dossier – Page 5 – a field of crowns

dossier: Russel Harder of TRIVIA CLUB

Today I’m very excited to expand the scope of my dossiers outside of the world of theatre and into a slightly different one: the world of Trivia! The range of Really-Cool-Stuff happening in this city always impresses me. That said, Russel and I met each other about a year ago at a theatre event. Surprise! He was hosting, I did a last minute reading of something that is no longer a thing. I met a lot of people that night I surround myself with frequently.

I find it fitting that this talk with Russel is happening now. My life changed drastically over the last year and, as you’re about to find out, so did Russel’s!

Alright, no more blabbering. I present dossier #6:

Who are we talking with?

Russel Harder. The self-proclaimed enfant-terrible of Toronto independent thea– oh no wait, that was one of the last dossiers on Brandon Crone. heh, My bad. I’m a Toronto-based actor and filmmaker, and a product of the Atlantic Theatre Company Acting School, the school of David Mamet’s Practical Ascetics that is housed across from the Chelsea Market in Manhattan. The specific Russel we’re talking to for this dossier, to make this as much like written proof of my multiple personalities as possible, is the host, the stand-up, the one man show, the master of ceremonies responsible for Trivia Club.

What drew you to hosting?

There’s an obvious charm of being the one in charge, the one with the microphone. I rarely thought about hosting though, other then the odd wedding of a friend where-in I was the safe pick for MC because I was a professionally trained actor and all, muhuhuh *straightens bow-tie*… More so though, it’s equal parts loving to read the questions when I played Trivial Pursuit, and the ability to approach hosting as a two-hour one-man improv. Sometimes that means saying yes, and being the straight man to an insanely clever crowd. It’s invaluable rep time in front of people. Not to mention you’re being paid to be personable, which may be something of a dream job for me. As far as influences go? The easy answer is Jeopardy and Alex Trebek, isn’t it? There’s a reason why my final round of Trivia Night bares a striking resemblance to this Merv Griffin Production. Though while Trebek has to keep straight-laced and calm, like a pro, even in the face of Sean Connery, I can be a bit more wild and have fun with the room. Then again, that’s one of the perks of working within a bar.

Why trivia?

I’m a fan of pop culture, of useless knowledge. Always have been. Even before I knew I loved being the center of attention I knew that I loved obscure things about the Titanic and dinosaurs, or strange facts like how mosquitos are more attracted to you if you’ve recently eaten bananas (and you can thank the ol’ Disney Adventures digest for that one). There’s a certain wonderful fun that’s to be found in sharing the nostalgia of your youth with others. That’s why I could never order packets from some American trivia house, why I have to build my own series of questions for every single show. I mean, inherently pop culture is short hand for a lot of people and hosting a trivia night that I also produce and promote on my own simply gives me the chance to share that experience with a large group of people. It’s intoxicating, bringing up “My Pet Monster” and having people sing along to the theme song. Then there’s the moments where you really surprise people with an answer, or it’s that piece of trivia that they KNOW they should know so when they hear the answer… heh, I’ve found I thrive off of a slightly antagonistic relationship with the crowd.

The plan for Trivia Club came from going to my friend Alex’s trivia night actually (the only one I’ve ever been to, though I plan to do that as I’ve seemed to be part/possibly influence a trivia night boom in Parkdale and Roncy), at the Sonic Cafe near Kensington. It was awesome fun, a real barebones kind of set-up for a shoebox sized bar, but after he did the night once… he decided not to do it again. I had such a fun time too, and with the fact that I am THAT guy in a group of friends who knows everything random or pop culture related, I couldn’t help but host a trivia night myself. And improve on the idea that Alex gave me. The fun of a trivia night isn’t simply asking questions, but hooking people in with the game show aspect of it. It was by complete chance that I found Cardinal Rule (5 Roncesvalles Ave, at the corner of Queen and Roncesvalles) to be the perfect venue for what I wanted to do. The fact that, after 10 months, it’s grown to being twice a month and that it’s now sponsored by Mill St Brewery, is something that I never quite expected.

What is the earliest memory you have of wanting, or needing to be a host?

