Newsletter
February/March 2003

IN THE SPOTLIGHT

Graduating students from Humber College's Theatre Performance Program and the Centre for Indigenous Theatre, backstage at Showcase 2003, held January 19 and 20, 2003 at St. Lawrence Centre for the Arts (Toronto).

By John Watson

One of the great joys of working in the theatre is the  opportunity to witness a person’s career grow and flourish.  So often, we see a young person come into the “spotlight” and are delighted by their continued successes in and contributions to the theatre community as they become established, recognized talents.

A number of Theatre Ontario’s programs help theatre artists find their spotlight—whether it be onstage, in the director’s chair or behind the scenes. 

Showcase, hosted annually by Theatre Ontario, is a true platform for highlighting up and coming theatre artists.  This two-day event brings together the graduating acting students of Ontario’s BFA university programs and colleges.  Students “audition” with monologues and songs for a select audience of professional artistic directors, talent agents and casting directors.  Here you’ll see artists in the beginning of their careers—it is great to see their successes over the next number of years.  Raoul Bhaneja, Marjorie Chan, Bobby Del Rio, Michelle Giroux, Amy Maddigan, Severn Thompson, Lee Wilson and Anthony Leo (of Resurgence Theatre), plus many other actors have been showcased.

The Directors’ Project is another annual program facilitated by Theatre Ontario and sponsored for 16 years by Sun Life Financial.  Taking place at the Shaw Festival, two emerging directors are selected to apprentice with established directors during the Shaw’s season, but the Project blossoms when both emerging directors present one-act plays with company members to a special audience.  Previous directors include Eda Holmes (director of Morwyn Brebner’s new musical at Tarragon Theatre this month), Sally Han (a former producer with Nelvana and currently producing Canada Reads), Lise Anne Johnson (now Artistic Associate at National Arts Centre), David Oiye (now  Artistic Director at Buddies in Bad Times), and David Savoy (now Artistic Director of St. Lawrence Stage Company). Theatre Ontario received over 50 applications for the 2003 director internships and we are pleased to announce that Glenda Stirling of Calgary and Paul Rivers of Oakville have been chosen to begin work with the Shaw Festival this spring.

For thirty years Theatre Ontario has been hosting Summer Youth Courses.  These week-long courses are held every summer and bring together youth from across the province.  Youth take part in a variety of different acting classes, which have included character development, stage combat, physical theatre, Shakespeare and scene study.  Some of Theatre Ontario’s past youth participants have continued with theatre careers, including Chris Abraham (independent theatre director), Antoni Cimolino (Executive Director of Stratford Festival), Sarah McVie, Jacob James, and Luke Kirby (actors). 

Many organizations, such as the QUONTA community theatre region, Markham Little Theatre, and Northumberland Players offer scholarships for youth to take part in Summer Youth Courses, or to youth who are pursuing post-secondary training in theatre.  Of course, many organizations also provide scholarships for adults to attend Theatre Ontario’s summer courses.  This encourages adult artists to explore their theatrical potential, which in turn fosters excellence within their communities.

In the last fifteen years, ten Best Production Awards at the Theatre Ontario Festival have been awarded to community groups in the WODL (Western Ontario Drama League).  In fact, in the last four festivals, the Best Production Award has gone to a WODL group.  It is interesting to note that the Best Production script is picked-up by many other community theatres across the province and included in their seasons. 

The notice boards at Theatre Ontario’s office are in constant use—about 30 people use them a day, finding auditions, jobs and classes.  It is wonderful to see someone on stage, or in the newspaper who has been visiting the Theatre Ontario boards.  And it is extremely gratifying when we consistently hear that an artist got a particular part or job through the boards or PATHS program.

Keep your eye out for the new talents who are entering the spotlight.  Their artistic growth is the success of the theatre community. 

MEMBER PROFILE
Kevin Fraser & Janet Sellery
by John Watson

Kevin Fraser	Janet Sellery

They are a dynamic duo.  Two professional theatre artists, married and with children.  “Having a family is like scheduling another production,” they laugh. 

Kevin Fraser and Janet Sellery have been family members of Theatre Ontario since 1985.  Kevin is a freelance lighting designer, while Janet is a stage manager and Canada’s only full-time theatre health and safety manager. 

This season, Kevin is doing the lighting design for the Stratford Festival’s Gigi, The King and I, and Troilus and Cressida.  Kevin’s interest in lighting design was sparked while at high school.  “My high school in Toronto offered a technical theatre course.  I took it and loved it,” says Kevin.  He went on to graduate from Ryerson University’s Technical Theatre program, and by the end of the program, he knew he wanted to pursue lighting design.

