|
|
Newsletter MAKING A DIFFERENCE For over thirty years, the Ontario Arts Council has funded the PTTP (Professional Theatre Training Program) and YTTP (Youth Theatre Training Program). Prior to 1998, the OAC also funded unique training initiatives in community theatres, bringing directors and skilled workshop leaders into theatres all over Ontario. I am pleased to announce the recipients of the October 1st PTTP deadline in this issue and I’d like to share a few stories from the amazing history of this program. As I look over the last 15 years (1989-2003), I see how the PTTP program has changed to reflect the needs of our theatre community. This training program continues to meet the desire of actors and stage managers to become directors. Usually about half the applications we receive are in the area of directing. This reflects the limited opportunities available for hands-on training as a director and more importantly how difficult it is to make those networking connections to theatre companies. Unlike the European model, Canadian companies rarely have the resources to train and nurture directors for any substantial period of time. The Shaw Directors Project is a significant exception. We receive over 50 applications from across the country for the two intern director positions. That program already assumes the applicant has directing skills and experience. The PTTP offers an opportunity to take those first steps, as well as more advanced leaps. It is interesting to note the names that pop up as one scans the list of director trainees who were PTTP recipients: Lynda Hill (Artistic Director of Theatre Direct Canada) started by assistant directing with Clarke Rogers at the Tarragon Theatre, and went on to apprentice with Kate Lushington on Nightwood Theatre’s Groundswell Festival. Caroline Smith (Artistic Director and founder of Stirling Festival) started by apprenticing first with Simon Johnston at the Lighthouse Festival Theatre and then worked with Alex Mustakas at Drayton Entertainment. Award-winning director/designer Vikki Anderson of DVxT trained with director Banuta Rubess at Theatre Passe Muraille. Kelly Thornton (Artistic Director of Nightwood Theatre) assisted Brad Fraser on Outrageous at Canadian Stage and since then Thornton has mentored Keira Loughran, Ruth Madoc-Jones, and Erika Hennebury. Director, Sarah Stanley has mentored 2 individuals who became Artistic Directors of the Theatre Centre—David Duclos and Franco Boni. Dramaturg Brian Quirt trained as a director with Jeannette Lambermont. During her tenure at Young People’s Theatre (YPT), Maja Ardal was instrumental in encouraging many new directors including Jim Warren, Brenda Kamino, Kyra Harper, Michelyn Emelle, Patricia Vanstone, Kennetch Charlette (now Artistic Director of Saskatchewan Native Theatre), and ahdri zhina mandiela (Artistic Director of b current). After leaving YPT, Maja became an apprentice in dramaturgy and new play development with Urjo Kareda, Andy McKim, Jackie Maxwell, Brian Quirt and Alisa Palmer—now that’s a unique and powerful training experience. Alisa Palmer trained with Banuta Rubess at Tapestry Music Theatre and Richard Fowler of Primus Theatre. When Palmer became Artistic Director of Nightwood, she mentored Deborah Lambie. Musical Director, Alan Moon trained with Laurie Burton at Canadian Stage and Wayne Strongman at Tapestry Music Theatre. Leslie Arden received a grant in 1989 to be mentored by Stephen Sondheim at Oxford. What a great investment in talent! There seems to be a regular flow of design applications over the years, mostly in set and lighting. Steve Lucas has provided extraordinary opportunities for Sandra Marcroft, Sherri Hay and Trevor Schwellnus who have all gone on to establish strong freelance design careers. Michael Levine has given strong training in set & costume design for opera and large-scale theatre as well as personal discipline in work habits to Jill Rosenberg, Deeter Schurig, Gabrielle McQuillan and Lea Carlson. Sound design is becoming a new area of interest and multi-award-winning Richard Feren is currently a mentor for Michael Laird. Michael had the opportunity to work with Richard on a range of projects including Russell Hill at the Tarragon, Fusion with DNA Theatre, da da kamera’s Cul-de-Sac, and Phedre for Soulpepper. Each phase marked a different set of requirements for sound plus it involved working with different directors and production managers. This well-rounded experience has prepared Michael for designing sound and music for Evil Dead: The Musical and the Equity Showcase production of Three Storey, Ocean View. My favourite example of a very specific design training program was Kelly Wolf’s mentored experience with Santo Loquasto at the National Ballet of Canada. Even though she had designed for the Shaw Festival as well as small theatre projects, she really wanted to learn about designing for classical ballet and specifically how to design and cut a tutu. She got that chance while working on James Kudelka’s new interpretation of Swan Lake. The beauty of the PTTP is its flexibility to respond to the apprentice’s needs, learning expectations and skills of the mentor. As a reflection of the current theatre reality, there are more applications requesting assistance in learning producing or “Artistic Producing.” More people want to know about the producing side of artistic direction as well. This shift seems to have happened between 1994 and 1995. The notion of a Producer being an Artistic leader/collaborator follows the emergence of producing personalities in the theatre community who participate more fully with artists. Prime examples are mentors like Naomi Campbell (Mammalian Diving Reflex & Nightswimming), Sherrie Johnson (da da kamera), Leslie Lester (formerly at Nightwood, now at Soulpepper), or producer-directors like John Van Burek (Pleiades Theatre) and Max Reimer (Theatre Aquarius). It is important that our program responds to the needs of the profession as much as the desires of the individual. The technical areas are always in demand. As with all areas of theatre, what you learn at school is different from what you learn on the job. The realities of scheduling and time pressure as well as money pressure cannot be appreciated until you work in the “real” world. Thank goodness there are people who are willing to pass along these skills. In 1999, Henry Bertrand trained in Production Management with Paul Shaw at Canadian Stage. Since then, Henry has become Production Manager at the Tarrragon Theatre. Bertrand recently mentored Derek Bruce, who will work as Production Manager at George Brown Theatre School. I love these links. This is how the business will survive. When “the best” are willing to teach “the next,” our theatrical future is in good hands and will survive. Here’s an overview from 1989 to the present of the impact
of the OAC training grants: Thank you to all the generous mentors. Thank you to all who wish to train. Thank you to the Ontario Arts Council for your strategic investment in training.
