Today brings the next slightly embarrassing instalment of my old twitter project 130 Tales. I mean, it’s not really all that bad (I specifically like #s 11 & 13), but these first 20 are just so… cold? I feel like I was trying a bit too much to be deep, cryptic. After #20, I clearly relax a bit. Humour starts cropping up in unexpected places. And as much as I would like to skip these 10 and go straight to #21, I cannot. I must bear this, IF only for a week.
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130 Tales
# 11 – 20
11. He lays there staring down his body at a dichotomy. One lithe and angular. The other rounded, puffy. When did he become two?
12. The bus pulls over to the side, its driver silent. The passengers get up, angry at his inaction. Witness the loss of importance.
13. Leaving, I feel a tap on my shoulder. A card pressed in my hands. “Call me later and I’ll explain everything.” What? “Just call.”
14. I saw the same cat twice, trailing itself. Real or fake, I don’t care. It was the exact same. Crossing my path. Telling me to go.
15. It wasn’t until that first mouthful. Before that I was nothing more than a spectre, floating amidst waking and dreaming.
16. My hand digs, past scab into flesh and bone, massaging bone as I lay beneath the forgotten trees of my dream.
17. My eyes catch leg, only leg, always leg. Soon she’ll stop, turn and our eyes will touch, belong… Yet our voices will never meet.
18. The earth moves, its structure rumbles. I see two lights break the darkness. My feet shake and my mind jumps. Still. This is art.
19. A moment like that: when people just forget – what they are, who they are and just Are. That moment – it’s why I do this.
20. The night of the theatre gives her freedom. Eyes, mind open, expanding, questioning until she questions herself: why is this new?
I’m happy to bring James Wallis to a field of crowns to talk about his company, Shakespeare BASH’d, as well as our upcoming Toronto Fringe show MUCH ADO ABOUT NOTHING. I’m very proud to have my first Fringe performance with this company. I’ve written briefly about it before, and now am happy to report that the entire rehearsal process has been as enjoyable as that initial read-through all those weeks ago at TIFF. The people that surround this company just love what they do. And they want you to love it too. It’s been quite a ride so far, and we haven’t even moved into the bar yet! I’m excited to see what happens when we do.
So, without further ado (a-ha!) I give you dossier #17:
Who are we talking with?
James Wallis, founder of Shakespeare BASH’d and currently playing Benedick in their 2013 Toronto Fringe Production of Much Ado About Nothing.
What drew you down this path? (to theatre, to Shakespeare, to beer, to wherever the hell you are in life)
It’s so hard to say where it all began, but I’m sure there was a catalyst. I remember reading Shakespeare when I was very young and, despite not really understanding it, I was enthralled by it. I worked on Shakespeare with a company in Newmarket called Resurgence Theatre Company and that really inspired me. Throughout university I obviously was exposed to a lot of different work but I really gravitated towards Shakespeare. The work was extremely fulfilling for me. After university, I did some shows again with Resurgence and with Theatre By the Bay in Barrie, which were confidence builders for me. All in all, Shakespeare has always been there as a driving force for me.
What is your earliest memory of realizing, yep, this is what I’m going to do with my life?
Really it was a high school production of “Bye Bye Birdie” where I just felt comfortable. I liked what I was doing. The long hours, the stressful and competitive environment were challenges that I knew I could undertake. I knew that I wanted to work in the theatre. It just clicked.
How did Shakespeare BASH’d come to be?
Shakespeare BASH’d came out of my frustration over how Shakespeare is often presented these days. I wanted to produce Shakespeare’s plays with a bare bones approach to the work, where the text is the most important thing, revealing as much about character as possible in order to tell the story. It was actually my wife, Julia, who told me “you keep talking about wanting to do something, well do it!!” She motivated me to take responsibility for my creativity, which I thank her for.
Why Shakespeare in a bar? I knew that I wanted to do Shakespeare in a fun, social environment where people could relax, enjoy, and be affected by the play. People go to bars to be social, so why not play something for them and see how it lands? It’s about engaging the audience so that they become an active audience member rather than passive. Theatre is entertainment that should be both engaging and fun.
Why MUCH ADO ABOUT NOTHING?
Much Ado is a really interesting play. It’s a festive comedy that sort turns on a dime and becomes a play about deep betrayal and disloyalty because of misunderstandings. Underneath that there is this great “battle of wits” between Benedick and Beatrice that permeates the play with this great energy. Following our production of The Taming of the Shrew last year, we wanted to do a play that is as complex, if not more. After having seen Much Ado and reading it again I thought it would really work in the bar setting. Also, in any of Shakespeare’s plays, the idea of working with a certain actor, playing a certain part always gets me salivating. I’m fortunate to know some really amazing actors and Much Ado really affords great possibilities for inspired actors.
