World Theatre Day 2013

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The Gladstone Theatre team with the Rubber Chicken Award

Yesterday was World Theatre Day, and Ottawa’s Company of Fools once again organized the Ottawa Theatre Challenge to mark the occasion. I was approached by Nicholas Amott, a young actor of my acquaintance, to join him as a competitor in the challenge.

The way it works is this: each team is given 48 hours to prepare a five-minute play using three “objects of inspiration” that have been randomly assigned among the theatre companies involved. This year’s objects comprised a song, an object from someone’s house (not necessarily a household object), and a proverb. Nick and I were assigned the song “Seasons of Love” from Rent, a lucky penny, and the Russian proverb “Hope Dies Last.”

The Challenge, hosted by Teri Loretto, who has just finished directing my play False Assumptions, is great fun and gives Ottawa’s theatre community a welcome excuse to come together and celebrate our common passion to create. It’s also generally a very silly evening – which is what you might expect when it’s run by the Fools, bribes for judges Natalie Joy Quesnel, Patrick Gauthier and Eric Coates are heartily encouraged, and the prize for the winner is the coveted Rubber Chicken Award. All proceeds go to a charity chosen by the previous year’s winner – in this case, the ALS Society of Canada.

Part of the fun for me was the delight in being on stage for a change – usually I’m tucked safely away backstage somewhere – and I thought I detected a few gasps of astonishment from the audience at the National Arts Centre’s Fourth Stage when I made my way into the spotlight. But it was also a joy to see what the other 14 companies were inspired to bring to the stage, and it was a real delight to see the Gladstone Theatre team win the rubber chicken for their inspiring Finnish homage to Samuel Beckett’s Krapp’s Last Tape. (Their version, which I hope someone captured on video, is a truly profound complement – and compliment – to the version I saw in Ireland last year.)

So kudos to the Fools for making this happen, and congratulations to the Gladstone for their well-earned victory!

(And for those who might be wondering: Nick and I did walk away with the “Worst Presentation of Bribe” award, an achievement we are both happy to wear with pride.)

A theatre commons at Arts Court

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Natalie Joy Quesnel and Kevin Waghorn in the Arts Court Theatre

For venue rental information, click here.

I had the chance to sit down recently with Natalie Joy Quesnel and Kevin Waghorn of ithe Ottawa Fringe Festival in their new-ish offices down the hall from the theatre at Arts Court. They took over as managers of the space on January 1 and were eager to share their plans for the facility. As readers will recall, the demise last year of the Ottawa Arts Court Foundation raised concerns in the theatre community about the future of the facility. Happily, the new system seems to be working smoothly so far and theatre bookings for the year are off to a very strong start – which serves as a reminder to how much demand there is for performance space in Ottawa.

Kevin has primary responsibility for looking after the theatre, as well as related Arts Court spaces (the studio next door, as well as the multi-use Library and the Courtroom), which includes taking care of bookings as well as whatever maintenance and upgrades the facilities need. Funding for operations comes from the City as part of its contract with Fringe, but Kevin says that for any major capital upgrades Fringe will have to seek funding in the same manner as any other venue operator. That said, the City was able to provide Fringe with a one-time grant of $11,000, and after an assessment of current deficiencies Fringe decided to invest principally in new sound equipment for the theatre. According to Kevin, this was the best way to make a noticeable improvement for users of the space with the funds available. (Upgrades to lighting equipment, while also necessary, will need significantly greater funding. This is one of the things Fringe is looking at for the future.)

One thing explicitly excluded from the contract between Fringe and the city is the proposed addition to the Arts Court building to be constructed on the Waller Street side of the property. It looks like the new space will be devoted primarily to the Ottawa Art Gallery, with performance, rehearsal and studio space attached to the University of Ottawa theatre department.

From the client’s perspective, using the venue should be a seamless experience. Fringe does not have responsibility for other facilities within the Arts Court building, however, so there could be a few problems that the city managers involved with the venue would have to solve. A current example is the elevator leading to the theatre, which hasn’t been working recently – it’s a city responsibility, but it’s still unavailable to anyone who’s booked the theatre and needs to move large items. It does look like Fringe and the city are working well to fix these kinds of issues as they arise. Similarly, box office services are provided directly by the city, though users are not obliged to use them.

The Festival is about to announce three new full-time hires (general manager, technical director, and marketing and communications coordinator), all of whom will be spending much of their time on Arts Court business as well as the festival. In particular, the marketing coordinator will be tasked with making Arts Court a go-to destination and with helping clients booking the theatre in their own efforts at marketing and media attention. These activities will be directed at both the anglophone and francophone theatre communities.

The contract between Fringe and the city runs for the current calendar year with an option to renew for two years. This will give Fringe the time both to manage the venues on a day-to-day basis and to use their experience to plan for the longer term health of the theatre and its associated spaces. The Festival and the city are also committed to working together to ensure that the venue management and festival management functions run smoothly together.

Over the longer term, Fringe wants to develop Arts Court as a kind of theatre commons – not just a venue to be rented for performances but a place where theatre artists can regularly run into each other, trade “water-cooler chat,” and develop a genuine sense of community. GCTC offers a bit of this in the west end of town, especially during a festival like undercurrents, but the gap downtown is palpable. One way to make this happen that’s under consideration could be a revival of the concept of resident theatre companies. As Kevin pointed out, when the opportunity to manage the Arts Court facilities came up last year, the Fringe realized how well it would mesh with their own strategic vision to help theatre artists with year-round mentorship and support.

Both Kevin and Natalie Joy acknowledge that there’s been a bit of an information gap about Arts Court in recent months. For their part, they wanted to make sure they had everything in order before speaking publicly about their activities, so with the hiring process now almost complete they’re looking forward to making their official announcements by the end of the month and holding a launch event in March. Something to look forward to!