I’ve always loved the interview part of hosting, so it makes sense that I’m still knee deep in questions with Trivia Club @ Cardinal Rule. I think what you’re doing with these dossiers is pretty awesome actually. As a fan of pop culture, I’d much rather make the culture popular, especially local culture. I honestly love game shows, the competition on display, but my first hosting and what will always influence me is the talk show. David Letterman and Conan O’Brien, and on and on. I found a niche, even in niche projects with friends as the documenter, the interviewer, throwing in “special features” to make it a magazine. I suppose that, when I was 11 or 12, is my earliest feeling of hosting.

Do you have a favourite memory from a past Trivia Club?

When Mill St Brewery started sponsoring Trivia Club. Ooo yeah, drink Mill St Cobble Stone Stout! (this answer brought to you by Mill Street Brewery) In all honesty this made me do some serious digging, which was quite useful with Trivia Club’s Anniversary Spectacular coming up on the 10th of April. Thanks for the reminder! I say that and I still won’t give a specific answer. I’ve mentioned being a fan of the energy that this night brings, the groans of defeat or the outright jubilant cheer of victories small and large. What has really been exciting has been the minutest victories, victories by HALF a point at the end of the night even after 50+ points have been won, that gets the Champion of the month the Golden VHS (last month was The Jungle Book).

Describe Trivia Club in three adjectives or a phrase.

Unpredictable. Inspiring. It’s not what you know, it’s what you learn along the way. That last phrase has not only become my trademark way to sign-off at the end of the night, Trivia Club’s defacto catchphrase, it’s my “Goodnight and good luck”, and an olive branch to those who don’t think they’re any good at trivia nights, but also something of a motto for my approach to this event. Now in my eleventh month with the production it’s evolved month in and month out, as I’ve learned what works and what doesn’t with a show. How to keep things exciting and new, how to work with crowds, and deal with hecklers. I know much more about production, promotion, and hell even contract negotiating then I did before. I’ve also gained a family of friends at Cardinal Rule. They truly are excellent folks, and it doesn’t hurt that the food is fantastic.

Do you have anything you want to share with us? A story? A photo? A song? A video?

A blind man’s seeing eye dog pissed on the blind man’s shoe. The blind man said, “Here Rover, I’ve got a treat for you!” The blind man’s wife said, “Honey, you can’t let that pass!” But the blind man said, “I gotta find his mouth, so I can kick ‘im in the ass.”

Okay, so that wasn’t even a good story, it was a bad joke from Prairie Home Companion. For good stories, I welcomely direct everyone to my friend Arianne Shaffer’s website. She’s incredibly entertaining and also whip smart. http://youlooklikemestorytelling.com/

Aside from hosting Trivia Club, acting, and filmmaking, I also checked a box on my bucket list by getting paid to read comics. You can read the labor of those fruits, my comic book reviews, on the Silver Snail website. http://www.silversnail.com/main/

In honor of valentine’s day, I suggest everyone watch this Trivia Club classic (I’m sure the people that regularly come to Cardinal Rule will be surprised that I linked neither Alanis Morissette or David Bowie):

And finally, I wouldn’t feel right without leaving your readers a little bit of trivia to answer. Now I usually don’t do multiple choice with Trivia Club, as it isn’t as conductive to the large crowd atmosphere but a bit of clicking the right answer wouldn’t be a turrible idea for this format! As an added bonus, real-live Trivia Club sounds will be used to give you that at-home experience.

In the film, The Princess Bride, what special effects technique was used to create the Rodents Of Unusual Size?

A) LIVE ANIMALS IN HEAVY MAKE-UP

B) ANIMATRONICS

C) LITTLE PEOPLE IN RAT SUITS

Hope everyone knocked that question out of the park, and now want to go and watch The Princess Bride again. So yes, come out to Trivia Club at Cardinal Rule. It’s the second and now also fourth (usually the last) WEDNESDAY of each month, which means for both February and March you’ll have a chance to enjoy Trivia Club on the 13th and the 27th of the month! Then in April, on the 10th, Trivia Club will be celebrating its ONE YEAR ANNIVERSARY! So make sure to come out for that massive celebration that will be sure to give all the awesomeness of the past twelve months of trivia some due gravitas. I look forward to seeing you at Cardinal Rule, for the prizes, the knowledge, the great food, and drinks, and friends.

