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It’s been a while.

I’ve lost a bit of my connection to my musical theatre roots.  When I was first bitten by the acting bug, it was for a musical.  I got pulled into the chorus of my high school’s production of The Drunkard (with music and lyrics by Barry Manilow — how’s that for trivia), and I’ve never really looked back since.  My first community theatre shows, in Regina, were musicals.  The first show I ever performed in while studying at Queen’s University was a musical.  After I graduated (with an engineering degree!) and joined the working world, I performed in seven musicals with Orpheus Musical Theatre Society over a span of less than four years.  And when a small group of us joined forces with Ken Godmere to form Zucchini Grotto Theatre Company and produce I Love You, You’re Perfect, Now Change in 2003, it was actually the beginning of my professional acting career (side note: one of the nice things about having a blog that goes back more than seven years is an ability to link to my old posts about producing and performing in professional musical theatre for the first time).  My links to the form run deep!

We formed Zucchini Grotto because there weren’t any professional musicals being produced in Ottawa.  Arguably, there still aren’t many.  Zucchini was going to change all that — but producing musicals is very complex and expensive, and you can only risk your life savings so many times before… well, before you lose them.  In addition, my acting interests expanded and shifted, and now I spend most of my time working on non-musical theatre because a love of Shakespeare is far more likely to win me the glorious chance to wear tights on stage.  Anyway, aside from cabaret nights that Zucchini Grotto still occasionally produces, I rarely get to sing for money.  And as my resume grows and my older credits start to fall off the bottom of the page, it is starting to look like I have no musical theatre experience at all.

I really miss doing musicals.  Any time I get to do a play that involves a little bit of singing (fortunately, this is a big part of the Canadian theatre aesthetic), I feel very comfortable and quite at home.  However, if I were truly passionate about a career in musical theatre, I’d have to leave Ottawa in order to find any kind of regular employment (assuming I could find any; competition is fierce and most theatre is not of the musical variety).  And I’d have to work VERY hard at bringing my atrophied showtune muscles back up to snuff.

Thankfully, I’ve got the Show Tune Showdown to help me reconnect with my long-lost musical theatre roots.  It’s a fundraiser for Tone Cluster, a local gay choir, and Zucchini Grotto has entered the competition for the past four years.  I participated on our team in the first year, but have been unable to participate in the previous two years due to scheduling conflicts — I’m thrilled to be back at it!  The showdown takes place between three teams of performers, each of whom prepare four songs to present to an audience and a panel of judges.  In between performance rounds, there are trivia rounds where teams can win points by correctly guessing the same of a musical theatre song and then performing it without rehearsal.  There are terrific chances for audience participation, and the whole thing is a raucous good time.

What makes this year’s competition really interesting — and truly incestuous — is that members of all three teams are quite deeply connected to one another.  Members of all three teams have been part of at least one Zucchini Grotto production or cabaret.  One team is from Orpheus Musical Theatre Society, and all but one of the Zucchini Grotto team has been (or still is) a member of that community theatre group.  The third and final team is from Sheridan College’s music theatre training program, and one of our Zucchini team members is a graduate of that program.  So: despite whatever show of competition we put on for the sake of the audience tomorrow night, what unites us is our shared experience and love of musical theatre.

We had our final team rehearsal earlier this evening, and we’re all set to go.  I’m looking forward to having a wild time.  Here are a couple of videos of past Zucchini outings.  I’m in the first one, and the team members there are the same ones we have for tomorrow night:

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The second video features Constant Bernard, who is on the Sheridan team this year.  See, I told you it was incestuous.

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The future of Courage

March 10, 2010 · 1 comment

During the run of Mother Courage and Her Children, cast members mused about how we might all use our time when the run was finished. Well, now that we’ve performed the show for about two months (!) and don’t need to put the set on stage any more, we’d like to suggest the following two ancillary businesses for the Mother Courage set pieces and and former company members:

  1. Piano movers. Our cast has, collectively, more than two full years of experience in the dynamic piano ballet industry. We can synchronize the simultaneous movement of up to nine upright pianos from your old apartment or home to the location (or funeral procession) of your choice. Moreover, we can set your domestic transition to music, or to the dulcet tones of any dialectic political discourse… and can do it in full darkness, if necessary.
  2. Poutine cart. We already have the wagon. Heck, it’s even got a smokestack. All we need is a deep fryer and Mother Courage’s canteen instantly becomes Mother Courage’s Poutine and Beavertail Wagon (Which Doesn’t Sell What You’re Thinking About, You Pervert, Until The Late Night Menu Comes Into Effect At 9 PM). In true Brechtian fashion, our poutine is awesome and terrible at the same time… and the impact of it will stay with you for days.

Both of these options offer terrific revenue potential and an opportunity to engage creatively with audience members.  And actors will do anything for a job.  NAC, are you listening?

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Carpe

March 7, 2010

Yesterday, while walking the streets of Winnipeg, it was hard to keep my feelings in check. One of the things I have observed about myself is that I’ve become very good at putting on a shrug-and-nod go-with-the-flow demeanour. Everything is cool, everything is easy. I want things, but don’t need them right [...]

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In a snap

February 18, 2010

We might end up blaming George, the house ghost at the Manitoba Theatre Centre (MTC).  We were all warned about his presence when we arrived at the theatre in Winnipeg.  Some people mocked; some people balked; some took him very seriously.
In any case, there have been some shenanigans.  During the first week of our run [...]

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The Courage to move

February 9, 2010

The NAC acting company and the production crew from our production of Mother Courage and her Children have been in Winnipeg for a few days now.  We are setting up the show for its run here, which opens on Thursday.
I love taking a show to a new theatre: in some ways it feels like doing [...]

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Storyboarding the video

February 9, 2010

I’ve been on film sets many, many times over the years.  I also watch a lot of DVD commentary.  So I know a lot about filmmaking.
That’s what I kept telling myself.
On one end of the spectrum, you have the Robert Rodriguez “10 Minute Film School”, where everyone is a filmmaker because they say they are, [...]

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The casting crunch

February 8, 2010

Since we managed to work out a deal with ACTRA to be able to use union talent for our video shoot, we were faced with a bit of a time crunch for casting Airport Security.  By “crunch” I mean that we were less than 48 hours from calling “action” on our first camera shot.  So [...]

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What box does this go in? (Part Two)

February 7, 2010

With less than a week before we wanted to start shooting scenes from Airport Security on HD video, we still had not received word from the local ACTRA office on what options, if any, we might be able to use in order to allow union members to participate at our level of budget.  And while [...]

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What box does this go in? (Part One)

February 6, 2010

One of the most significant and complicated hurdles we had to jump to make our video for Airport Security is related to the unions and associations that govern actor participation in theatre and film/TV work.
As I have said before, we are living in a world where the realms of film, media, and live performance are [...]

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Oh, shoot.

February 6, 2010

Are you tired of watching theatre audiences grow old and wither?  Are you worried at the non-theatre-going kids of today will become the non-theatre-going adults of tomorrow?  Well, you’re not alone!  So what are you gonna do about it?
The folks at Gruppo Rubato — those folks include me — had an idea for audience development [...]

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