Fruition

The undercurrents festival is on at GCTC – go see the shows! – and two of the works featured are SKIN and Ladies of the Lake.

Wearing my GCTC playwright-in-residence hat, I got to sit in on some of the development for each of these and quite enjoyed the experience in each case. Both shows share a number of interesting elements in common, particularly their incorporation of music and movement into the stories that they’re telling. Since my work has been very much based on text and only text, this was an opportunity for me to expand my horizons a bit and see how other approaches to creation might work. This was all very fruitful: I learned a lot and (I think) contributed a bit to each of the shows in kind, but I was also very, very curious to find out what the shows would look like once they had, you know, developed.

So this past week I was glad finally to see the fruition of all that work for both the companies involved. Interestingly, at each performance I found myself feeling a little lump in my throat of pride that all the people involved in both shows were able to show the world what they’d done at the festival. My hat’s off to them all – it’s a tremendous investment of hard work, sweat, toil and tears to journey from the initial germ of an idea to the auditorium filled with people eager to see what you’ve created. I sometimes feel as though I spend most of my time in that “initial germ” state, so it’s good to be reminded that the purpose of the exercise is to share that creation with the world in performance.

Go see both shows if you can, as well as all the other fine stuff on offer at undercurrents.

Listening In

One of the fun bits about being playwright in residence at GCTC is that I get to poke my head in on a number of interesting projects going on elsewhere in that nice building at Holland and Wellington.

In the present instance, this means accepting the invitation to sit in on some development work for a show called “The Ladies of the Lake,” which will be premiering at the undercurrents festival in February. LotL, as the folks doing the creating are calling it, went into a phase that they’re calling “final pre-production workshop” over the weekend and I was asked to offer my impressions as someone unfamiliar with the work that’s been done on the show to date.

The opportunity was appealing for a couple of reasons. First of all, it was a chance to work with an enormously talented group of artists – Kate Smith, Catriona Leger, John Doucet and Nicolas Alain. Second, I think I was able to make some helpful contributions as the group worked through various issues in the development of the production. Third, it was a chance to learn from someone else’s work as I move forward with my own projects.

This can be a slightly tricky task. Kate, who is in the midst of writing the script for the show, observed at the outset how useful it would be to get feedback from someone who’s coming to the table without any preconceptions or other investments in the project, someone who listens in and says “This is how it looks to me.” Whether how it looks to me coincides at all with what she hoped to say, and whether that matters in any way, then becomes the chewy substance of a conversation that she can then digest and act on as she sees fit.

In short, I get to ask a lot of questions and she gets to worry about the answers.

Which is a wonderful process, actually, and a lot of what I get out of it is a sense of what questions to ask myself in my own writing – and to value all the more the generosity of colleagues who read my work and offer their thoughts on how to improve it.

And by the way, I’m also happy to report that I found the project to be very exciting and can’t wait to see how it develops further – I think it’s going to be a terrific show. These folks have an interesting story to tell and there was a great rapport and chemistry in the room that will help them immeasurably as they tell that story together.

Here’s how it looked to director Catriona Leger, who was sneakily taking pictures while we worked.