Remember it’s not what you know, it’s what you learn along the way.

dossier: Brandon Crone for TURTLENECK and SAFEWORD

Today’s dossier is exciting to me because it is the first to profile a Toronto playwright. I’ve met Brandon at a few events and his charisma and general excitement for anything theatre is awfully infectious. I have no doubt you’ll be able to get a glimpse of this below.

That said, here’s dossier #4:

Who are we talking with?

The self-proclaimed enfant-terrible of Toronto independent theatre. The title is a little premature but here’s hoping it’ll stick. You’re speaking with Brandon Crone, Artistic Director of safeword.

Turtleneck is your first play. What drew you to playwriting?

The whole thing sort of happened unexpectedly. I never thought I would be a writer. When I was studying theatre in school, I was surrounded by playwrights who were constantly working on new material and I generally concluded that in order to be a playwright, it was required that you possess a natural skill with language and that was something I would never be able to attain to. I was always very good at structure but hopelessly inarticulate. It wasn’t until I started reading Harold Pinter for the first time that I suddenly realized that I could potentially use this impediment to my advantage when crafting a play. The way he uses language as a cover or a code to illuminate the true desires of his characters made me realize that most people aren’t actually that particularly lyrical or articulate in their daily interactions with other people. It’s what’s going on underneath those commonplace phrases or jumbled sentences that’s most exciting to me and more true to life in any case. I attended a bi-monthly, play-reading group that was created by two friends of mine, Andrew Young and Shayne Monaghan called Monday Night New Works, where people could bring in new work to share and discuss with fellow writers. After that, I told them I would write something and bring it in to be read at the next session. During that month and the half, I wrote Turtleneck start to finish and it hasn’t changed much since then.

What is you earliest memory of wanting, or needing to do theatre?

Since birth I guess. I’ve been doing it for long as I can remember. When I was growing up, my Mom ran her own daycare in our basement so I was always surrounded by other kids at a young age. She would read us stories, fairy tales, nursery rhymes and when we went on to the park, she recalls me directing all the other children in visionary re-enactments of the stories. There are also very embarrassing photos of me wearing a dress when I single-handedly directed and choreographed a production of The Nutcracker with my Grade Two class in the playground and presented it to the school’s faculty and students unannounced. It’s never been something I’ve had to think about because that need has always been inside me and I’ve always pursued it. I’ve been very fortunate to know from an early age what I wanted to do in life.

Turtleneck only has 30 seats per showing. Was this a conscious choice, or just a side effect of the venue?

A little of both. The initial idea was to do a small, intimate production but choosing to have specifically 30 seats was influenced by the size and capacity of our venue. However, having rehearsed in the space while experiencing the show from the viewpoint of the audience makes me realize that it has definitely worked out in our favour. Everyone is in such close proximity to the action that it’s hard not to feel like you’re a part of the play. It really creates an encompassing effect that perfectly lends itself to the overall theme of the show.

What has been your favourite memory from writing and/or directing Turtleneck?

What I’ve enjoyed most is the conversations I’ve had upon sharing it with other people. Turtleneck is an experience. You either come out of it deeply moved, deeply offended or in a strange limbo of moral ambiguity so for me what’s most important about this project is being able to create a forum of meaningful discussion and reflection about important issues, feelings and experiences. I’ve been living in the Turtleneck bubble for the past few months now as we ready ourselves for the production and in a way I really don’t want it to end. I wish we could just keep meeting together in rehearsals to work on the material, talk about it and explore the infinite ways the text can be interpreted. But now the time is fast approaching for us to share the fine work everyone’s put into this show with our audiences. I think that’s what I’m most looking forward. How are people going to react to this crazy play?!

Describe Turtleneck in three adjectives or phrases.

Carnal – The play is very driven by sexual desire in all its different lights. But whether it be sensual, tender, rapturous, forceful, aggressive, pathetic, mournful or just plain repulsive, it all derives from our base, primal instincts.

Side-splitting – Did I mention it’s a comedy? There are certain moments in the show where I can always guarantee without fail that I will be curled up in a ball on the floor crying my eyes out with laughter.

Haunting – When all is said and done, the play just stays with you. It’s designed in a way that allows the audience to draw their own conclusions and try to piece together the rubble for themselves.

Do you have anything you’d like to share with us? A story? A picture? A video? A song?

