Rapiers and daggers and dialects, oh my!

Ah, New Years Day, so we meet again.  Never it seems, does the world come to quite a screeching halt. Understandable I suppose considering the average recovery period for those choosing to ring in the new year in the traditional fashion, but for me, who more often than not chooses to celebrate the roll of the calendar by getting a good night sleep, New Years day can seem like the longest day of the year. Luckily this year I managed to be somewhat productive during the annual wasteland that is January 1st.

Firstly, I had the pleasure of swinging by the new digs of the folks at Ottawa Classical Swordplay, who were holding an open house ahead of their new winter session. I had a chance to chat with knowledgeable and friendly instructors Craig Shackleton and  John Enzinas, snoop around the gorgeous new dojo they now call home , and peruse their collection of reference material and practice equipment. Needless to say I was suitably impressed and can’t wait to get started with their Tuesday evening Renaissance Duelling class. And someday, I may just get the chance to match wits with the likes of former students Teri Loretto and Lynn Cox. Although I hope it ends better than my last tangle with Ms. Cox.

Attention Algonquin Firsties - You only get the eyebrow 3 times, and then...

My mission today, to find a decent pair of non-marking shoes. (And to think all this time my shoes have come with marking abilities included at no extra charge) I’m told wearing a cup is optional, and while it’s comforting to know that it’s not within the current curriculum to learn manouevers which intentionally target the groin, that might just be one insurance policy worth investing in. Although I suspect that I’m in more danger of spearing myself in the bathing suit area than anything else.

Also, with a heads up from local theatre types Mo Ecroyd and Chantale Plante, who were kind enough to comment on a previous blog posting (Thanks guys!) I was also tipped off to a few interesting workshops coming up in January at OLT that I registered to audit. First a directing masterclass with Marti Maraden (Jan 15th), past artistic director of English Theatre at the NAC, and a dialect  workshop with Julia Lenardon of NTS, focusing on Irish accents (Jan 22). Julia will also be doing a voice and monologue coaching workshop at OLT that same weekend (Jan 23). It appears audit spaces are still available, and reasonably priced, so I encourage you to check out those and other upcoming learning opportunities at OLT in 2011. And just maybe I’ll see you there. Registration and more information is as simple as visiting their website, www.ottawalittletheatre.com.

Murder in the First De-Glee @ Scarlett’s Dinner Theatre

First thing’s first. Happy 2011, my friends.

Now that that piece of business is out of the way, I thought I’d take this opportunity while you’re sleeping off your hangover, to bring you up to speed on how I celebrated the New Year. Last evening I had the pleasure of taking in a production I’d been looking forward to for a while, and in a stroke of luck I was able to squeeze myself in among a packed house for Murder in the First De-Glee, the latest incarnation of the Eddie May Murder Mystery franchise at Scarlett’s Dinner Theatre in the market.

Featuring a cast of Eddie May A-listers, and under the direction of John P. Kelly, the show was fast-paced and energetic, merging murder, mayhem and music in a send up of the ‘Glee’ phenomenon. Solid performances all around, with the highlight of course, being Dee Dee Butters merciless parody of all things Sue Sylvester. Having also just discovered For Those Who Hate Human Interaction this week, the latest album from The Peptides, which prominently features Dee Dee in an impressively diverse range of vocal stylings, I can’t wait to see what else she has in store. And of course, what would a Glee parody be without a musical angle, with Dee Dee, Thea Nikolic and Brianne Tucker, along with the rest of the cast showcasing some admirable pipes.

And in the end did I figure out who did it? Hell no. Although after a few beers, I was starting to be pretty convinced it might have been me. What can I say, once you take the butler out of the equation I’m pretty much useless. But if you’re into that aspect of it, the plot did resolve in a clever and fun conclusion. Me, I was there just to catch some of the areas best comedic actors chew up the scenery, and they certainly did not disappoint. And then of course, there were the ribs. Mmmm, the ribs.

Bottom line, the Eddie May formula is one that works. It’s a fun night out and I for one recommend you get some friends together and check it out sometime. De-Glee was my second Eddie May experience and between the delicious food, fun atmosphere and energetic performances I’ll most definitely be back again. Word on the street has it they’ll be back soon with a remount of The Sound of Murder, followed by a remount of De-Glee for those of you who may have missed it this time around. Details I’m sure will be available soon at www.eddiemay.com.

