Newsletter
Summer 2004
by John Watson
Across the province, theatre companies are programming the “classics”
into their seasons. Whether those classics are works like those by
Shakespeare and Molière, or 19th century plays by Chekhov, Ibsen, Shaw and
Wilde; producing the classics is in vogue. Inside this issue,
Vinetta Strombergs makes a case for defining a "Canadian Classic."
This renewed popularity of the classics could arguably be attributed to
recent, popular film versions of Romeo and Juliet, A Midsummer Night's
Dream and Shakespeare In Love, as well as The Importance Of Being Earnest,
and An Ideal Husband.
The classics rule
supreme in Ontario’s summer theatres! Besides the Shaw Festival,
Soulpepper Theatre Company and the Stratford Festival, you can find
classical works presented by Acropolis Theatre, London (As You Like It);
CanStage, Toronto (As You Like It); Festival of Classics, Oakville (The
Comedy of Errors); Garden City Productions, St. Catharines (The Merchant
of Venice); Lindsay Little Theatre, Lindsay (All’s Well That Ends Well);
Resurgence Theatre Company, Newmarket (Much Ado About Nothing); St.
Lawrence Shakespeare, Prescott (The Comedy of Errors), and Theatre By The
Bay, Barrie (As You Like It). Driftwood Theatre Group is touring
southern Ontario with its production of A Midsummer Night’s Dream.
For more information about summer theatres, visit www.summertheatre.org
Companies like the Shaw Festival, Soulpepper Theatre and the Stratford
Festival are mandated to present the classics. “I've always been
very passionate about the classics, which is one of the reasons for
founding this company. We're filling a niche that doesn’t currently
exist in this area; we have something here that many people really enjoy,”
says Deborah Smith, Artistic Director of St. Lawrence Shakespeare
Company.
For companies with a broader mandate, the inclusion of a classic in
their season is a unique occasion. This past June, Kitchener
Waterloo Little Theatre presented Titus Andronicus. “KWLT tries to
stage a Shakespearean production at least once in each season. Aside
from the obvious benefit that it's a royalty-free show, we have a lot of
young directors that are itching to try their hand at directing the bard,”
explains director Rob LeGood. “In fact, a lot of people I've talked
to, mentioned that that is their favourite part of our theatre.”
Theatres considering producing Shakespeare need to take into account
marketing a text that some members of the public consider too difficult to
understand, as well as the importance of fight direction, and the use of
costume pieces like corsets and wigs.
“We market classics to young people through our various access
programs, like the $5 Youth Rush Seats and VIP Youth Come Free.
Because these programs provide discounted or free tickets, it really helps
to develop audiences, particularly young audiences, and those with limited
financial resources,” says Merika Ramundo, Manager of Education at
Soulpepper Theatre.
Daniel Levinson, a fight director and member of Theatre
Ontario’s Talent Bank offers this advice: “Ensure adequate time has been
put aside for the violence of the show, and that the theatre company has
found the right fight director to help them achieve the show’s
vision. But picking the right weapons for the show is also
important. I have worked on countless productions that had little or
no set. This means the audiences determines the show’s time and
place entirely from costumes and props. Weapons are perhaps the most
important of props since they often further the plot by ending
characters. To put it bluntly, a weapon choice can make or break a
scene. The first part of the choice is of course safety, but after
that the choices are endless. The weapon will affect how the actor
fights. The materials of the weapon; steal, bronze, leather, and wood will
give the audience tremendous information about the character and
place. My advice is be as careful and diligent in choosing your arms
as a theatre company is in choosing its script, a director is in choosing
their actors, and an actor in choosing their intentions. Your
choices are endless. Make it a good one.”
Theatre Ontario's
comprehensive health and safety website, www.theatresafety.ca has numerous guidelines for
working with weapons.
Upon graduating from college or university, most acting students have
studied or performed in at least one Shakespeare or other classical
production. But auditioning for a classic is different from
auditioning for a contemporary comedy or drama.
“My greatest interest is in telling a
story. During auditions, the people who grab me the most are those
who tell the story of the monologue; who invoke the images and emotions of
the piece,” says Jeremy Smith, Artistic Director of Driftwood Theatre
Group. “Having knowledge of the text is important, but so is voice
training. The actor's tool is their body, their voice; learning to
use that tool effectively can only help in the audition.”
by John
Watson
Following the tragic events of September 11, 2001, the insurance
industry became quite unpredictable. As a result, insurance rates
have risen considerably, and more and more insurance carriers are
re-evaluating their ability to insure theatres, events where a large
number of people congregate, or where the perceived risk of accident is
high.