Yes, here’s the link to our show trailer:

Turtleneck is happening from Feb 7th-17th at hub14 (14 Markham St., just West of Queen and Bathurst). Tickets are only $15. Since seating is limited, it’s best to book online ahead of time at http://www.secureaseat.com/turtleneck to ensure you’ll get a spot.

Shows are on Thurs, Fri, Sat evenings at 8pm and Sat and Sun matinees at 2pm.

It’s gonna be a fantastic production and I hope everyone will try their best to come out to experience the ride.

For more info on safeword, “Like” our facebook page at http://www.facebook.com/safewordtheatre

dossier: Helen Donnelly of FOO PRODUCTIONS and the FOOLISH CABARET

Today I’m proud to present a dossier for the generous and lovely Helen Donnelly! Aside from being my current clown teacher, Helen has had a long and illustrious career in both clown and circus performance. She’s with us to talk about the latest instalment of the Foolish Cabaret, an event I am happy to have debuted my clown at in 2012.

Right then. On to it. dossier # 3:

Who are we talking with?

Helen Donnelly. I’m a circus, theatrical and therapeutic clown. I’m producer of the new ‘Foolish Cabaret’ and Artistic Director of Foo Productions where I produce and create solo and group shows for festivals, theatre and circus events.

What drew you to this? (to clowning, to theatre, to wherever you are right now?)

Coming from a theatre background, I was an actor with designs for the stage, tv and film. But after a few years of auditioning, performing, wrapping up, back to auditioning again…I started to crave more of a through line to my craft. Where could I satisfy this? I was also seeking something in physical theatre. And so this led me naturally to the world of clown. I never set out to clown, and for the first few years I was awful. Truly. Crickets out there when I went on stage. But gradually (with the help of keen and talented outside eyes), I got better at it. I have no idea what made me stick to it. Stubbornness, I’m guessing.

Why the Foolish Cabaret?

I felt it was time to fill a void in Toronto to have a dedicated space for established physical theatre artists to promote their work & share their artistry while at the same time an opportunity for emerging artists to put polish on to their pieces in order to give everyone the best experience possible. So it’s about serious fools wanting to present polished pieces and give the audience the best value for their time and money. It’s also around educating people new to mime, clown, mask and bouffon. I feel there is so much talent in this city that needs to be encouraged and treasured.

What is the earliest memory you have of wanting, or needing to do this?

As soon as ‘The S.P.A.C.E’ closed back in 2003. For the last 10 years we have been orphaned and that is hard for a community. That said, the majority of clowns in our small community are newer to it, so there is not that history of knowing Mump and Smoot and training in a central spot. But I miss it. It was a special time.

Tell us a bit about therapeutic clown. I’ve heard stories about that Dr. Flap.

Ah, man—how long do you have??! Basically, this hidden art form has been an incredible opportunity for me to continue to be challenged emotionally and artistically 3 days a week. I’m currently working in pediatrics at Holland Bloorview Kids Rehab Hospital and I have also worked for years at SickKids and in Long Term Care Facilities primarily with elders suffering from dementia. At Holland Bloorview there are over 60 inpatients who are brain injured, multi-disabled or have musculoskeletal rehab concerns. It has been my joy to work there as Dr Flap for the last 5 years but also as trainer of new nose hires and program coordinator. I love my job there and I especially love how it balances out my life. To be able to be in service to this unique population in clown and with a clown partner…I feel so lucky. I am dedicated to the growth of this emerging profession.

What is your favourite memory from a past Foolish Cabaret?

Oh…that is a toughy! I would have to say being backstage with master mime Giuseppe Condello….pinching myself as we both warmed up backstage together with me thinking “Is this really happening? Am I really sharing the space with this man??” So thrilling!

Describe the cabaret in three adjectives or a phrase.

‘A space for serious fools to call home’

Do you have anything you want to share with us? A story? A photo? A song? A video?

Sure! I’m attaching The Foolish Cabaret promo video. Also a video of me in clown as Flap in a day care facility with elders with early to mid-stage dementia. And my brand new promo video of my show Saucisse which I’m quite proud of; hot off the press! And the Foolish poster. See you all on Monday at Foolish! Doors open at 7:40 so get there in good time! Thanks Andrew for this great opportunity to plug it!