What kind of atmosphere do yo intend to set up, or can someone expect from MUCH ADO?
Always with Shakespeare you’re going to get a beautiful story, with compelling characters and wonderful dramatic poetry. Much Ado also has some of the most exciting prose in the Canon. It’s almost completely in prose and therefore something quite unique. I think our goal is to create an exciting production that presents the play with simple staging and clear, concise text. Also we’re really trying to play up the aspect of “A Homecoming from War.” What I mean is that the audience is part of the big homecoming party that is going on during the play. We’re trying to create an immersive, fun, passionate experience for the audience.
What is your favourite memory from a past BASH’d show?
So many! Really, I’m so entrenched in every moment of this company that everything is so rewarding. The first reading we did back 2010 of “Romeo and Juliet” was so amazing. I had such a great group of actors and we just read the text as simply as possible with such great intention and clarity. We created such imaginative pictures for the audience and such great relationships despite not having a set, costumes, and having our text in our hands. It reinforced what I knew was so obvious with Shakespeare’s work, that the story can evoke such intense reaction when told with great text by committed actors.
Describe MUCH ADO in Three Adjectives, a phrase or a sound?
The sound I think would be fireworks cracking close to you. Three adjectives? Festive, combative, elusive.
Do you have anything else you’d like to share? Photos, videos, links, posters, stories, wishes?
I would just like to let everybody know that Shakespeare BASH’d will be producing our 3rd full length production of Shakespeare’s “Romeo and Juliet” at The 30/30 Bar, at 3030 Dundas West in the Junction this November 19th to the 23rd. We’re super excited to tackle the greatest love story of all time in one of Toronto’s hottest new bars and restaurants.
I am also so incredibly excited to be at the Fringe again this year and can’t wait to chat with audience members after the show each night (so, please come say hi)!
Some of you may know this but, as of last Tuesday, June 18th, I can officially announce that I am part of the new leadership team that will be transitioning live performance arts incubator hub14 from its second cohort to its third!
Along with new artistic directors Marie-France Forcier, Kate Nankervis and Coman Poon, Aria Evans and myself will be joining the team as associate directors (or artistic-directors-in-training). I’m excited to be part of this transition and to work alongside the current/exiting artistic director team of Cathy Gordon, Jeremy Mimnagh, Meagan O’Shea, and heidi strauss. Things have really picked up since being voted-in at the board meeting on the 18th and a lot of great things are underway. In fact, one of them was just released today!
hub14 is looking for applicants for the various residencies we offer. If this is your first time hearing about hub14, I’m posting our mission statement and descriptions for each residency offered below, taken directly from our site and from the call. If you’re a physical/movement-based performer this will definitely be of interest to you. Check it out!
hub14 is an artist-run live arts incubator and presenter. Our focus is interdisciplinary work as seen through the lens of independent contemporary performance. We contribute to the arts ecology through giving support to artists wanting to experiment and collaborate creatively with each other. We offer an evolving roster of programs including artistic residencies, dramaturgical services, workshops and presenting opportunities as well a variety of community-engaged initiatives.
hub14 encourages inventiveness and excellence by granting free and discounted rehearsal space so that artists may afford more time for process-based research and development.
Professional artists at all stages of their career who want to explore within or outside of their core discipline(s) and live art practitioners from a diversity of backgrounds and abilities are encouraged to apply.
launchpad residency
Intended to support previously unworkshopped new ideas or the development of commissioned or currently programmed work. launchpad residency offers a flexible plan that includes either free studio space (up to a maximum of 50 hours) and/or heavily subsidized studio time (up to 60 hours). A public/invited showing is required for commissioned and previously workshopped/produced pieces. New works have the option of a public/invited showing.
live in residency (outside of Toronto / Canadian / International)
Intended for artists living outside of Toronto. Artists are invited to live and create inside hub14 for up to a maximum two-week stay. A showing is required at the end of the Residency.
Simple live/work arrangements consist of studio, bed, 3-piece private bathroom, mini fridge, hotplate, basic flat wear and utensils.
community chest
Open proposal for special initiatives proposed by and/or supporting the community.
Proposals can range from performance-lectures, a curated series, artistic think tanks and professional development opportunities. We are open to other initiatives that fit strongly withhub14’s mandate.
Deadline: 5PM July 19th, 2013
Response: July 24th, 2013
Eligibility: all applicants must be a member of hub14 (membership is a yearly fee of $40 that allows you to rent the space and can be paid through our PayPal account)
I think last night was the first time it really hit me that the Toronto Fringe Festival is only a week away. With this newfound knowledge I feel infinitely behind in my awareness of what’s all happening this year. But then again, when have I ever felt like I have a strong grasp on the festival? What with 148 shows happening at 35 different venues across the city, how can one possibly think they have a grasp on this 11-day adventure?