Theatre Ontario has been closely watching insurance issues for the past
number of years, and recently we’ve been hearing of theatres being
declined further coverage, and of rates increasing overnight from $3,000
to $12,000 annually. Because society is becoming more litigious,
municipal, religious and educational institutions are often requesting
facility-users to provide proof of their insurance coverage, a previously
unheard-of demand, even for rehearsal usage.
Because of the
variety of insurance policy options available, some organizations are
unsure which are the most suitable policies to purchase.
Commercial General Liability Insurance
This type of
policy provides coverage for liability due to personal injury, and can
also cover some medical expenses. Liability insurance is important
should the theatre need to compensate a volunteer, staff or patron for
damage or injuries related to something the theatre did or did not do; for
example, a patron falling in the audience due to poor lighting and
signage.
Directors’ and Officers’ Liability Insurance
Under
several laws (including the Bank Act, Canadian Business Corporation Act,
Income Tax Act, and Corporation Tax Act), members of a theatre’s board of
directors are personally liable in respect to their duties. Wrongful
dismissal, unpaid wages, and the mismanagement of funds are examples of
activities that can lead to claims. Director’s and Officers’
Liability Insurance is essential to any theatre organization. Many
times, volunteers are unwilling to join a board of directors without
it.
Property Damage Insurance
Property Insurance covers
losses due to damage to property the theatre owns, rents, or is
loaned. Property can be defined as an item with a value, for
example: land, buildings, and personal property. Damage could be
caused as a result of flooding, sewage back up, etc. Most insurance
carriers have removed mould/fungi, asbestos and acts of terrorism from its
property insurance coverage, so policies should be reviewed
carefully.
Additional provisions, or riders, that can be added to a theatre’s
insurance policy includes: - Tenants Legal Liability (coverage
that insures against legal liability for a loss that occurs at a rented or
leased premises)
- Accidental Death and Dismemberment Insurance
(allows for immediate payment of a serious injury, and often helps deter
legal actions against a theatre organization, its volunteers and
staff)
- Crime coverage (protects the theatre from losses due to
theft and robbery, including theft by an employee)
- Non-Owned
Automobile Liability (for workers or volunteers using personal vehicles
for company use)
- Liquor Liability (for theatres serving liquor
at events)
ACT-CO (Association of Community Theatres – Central Ontario) has an
arrangement with a private insurance carrier to provide its member groups
with discounted rates on general liability and property insurance.
There are considerable savings possible—some groups saving up to 50%—when
there’s a “group effort” in securing reasonable insurance rates.
EODL (Eastern Ontario Drama League) and WODL (Western Ontario Drama
League) are also pursuing group insurance plans for their respective
member groups.
The City of Mississauga offers a unique program to volunteer
groups. Arts and athletics organizations apply to the City to become
an affiliate of its Department of Community Services. Groups meeting
affiliation criteria can apply for general liability insurance
coverage. To prevent duplicate coverage, the insurance carrier
determines eligibility and approval of coverage. Currently the
municipality, at no cost to the groups, pays for the insurance.
Theatre Ontario recommends that groups seeking insurance speak to a
certified insurance broker who can assess your organization’s needs and
ensure that you are reasonably covered for risks.
Theatre
Ontario’s dynamic website www.theatresafety.ca provides
resources so theatres can implement a health and safety program, helping
to minimize risks to volunteers, staff and audience members. Some of
the resources available online for free include emergency evacuation
planning, liability and risk management, patron/injury illness procedures
and first aid training.
 |
Ron Cameron-Lewis | by John Watson
A passion for theatre, history and teaching are at the heart and soul
of all that Ron Cameron-Lewis does. Ron has been a member of Theatre
Ontario since 1973, and in 1979 became a member of the Talent Bank as an
adjudicator, acting instructor, director of drama, director of musicals,
and voice instructor.
Born in Ottawa, Ron was raised in London and Woodstock, Ontario.
Like so many, Ron's passion for theatre was ignited at an early age.
“I started in theatre at about age eleven,” remembers Ron.
“Theatre Woodstock had an ad in the newspaper looking for children to be
extras in an upcoming production. I asked my dad if I could
audition. He thought about it and said to me: ‘I don't see why not;
you can't get into too much trouble’.” Ron became actively involved
in the group, and took part in a number of productions. At the same
time, Ron's love of history flourished.
“My family has a long history in Ontario. In fact, in eastern
Ontario, we have a family cemetery that goes back to my great, great,
great grandparents,” explains Ron. “My great grandfather and great,
great grandfather had both written books about life during their times,
and my mother used to read these books to us.”
Ron graduated as a history major from the University of Western
Ontario. “My father passed away at age 50, a very young age, but he
did see me graduate from Western. He had a secret second life
insurance policy and the surprise inheritance enabled me to continue my
studies in theatre.”