But enough about that, it’s sooooo 2010. As for my start to 2011, I’ll be off to an open house this afternoon hosted by Ottawa Classical Swordplay in the hopes of wrangling a spot in their upcoming 6 week Rapier and dagger course. I mean, after all, Zastrozzi didn’t become the master criminal of all Europe by just sitting on his ass.

All the best in 2011.

Legally Blonde @ the NAC

I don’t know about you, but too much free time makes me do some pretty strange things. Truth be told I hadn’t really intended to see Legally Blonde: The Musical this season, but the 80 bucks burning a hole in my pocket and and this strange new phenomenon known as free time begged to differ and so I found myself at the NAC last evening with Elle, Bruiser and the gang.

Admittedly as muscial theatre afficiandoship goes, I’ve been pretty lax over the last few years, so apart from the raves I’d heard about the show from my Orpheus friends about the show and the cast recording since the arrival of it’s original incarnation on the great white way, I went in mostly blind, never having heard the cast recording or having scoped any of it on You-tube. I had however, like just about everyone else, seen the film on which the show was based and thus was somewhat familiar with the plot and characters. Cute fluff at best, but then after all we’re talking Broadway Musical here, so it seemed to on paper have some potential.

Before I go any further, I have to say, lesson learned. Although Southam hall is a freakin’ marvel of a theatre, where musical theatre is concerned the saving 20 bucks by sitting in the balcony, not such a hot idea. While the sound was great with the solo tunes, the sound gets a little muddy up there for my liking on the group stuff or for that matter anything with a lot of bass. Trust me, shell out the premium for orchestra seating, you’ll be glad you did.

In terms of the show itself, very high energy, which seems to be a theme amongst most of the Broadway shows I’ve seen that have been written since the turn of the millenium, and while it fits the subject material just fine, I do kinda miss the days of subtlety in musical theatre. (I know, can you believe I just said that, I’m not even sure I believe it.)

Anyhow, the production was entertaining enough, and well performed (great vocals across the board – and I’m glad to report that just maybe the trend is reversing and musical theatre vocalists are starting to be allowed to have a little vocal personality again. Hurray!) , but I was a little surprised, given its’ nominations for best music and book, how instantly forgettable the music was. Ahhh the days when you could expect to be plagued with at least 2 or 3 earworms after seeing a musical for the first time, those riffs and hooks that just won’t seem to leave you alone for days after. And although the music was in places somewhat sophisticated, and well performed, I didn’t leave the theatre with a single song stuck in my head, there wasn’t for me a catchy tune in the bunch. Say what you will about Rogers and Hammerstein, or Andrew Lloyd Webber, but those cats knew catchy.

It occurs to me that amongst my criticisms of the piece, I may have buried the fact that I did enjoy it. Not among my favourite musicals by any stretch, but a good night out. (Somehow I’ve begun to gain a reputation among my classmates at Algonquin that I hate everything, so just to be clear. I criticize because I love, darlings. ) However, the highlight of the evening did come from a review of the program which hinted the fact that Broadway Across America (the parent/sister company of Broadway Across Canada) is touring Dreamgirls next year. There are no words.

And so I bid farewell to touring musicals for the rest of the season, as I simply can’t justify shelling out 100 bucks to see musicals I’ve already seen (The Lion King) or despise with a passion (Cats).But if my experience with Legally Blonde left me with any lasting impression it’s that I kinds miss doing musical theatre. I miss the Orpheus and Sock N’ Buskin  gang. And although my Jekyll and Hyde fantasy longshot may have been dashed on the iceburg that was Orpheus recently obtaining the rights for Titanic in 2012, I need to keep my eyes peeled for another chance to do some musical theatre soon. Until then, I’ll settle for checking out some musical mayhem on a smaller scale, as I head out tonight to start the new year in style catching Murder In the First De-Glee courtesy of the fine folks at Eddie May Murder Mysteries.

Happy New Year folks! See you in 2011.