MEMBER PROFILE An article in the Sault Star February 19, 1949 talked about a production of Noel Coward's Hands Across The Sea presented by “the first organized Little Theatre group in Sault Ste. Marie.” This play performed at the Clayton Auditorium was the beginning of over 55 years of live theatre presented by The Sault Theatre Workshop (STW). The purpose stated back then was “to study, read and produce plays of all kinds and to assist in the promotion of drama in the city,” a mandate that has been well adhered to over the years. As well as being a long time member of the Arts Council and the Chamber Of Commerce, the Sault Theatre Workshop is also an active member of the Quonta Drama Region and Theatre Ontario. The group’s reputation is wide spread with presentations around the province in Theatre Ontario Festivals (11 times) and even back in the days of The Dominion Drama Festivals, presentations around the country. The Workshop, its actors, directors, and artists have garnered many awards in competition. Over the years, many professional theatre artists and directors have been brought into the city to teach and give workshops through the auspices of STW. There are many professionals now working in theatre across the country as actors and artists who had their beginnings with the Workshop. STW produces at least three main stage plays per season, currently at St. Mary's Theatre. A recent development has been the purchase of a hall on Pittsburg Ave in the west end of the city. Extensive and ongoing renovations have made it into a delightful Studio Theatre with full lighting and sound system. This has allowed the group to mount studio productions and fundraisers in the new building with great success. The Studio is used as STW’s main rehearsal hall, office, board meeting space, workshop area, storage facility, library and party place. It has also allowed them a most important asset, the formation of a young company, “Stage1,” which presents another three or four productions a year including a major summer show. Much of the work presented has been original and often student directed. In its many proud years in the Sault, the Workshop has presented original plays by local playwrights, classics by Moliere and Shakespeare, controversial plays by Beckett and others, contemporary and new works and lots of Canadian plays. As part of Sault Theatre Workshop’s 50th Anniversary year, in addition to a Gala play specially commissioned for the event and featuring many professionals who had their roots in the workshop, they also had a book of the group’s history specially commissioned by Janet and Perry Short, long time members. “First Act, The Sault Theatre Workshop’s First 50 Years” by Robin Waples (the Sault Star’s Drama Critic) went on sale in the lobby. Sault Theatre Workshop is now looking forward to hosting Theatre Ontario Festival 2004, “Galaxy North.” This five-day festival that will be held at White Pines Secondary School from May 19 to 23, 2004 is a joint venture by Theatre Ontario, the QUONTA Drama Region and Sault Theatre Workshop. It will showcase the talents of select community theatre groups from the North West Region, the Western Ontario Drama League, the Eastern Ontario League, the Association of Community Theatres – Central Ontario and of course, the Quebec Ontario Theatre Association. The adjudicator for this festival will be Ron Cameron, who is well known to community groups across the Province. What a terrific opportunity to see five great productions and participate in all the activities, which will include workshops, adjudications and green rooms. The host hotel will be the Holiday Inn, telephone 1-888-713-8482, where a limited number of rooms have been set aside, at a rate of $89.00/night, with a deadline of April 1. Individual tickets prices will be $17.00. Brunch tickets will be $25.00. Packages for the five shows plus the awards brunch may be purchased for $95.00. A great bargain! For further ticket information and to purchase tickets, please contact Pat Barty 705- 942-8884, e-mail pat.barty@sympatico.ca or fax 705-946-4081. The final date to order complete ticket packages is May 1, 2004. Sandra Houston, Festival Chair and her committee have been working diligently for many months and for those of you who have attended previous festivals in Sault Ste. Marie, you know that you will have a terrific time. If you have any questions regarding the Festival, please contact Sandra at 705-946-4081. |
