre.com/index.php/supernova-theatre-festival

Treelines

Andrew Sisk

Treelines

Andrew Sisk’s album moves and uplifts your soul. It gets stuck in your head like a fly in a spider’s web; once it’s stuck it’s nearly impossible to get out. I found myself wanting to be in an open green field, dancing in my bare feet, leaving the real world behind. Treelines is being surrounded by nature, under a clear blue sky, birds soaring overhead. It’s being completely at peace, maybe holding hands with someone you love or enjoying total solitude. Sisk’s album is complete and utter happiness. The simple drum beats get your feet tapping while the keyboard and guitar get your body swaying. All the while, Sisk's soft, rusty voice transcends your mind putting you into a trance-like state. The only real downside to the album is that the music is so good it’s hard to listen to the lyrics. Treelines is simplicity in a chaotic world, beauty in a simple existence. ~ Samantha Both

Heart of the Artist

Maria Petrovskaya is an award-winning visual artist who was born and rasied in Moscow but now resides in Lower Manhattan. Her colourful and thought-provoking work has been displayed in dozen of galleries in and around New York City.

What inspired you to take up painting and visual arts?

I remember I have dreamt of becoming a painter as early as being a 7-8 year old. Not sure what my motivation or inspiration were—since none of my family is an artist and no one particularly encouraged my passion for the visual arts.

Who were, and are, some core influences?

I love people, so people watching and all the art that depicts human form are the core influences—from Greek statues and vase drawings to Old masters' paintings to Picasso, Matisse and contemporary painters that work with the human body. Also, I love color—so all the good colorists—regardlless figurative or abstract are much appreciated..

What inspires you now?

Exactly what inspired me since I was a child (see the above paragraph). But I do have a recent development in my art practice.. I started using people's photographs as a reference point instead of solely relying on my memory/imagination, and it really enriched my paintings and added more depth and life to my characters.

What are the challenges of your vocation?

It's hard to make a living as an artist, and it's particularly hard to justify what you are doing in a world where monetary gratification often equals success. Also, being an artist requires an incredible amount of patience—because you work for years until you think you arrive at something interesting, only to figure out later that you were actually wrong or can do better..In brief—it's like starting out on a journey thinking the Earth is flat and you will eventually reach the edge of it, and then in the process of walking (or crawling/stumbling) you realize that it's actually round and the horizon line is always moving away from you.. But then it's a fun part as well—since you always keep moving..

What are the rewards?

The rewards are the thrill of the unknown (which can also be a down side), the pleasure of doing something you like, and a rather vain idea that your art can touch and bring pleasure/excitement  to someone else besides you..

Describe your work place.

My workplace is a small studio that I share with another person ( timeshare).. I keep it very clean and well organized, so nothing distracts me from looking at my art and working on my paintings.

For you, is the creative process more one of inspiration or perspiration?

It’s both. Everyone usually comments that I am a very hard working person, but I always feel I need to work harder/more. In my vocation (oil painting) it usually takes a while to develop good skills —so perspiration is required..

But then it's also very important to think about your art when you are out of the studio, often during the most mundane activities.. It really helps--I often «paint in my mind». So being an artist the work never starts or ends in the studio—it's a constant  brewing process that happens within you.

What are your thoughts on the state of the visual arts in NYC today?

NYC is an amazing place for visual artists because of its unlimited art resources--from biggest contemporary art museums and art galleries to small pop up spaces and art collectives that throw shows here and there.. And an amazing community of artistic people from all over the world that bring their energies and creative vision to make a unique mix. But then back to the «state of visual arts»-- it has a more formal and grimer side to it.. NYC is an incredibly competitive place—and often the selection criteria is based on secondary values and validations—like country of origin, gender, the schools attended, previous exhibits and publications, etc, and the actual merit of artworks becomes secondary.. And another problem—is that the «new art» is basically a derivative of the old approved art styles, just wrapped in a slightly different package and coming from a younger artists that fit the right criteria (see above).

What are your thoughts on the state of the visual arts in the U.S. and the world today?

In a way the art world is very segregated—there are  few major art capitals—New York being the biggest, where everything is happening. And often if you have a misfortune to live elsewhere (where access to the art resourses is limited) you miss on almost everything as an artist. That's the reason why artists are like birds gathering in flocks and migrating to certain spots in the world. The community makes all the difference..But then in the art world itself within these communities—there is a certain homogenity—in terms of art, styles, etc. So even if you look at the group shows of international artists—you see the same things you would see in New York on a regular basis, so there is a certain uniformity of styles.

www.mariapetrovskaya.com