Usually the easiest way is to gravitate towards those people you know, or you’ve heard about or may have possibly seen before. Laura Anne Harris and I met at a storytelling night Alex Eddington coordinated. Since then, we seem to continuously fall into the same circles: we are both playwrights currently in the same playwright circle with Steady State; we have both studied clowning with Helen Donnelly and have performed at the Foolish Cabaret together; and we are both developing (she’s much further into the process, as you’ll learn) solo shows. Laura is always a generous ear to have around as she’s always honest in her appreciations and criticisms.
Continuing with the Fringe previews, let’s get in to today’s dossier, #16 with Laura Anne Harris:
Who are we talking with?
Ms. Laura Anne Harris
What drew you down this path? (to theatre, to solo shows, to Fringing, to wherever the hell you are in life)
When I decided to perform my solo show Pitch Blond, it was out of necessity. I wanted to showcase myself as an actor with the fascinating subject of Judy Holliday to as many people as possible. It’s much easier to tour on my own. Then as I kept touring the trips became easier and I had a wonderful time meeting other artists on the Fringe/curated touring circuits. Other professional opportunities arose from meeting fellow artists and I started directing several solo shows. Five years later after my first fringe festival, I’m still exploring solo work and expressing myself as a solo performer/writer.
What is your earliest memory of realizing, yep, this is what I’m going to do with my life?
When I was five after seeing the Little Mermaid, I hoped to become a mermaid. When I discovered the physical conflict of the phenomenon I decided to be an actor. I could always pretend to be a mermaid, right?
Why THE HOMEMAKER?
The urban legend of my Great Aunt has been told in my family for years. Her story really inspired me to write a play loosely inspired by her life. I realized after writing a first draft of the play that it had a stark resemblance to the film Days of Wine and Roses. On a sidebar that movie is a hidden gem – see it. So in 2005, I had written a 4-person play of The Homemaker, but it didn’t quite work. Then I kept the story on my computer for about five years and not finding the right inspiration to perform it again. Until…I decided to develop a solo red nose clown turn based on the play I originally wrote. For about two years I had been training in red nose clown and bouffon with Helen Donnelly, Francine Cote, and Adam Lazarus and I feel clown carefully balances darker and lighter themes really effectively on stage. In April 2012, I paired up with director Morgan Norwich and together we worked on developing the script further. I performed a workshop presentation of the play in October 2012, then showed an excerpt at the Toronto Festival of Clowns this year as well as premiering the full-length performance at the TaDa Festival in Wakefield, Quebec on June 16th, 2013. I really enjoy performing the play and I’m sure the more I perform it in front of the audience the more and more it will grow.
What kind of atmosphere do you intend to set up, or can someone expect from THE HOMEMAKER?
I hope to set up a homey but carbaret style setting. ;). Expect surprises and baked goods.
You’ve done the Canadian Fringe circuit a couple times in the past. What do you look forward to the most when touring a new show to a new city?
I look forward to meeting the other fringe artists in the beer tent and having a really good time seeing each other’s shows. I find it can be very inspirational to see new work and see fellow artist performing.
What is your favourite memory from a past Fringe circuit show?
Oh I have so many. My first fringe in Victoria when a group of Jewish men assured me that they would bring their entire family to my show, ‘how many people does your venue hold,’ ‘um, 100,’ ‘oh don’t worry honey, we’ll bring everyone we know.’ Being taken out to lunch (coincidently on my Birthday,) by two fringe patrons who adored my show at the 2011 Toronto Fringe. Now I’m really good friends with those two fringe patrons so it was a real blessing to meet them that way. And I also need to share this one… I’m sure this will embarrass my boyfriend, but I don’t care. I was in Edmonton Fringe in 2009 and my boyfriend came to help me set up and strike the stage. One day he gave me a hickey, so I made him buy me a scarf so I wouldn’t embarrass myself handbilling the line ups. I ended up talking to Chris Gibbs momentarily, trying my best to hide my neck when he said, ‘Oh do you have yourself a love bite?’ Seeing the great Mr. Gibbs laugh at me was pretty awesome and it still remains to be one of my favourite memories.
Describe THE HOMEMAKER in three adjectives, a phrase, or with sound.
‘So nice, so nice.’ ‘I have a bit of a bum, bum.’ ‘Peace be with you.’ ‘C’est dommage.’ Oh that’s four!
Do you have anything else you’d like to share? Photos, videos, links, posters, stories, wishes?
a field of crowns 