Looking forward

Returning to Ottawa after a relaxing holiday season it occurs to me, that while the approach of 2011 represents, as every new year does, a new beginning, it also represents the beginning of the end of my time at Algonquin College. The new year brings with it my final semester in the Theatre Arts program there. Of course, I can’t wait to get started, given the next 4 months will see us produce a 3 show season, the culmination of our college experience, putting what we’ve learned into practice. For me specifically, that will involve my first crack at Stage Managing a full production, (That Summer, by David French),  acting in a role I’ve only dreamed about since I discovered the play some 10 or so years ago while studying at the University of Guelph (the title character in George F. Walker’s Zastrozzi), and a to be determined tech/production role on our production of Rosencrantz and Guildenstern Are Dead. Exciting stuff, but before I get caught up in the thick of it and April has arrived before I know it, I’ve come to the realization that I must begin now to prepare for what comes next.

It will be easy, I’m sure, in the months that follow while focussing on the work at hand to lose sight of the bigger picture. Equally important as producing a fantastic season for Algonquin, is laying the groundwork in the time I have left, to ensure that I’m prepared for a career in the arts after my Algonquin experience comes to a close. That of course means networking, further training, preparing to create my own work and opportunities and countless other preparations. And so, I’ll take the opportunity I have now, before the semester begins, to make some key decisions about what directions I intend to take in 2011 and beyond.

A fellow actor, who’s work and work ethic I’ve come to greatly admire over my time as a spectator here in Ottawa, described life in the arts and his approach as an actor to me recently as akin to that of an athlete more than an artist. A description that I had not considered, but one that I found both clever and inspiring. For to be successful it seems, requires discipline and stamina, tenaciousness and determination and a single minded focus on your goal.  Hardly rocket science when you really think about it, but as someone who has trained himself over 15 years of performing to see performing as a fun distraction from other things, I recognize that perhaps I would benefit as I move forward to take the craft more seriously. And no better time than the present.

And so the key words of 2011 will be discipline and focus. After flying through last semester by the seat of my pants, I resolve to begin to truly apply myself both at school and outside of it. And hopefully by opening my yap about it here publicly, I’ll have all the more reason to keep myself honest about it.

Bottom line,after everything I’ve gone through to get here, I want this. I know it won’t be easy, it may never be, but I accept that and frankly, I don’t care.  And if what I’ve learned means anything, I think that’s a good sign. To 2011, and everything it brings.

It truly is a Wonderful Life

Well, it would appear that despite my best efforts I’ve managed to somehow survive the whirlwind that was Fall 2010. A challenging semester at school combined with back to back (to back to back) theatre projects outside of school proved formidable but I’m happy to report I’ve emerged relatively unscathed. I say relatively, given the fact that I suspect after this semester my aspiration to complete my time at Algonquin with a 4.0 GPA will slip from a realistic goal into the realm of the pipe dream.

Most recently I finished what was a fantastic run of It’s a Wonderful Life at the Gladstone theatre which was a lovely experience and allowed me the opportunity to work again with and learn more from a number of gifted performers with whom I was lucky enough to have worked with on Flea earlier this year (not to mention a few others, no less fantastic, that were new to me, including the brilliant David Holton, who was inspiring to watch as he channeled Jimmy Stewart as George Bailey each night. Absolutely brilliant.). Thanks to everyone involved for being such lovely people, and of course to Teri Loretto in particular for continuing to believe in me.

On a somewhat related note - If anybody isn’t quite sure what to get me for Christmas, the Gladstone is still available.  And there’s the added benefit that it’ll get you out of having to get me birthday or Christmas presents for the rest of your lives, (and that of countless generations of our decendants). In all seriousness though, considering I may possibly have  just have performed my last gig there, I do truly hope that it continues on as a theatre space for many years to come in one form or another. And while I’m on the subject I’d also like to take this opportunity to sincerely thank Steve and Marilisa, and Betsy, Sam and Keturah and everybody else who made and continue to make the Gladstone a welcoming and inviting space and have been a pleasure to work with and get to know. And you’d better believe I’ll be there with bells on as a patron for Plosive Productions’ inaugural February production of The Importance of Being Earnest. Literally. Bells.

And now the focus shifts to my final semester of school, where I’ll be Stage Managing the Algonquin theatre production of the late David French’s That Summer in February, and playing the title role in our production of George F. Walker’s Zastrozzi, running April 13-16 in the Algonquin Studio Theatre. While I’m ridiculously excited for that, I am a little sad that my brief flirtation with being a working member of the Ottawa Theatre scene will most likely have to go on the back burner for a few months. But of course the silver lining to all that is that I may actually get to SEE some theatre again, and post the occasional blog entry. (My sincerest apologies to those of you who’ve been basking in my glorious absence from the blogosphere these past few months.)