“I graduated in 1981, and began work as a theatre electrician at Theatre Passe Muraille, Tarragon Theatre and a number of summer theatres,” states Kevin.  “In 1985, through Theatre Ontario, I received a Professional Theatre Training Grant, and was mentored by the late lighting designer Jeffrey Dallas, at the Shaw Festival.  It was a great experience, and in 1986, I began working exclusively as a lighting designer.”

It was at Arbor Theatre (Peterborough), that Kevin and Janet met in 1983.  He was a lighting designer and she was the apprentice stage manager.  They became friends and married in 1986.  They now have two children, both under the age of ten.

Janet Sellery became interested in theatre during high school in London.  “We had a great theatre arts teacher, and the school did a lot of shows.  I got my start on stage in a number of musicals,” she states.  “In my final year of high school, I was working on a musical.  I was sweeping the set, which had scaffolding with plank floors.  The planks weren’t properly secured, and I fell when they gave way.  All those things that should have been there weren’t—no first aid kit, no emergency contact list, no one to drive me to the hospital. I was lucky not to be seriously hurt but I have been concerned about safety ever since.”

Her first paying theatre job was an assistant publicist.  She graduated from Ryerson University’s Technical/Production Theatre program in 1984 and began stage managing at theatres across the country.  “In the beginning of my career, I got a number of jobs through Theatre Ontario’s job boards, and through their PATHS talent files,” Janet says.  “I really like being an assistant stage manager and working backstage.  I still try to work on a benefit performance at least once a year.”

As a stage manager at the Stratford Festival, Janet offered to be on the health and safety committee.  “In 1995, an actor was seriously injured in an accident.  I became involved with the Ontario Ministry of Labour, and this accident became a catalyst for change within the Festival’s health and safety practices and policies,” she states.  “After the accident, people started paying close attention to health and safety concerns. I began doing health and safety chats with the acting company. In 1999, a new health and safety coordinator position was created, and I applied.  I got the job, and I’m still doing those chats.”

Both Kevin and Janet have benefited from others in the theatre community who have acted as mentors and who have provided support in their learning.

For people considering a career as a lighting designer, Kevin recommends cultivating relationships, in particular with people who will be future directors.  He also recommends volunteering to assist a lighting designer.  “Many lighting designers are happy to take on a volunteer assistant, but know why you want to volunteer and learn from a particular designer,” he states.  “Theatre Ontario’s PTTP program is a great way to be mentored by a professional.  I have even been a mentor to PTTP recipient Ross Barnett.”

“As far as I know, I’m the only full-time theatre health and safety manager in Canada,” says Janet.  “But I’m not doing it alone.  The Shaw Festival and Theatre Ontario have been great in sharing information and developing resources.  I really admire all the people who are pushing forward with health and safety in addition to their full-time production or administration jobs.  I learn from other health and safety professionals, including those in other industries.  As a result of this job, I actually went back to school, and have just graduated from Ryerson’s Occupational Health & Safety certificate program.”

Kevin usually handles twelve to fifteen designs a year.  The nature of being a lighting designer prevents him from working from just one location.  He does a lot of travelling to theatres across the country.  “Admittedly, it is easier having a person back home to make sure the kids get to school.  That wouldn’t happen if Janet was on the road as well,” laughs Kevin.

Because the Stratford process is longer than at other theatres, Kevin’s work is spread out.  “For The King and I and Gigi, which preview to audiences in April, I have already started on the lighting designs.  I have had conversations with the directors, choreographers and set designers.  There is already a clear idea of what to do technically.  I try to attend all rehearsals that happen on the stage.  The Festival Theatre has a basic hang of about 175 lights.  The King and I has an additional 80 to 90 lights.  Because the audience sits around the theatre’s thrust stage, I watch dress rehearsals and previews from different spots in the audience.  That way, I get a good impression of what every audience member will be seeing.”

Janet has a full line-up this season as well.  She’s coordinating fall-protection training for department supervisors.  This training covers the legislation, procedures and equipment needed to properly ensure a worker’s safety while working at heights.  She’s also conducting due diligence training, which helps managers and supervisors understand their health and safety responsibilities.  And Janet’s revising and publishing her health and safety manual and handbook.  The handbook is over 50-pages long, and every company member receives one.  It includes the rights and responsibilities of all people working at the Festival, and also explains emergency procedures for fires and power failures. 

Kevin and Janet admit that life can be chaotic sometimes: “We’re kind of like tag team parents.”  Through it all, their love of each other and their family—and the theatre—will continue to grow.