At the time, there were only two professional
theatre companies in Toronto, and no post-secondary theatre training
programs in Canada. Ron's options were to study in the USA, or to go
to Britain. “I chose to go to London, England because I wanted a
solid foundation in the classics. The majority of my classmates in
London had each performed in half a dozen Shakespearean productions.
At that time in Canada, Shakespeare was studied as literature but not
performed.”
While studying speech and drama at the Guildhall School of Music and
Drama in London, England, Ron's tutor, Rona Laurie—who today even in her
mid-80s is still teaching and adjudicating—suggested that with Ron's
background and character, he should consider becoming an
adjudicator.
After four years of study overseas, Ron returned to Canada. A
high school teacher for almost two years, Ron directed productions in the
Sears Ontario Drama Festival that went on to win district, regional and
final festivals. Ron became a freelance director and adjudicator;
through word of mouth, he began to adjudicate Sears festivals, and consult
and direct with community theatre groups. He has since adjudicated
over 2,000 productions in Canada and the USA at over 100 provincial,
state, regional and national festivals.
He began as a teacher at Sheridan College offering a voice/speech
course in the Media Studies program. At the time they met, the
instructor who hired him over the phone said to Ron, “This won't
work. You're too young for the students to accept you as an
authority figure.” Ron's reply: “Watch me.” Two years later,
Ron took over that instructor’s position and worked over the next 27 years
to help the Music Theatre Department achieve its current national
profile. He is also a founder of the joint Theatre & Drama
Studies program with Sheridan College and the University of Toronto.
“Working in both the educational and community theatre sector is so
rewarding. It really is the best of both worlds,” says Ron.
“Community theatre allows me to direct productions that usually aren't
produced in the college. I can do shows in large theatres with full
orchestras, with mature actors and often, smaller casts. But in the
college, I get to work with young artists, large casts, and work on
original pieces of theatre.”
In 2001, he developed The Loyalist Project, a collective
creation performed with twenty university students. Ron's love of
history is evident in this work, as it draws upon the writings of his
great, great grandfather and other relatives, exploring 250 years of
Canadian history. In 2002, Ron reworked the play, reduced the
cast-size and the end result was Rebel Roads…Stories of the
Loyalists.
Other plays Ron has written include The Golden Ass (2003),
Lovers in Dangerous Times (1998), and Six War Years
(1995). Ron is the fifth-generation in his family to have works
published in Ontario. His book Acting Skills for Life,
which is a compilation of practical, down-to-earth, exercises and
rehearsal ideas for the novice actor and theatre teacher/director is used
as course material in many high schools and colleges.
Colleges and universities perform Shakespeare extensively, and Ron
recognizes that more community and professional companies are producing
“the classics,” and modern-classics like Chekhov, O'Neill, Shaw, and
Wilde. Believing that the millennium-shift and globalization has
encouraged people to look back at the plays from a previous era, Ron has
one piece of advice for groups considering producing a classic: “Do
it! It is a wonderful experience. Don't be scared by the
language. My first time adjudicating Theatre Ontario Festival was in
1986, and there was a wonderful production of Twelfth Night presented by
Sault Theatre Workshop. Brilliantly interpreted, that production
still remains with me.”
Ron was the adjudicator for this year's Theatre Ontario Festival in
Sault Ste. Marie. “It was a great festival, and truly remarkable to
see a musical, an original script, and comedies presented,” he
states. “The private adjudications were held the next day in the
morning, which I believe in strongly. Between 100-150 people
attended each adjudication which lasted up to two-and-a-half hours every
morning all week, and a lot of interesting discussions occurred because of
it.”
“There was great conversation about the changes in community theatre
over the last fifty years,” says Ron. “I talked about the origins of
community theatre in Canada with the Dominion Drama Festival, the
evolution of regional theatres from successful community theatre
foundations, and where theatre is going. As society becomes more
multicultural, the students of theatre programs in colleges and
universities are becoming more representative of the cross-cultural
community. Community theatres need to embrace this; advertise that
the company is dedicated to culturally-neutral casting.”
Ron will be teaching the introduction to directing course at this
year's Theatre Ontario Summer Courses. As well, he will be teaching
scene study at the new Prince Edward Island Conservatory. Led by
director Duncan McIntosh, this new program brings together professional
theatre artists and students for immerse theatre training. Besides
doing some consulting and play polishing, Ron will be directing the third
year musical theatre students at Sheridan College in their fall production
of Sweet Charity.
Celebrating his achievements as a theatre artist who has made a
sustained and significant contribution to the development of theatre in
the province, Ron was awarded the Maggie Bassett Award, at Theatre Ontario
Festival 2004.
|