Oh by the way, as an heads up to anyone who might happen across this humble little blog from time to time, a goal/resolution of mine this coming semester given my (hopefully) lighter schedule will be to network more within the local community and to try and strengthen my existing professional relationships with those of you I do already know. So hopefully I’ll have an opportunity to run into you in person sometime soon.

Until then. Happy landings!

Next stop, Mechanicsville

If this fall has taught me anything, it’s that as an artist, time management skills are essential, after all, in this business, your time is really the primary commodity you have to offer. Between rehearsals, performances, projects and school assignments etc., I can’t say I’ve ever been so dependant on my agenda to keep everything straight, and I’m glad to report that somehow, I’ve managed to keep on top of it all. The downside of being so busy these days however, has been that I’ve had to pass on some really great projects and opportunities due to lack of availability. I seem to recall in a previous blog posting this summer, that I referred to exactly such a situation as the best possible sort of problem to have, and rather than lament the projects that got away, I’d best just consider myself extremly fortunate to be so busy.

And sometimes, despite it all, fortune smiles on you. In a rare bit of luck, I managed recently to score a gig pinch hitting for the second week of the two week run of the Mechanicsville Monologues 2, which just happens to fall conveniently tertris-style between my next two projects, during the week between the close of ‘I’ and the opening of ‘It’s a Wonderful Life’, and I couldn’t be more excited about it. After all last year’s debut of the Mechanicsville Monologues, written by Don Laflamme and staged by Chamber Theatre of Hintonburg at the Carleton tavern was one of the highlights of my theatre going season. I was excited enough to hear he’d be penning a sequel this year as an audience member, so you can only imagine how thrilled I am to have a chance to perform alongside the rest of gang this year which features a wealth of local talent, ( Mark Muntean, Garrett Quirk , Laine Johnson , Manon Dumas , Bob Reynolds,   Leslie Cserepy, Jenny Vallance, Matt Smith, William Somers, Lesley Hay,  Tony Adams, Corey Thibert, Tim Finnegan, Kelly Rigole, and Donna Bourgeault with music by Robert Vogelsang) many of whom I’ve been impressed by this past year in other shows around town.  I’ve said it before and I’ll say it again, I’m one lucky son of a bitch.

It’s definitely a unique theatre experience not to be missed. I hope you’ll come check it out at the Carleton Tavern in the heart of Mechanicsville –  223 Armstrong Street at Parkdale.

The show runs, Wednesday November 24 to Friday November 26  – 7:30 pm; Saturday November 27 — 5:00pm; and Wednesday December 1, Thursday December 2, Friday December 3  – 7:30 pm and Saturday December 4 —  5:00pm. Tickets are a steal at $20.

For information or ticket reservations, call 613-791-4471 or 613-791-0097 or just grab your tickets along with your pint at the Carleton Tavern.

Cheers!

The ‘I’ Life

After a few weeks away, it’s back to the Gladstone, with the move in of the Pulse Theatre Collective’s production of I, opening on Thursday of this week for a 2 week engagement. As part of what aspires to be a 39 man chorus by the time opening night rolls around (fingers crossed), it’ll be close quarters, but it couldn’t be with a better bunch. It’s been both an interesting and educational experience to have the opportunity to have been involved with an original work , watching it morph and evolve throughout the rehearsal process into its final form.

I think the most valuable lesson I’ll take from my involvement in I is the importance of flexibility and experimentation as part of the rehearsal process. By keeping things in flux and with a sense of play and creativity, creator and Director David Hersh has shepherded the project along it’s journey, navigating the twists and turns to bring I to it’s final destination.  Observing veterans like Andy, Emmanuelle and Kathi and their ability to adapt as the show changes shape around them has been incredibly valuable and is something to which I will aspire to in future.

 As I write, the core players have taken the stage and the process continues, adjusting and tightening. I’m sitting quietly and taking it all in, and appreciating the little jewel of a theatre that is the Gladstone while I still can. Its’ fate may be uncertain in the short run, on the block for sale to the highest bidder,  but I for one hope it survives as a performance space, one way or another, where it can provide a home for new and original works like ’I’ for many years to come.

I plays at the Gladstone theatre, opening Nov 18th and running until Nov 27th. Bookings at the Gladstone Theatre Box office –  613 233 4523 or at  http://www.thegladstone.ca