The Foolish Cabaret promo:

Dr. Flap:

Saucisse: A Foo Musical promo:

dossier: Dave McKay of TORONTO CLOWN and the RED NOSE DISTRICT

For the next dossier, I was able to get in touch with Dave McKay of Toronto Clown and the Red Nose District. I sent him some questions and he opened up a beautiful vault of treasures to show me his answers. It blew me away. You get a real sense Dave’s been around for the development of clown in Canada and has been very important to its current framework and popularity here in Toronto.

That said, here’s dossier number two:

First off, who’re we talking with?

Dave McKay. I’m the co-producer of the Red Nose District show, Lunacy Cabaret, Belleville Ville and the Toronto Festival of Clowns.

What drew you down this path? (to the Red Nose District, to being a clown, to being wherever the hell you are in life?)

I used to play in a band and we put out and album and toured around. The other guys got married and had kids so we stopped playing. I guess I was more of a rock star than a musician. I always preferred the performance aspect of being in a band. In the mid-nineties I read a review of clown duo Mump and Smoot – the clowns of horror. I thought I would love to see that. I went to see them and then I wanted to do what they did. I had no idea where to start as a clown so I got into improv comedy instead. While in the Second City Conservatory program I met people who had studied clown with John Turner and Mike Kennard of Mump and Smoot. So when the time and money became available I took Mike Kennard’s Baby Clown/Clown Through Mask course. Sometimes while doing improv I would connect with a character and the audience and it would all just flow naturally. However while clowning it always happened. I had found my thing. At the time I was still doing improv, theatre, music and tv/film work. So in 2006 I told myself, “nothing but clown this year.” That year I started up TorontoClown.com, the Lunacy Cabaret (with Dan Nimmo, Jeff Krahn and Eli Chornenki) and the Toronto Festival of Clowns (with Srah Buski and Adam Lazarus). The Lunacy Cabaret has a very wild audience so you need to be an experienced performer to handle them and the Toronto Festival of Clowns features hour long shows. There needs to be a place where people who are starting out can get some experience in front of a friendly audience. In the past there were some small clown cabaret shows that people could get some stage time with, but eventually they ran their course and stopped. I created the Red Nose District show to fill that role. A place for new clowns who have just taken a workshop, experienced clowns to work on new material and for people who have left clowning to come back and try it again.

What’s you earliest memory of wanting, or needing to do this?

As I kid I had no affinity for clowns. In fact I just kind of ignored them and thought they were for little kids or unsophisticated people. It wasn’t until I started seeing several Pochinko style clowns that I got into it. In particular I was doing improv in a show that Neil Muscot produced and he had Helen Donnelly on doing her Foo character. Foo did a very simple turn where his ass was itchy and he searched the room until he found a box of Gold Bond powder in a bag in the back of the room. Foo looked into the bag and then up at the audience several times before revealing the contents. Each time he looked in and then out it was a completely different face and expression. This was beyond mugging, there was a whole story behind each expression. At this point I made the commitment to study Pochinko clown.

What can we expect, if anything, at the Red Nose District?

You can expect the performers to recognize that there is an audience in front of them and sometimes to engage the audience in their act.

Tell us about your favourite moment from this event in the past.

Once a year we put the Red Nose District show in the Toronto Festival of Clowns. We get Morro and Jasp to host it. They really take the hosting job seriously and put together one of the best nights at the festival. One year at the end of the show they started a popcorn fight with the audience, there was popcorn everywhere. We have pictures of the whole audience engaged in throwing stuff with huge smiles on their faces.

Describe the Red Nose District in three adjective or phrases.

Surprising, engaging and adult.

Do you have anything you want to share? A story? A photo? A song? A video?

I recently found these videos on Youtube of Richard Pochinko teaching a clown class. He is recognized as the father of modern Canadian clowning or as we sometimes call it Pochinko Clown. I never met him but he seems like at delightful, enchanted nutbar who created a wonderful thing that has turned into a tradition. I like to watch these videos once in a while so that I don’t take the whole clown thing too serious.

He gives a good description of what he is trying to accomplish at around 2:50 in this video.

Mump and Smoot with some of their dark humour, it starts getting really dark around 4:30.

A montage of Foo clips