Musings
Controversy (?) swirls around Toronto’s 2010 Dora Mavor Moore Awards
By Megan Mooney
Note: Anything in italics is information I added to the article after it’s original publishing
Okay, so, I have put a question mark after the word controversy, because, really, although it might be viewed as a controversy, it really doesn’t seem like a make-or-break kind of thing, and I imagine pretty much no one outside of the theatre world knows of it’s existence.
Mostly I’m writing this as a response to the comments posted on Kelly Nestruck’s piece about all of this, but in case you haven’t been following, here’s some background…
Making the arts riskier, not broader-based – a call to arms by Michael Kaiser
By Megan Mooney
Should Toronto theatres be producing edgier content given current economic realities?
The Pittsburgh Post Gazette has a great article by Sally Kalson about taking risks in the arts during challenging economic times.
Here’s an excerpt, a quote from Michael Kaiser (president of the John F. Kennedy Center for the Performing Arts in Washington, D.C.) as part of his Arts in Crisis project.
“Too many groups have reacted to the economy by cutting programming and marketing, which is suicide. It cuts the size of your family. Or they do more ‘accessible’ things that are boring and less interesting to donors and audiences. What they should be doing is riskier, exciting programs, if not now then three, four or five years down the road.
“I do all my arts planning five years ahead,” he said. “It gives me time to find the money and educate audiences to want to see the work.”
Take a minute to go read the whole article at the Pittsburgh Post Gazette. It’s a good read, and it’s poking my brain awake. Wondering what all that poking has resulted in? Well, let me tell you…
Theory – Staged Reading – The New Ideas Festival – Alumnae Theatre
By Sam Mooney
Long title, isn’t it?
I saw Theory by Norman Yeung, a wonderful staged reading, on Saturday as part of The New Ideas Festival at Alumnae Theatre. I didn’t go planning to review it but it was so terrific that I decided to write about it – and about staged readings.
Theory is a beautifully written play about a film course, a professor, her students, technology, new media, and privacy. There wasn’t really a set. There were chairs for the actors and for the person who read the stage directions. Each of the actors had a script and read from it. They read as if they were performing, not as if they were reading. It really is like a radio play.
You may be asking yourself “what is a staged reading?”
The best way to be introduced to theatre – the theatre subscription series
By Megan Mooney
I think that the best way to be introduced to theatre is through a subscription series. It sounds intimidating, I mean, that’s a big commitment, right?
But there are lots of benefits.
Sometimes at Mooney on Theatre we do a ‘2nd Opinion Review’
by Megan Mooney
So, a lot of you have come here because of Fringe, which means you may not know the background and philosophy. And, this is actually kind of a weird time to bring it up, except that I will soon be posting a ‘2nd Opinion Review’ and I figure it might help to have some context.
One of the core tenets of Mooney on Theatre (MoT) is that everyone’s opinion is just that. Opinion. There is no authoritative source on what is good and what is bad, what is quality and what is schlock. There is only ‘what I liked’ and ‘what I didn’t like’ – which, clearly, is going to vary from person to person.
I couldn’t have said it better – audience etiquette
By Megan Mooney
This article by Kris Joseph makes my heart sing. It says all the things I have been trying to say for ages, but in such a great clear way, with excellent examples.
Thank you to Kris Joseph (@krisjoseph)for this, and thank you to Simon Ogden (@thenextstagemag) for pointing me to the article.
So, to reiterate…
Here are some excerpts:
Tips for putting on a Fringe show from the audience perspective
by Megan Mooney
This is a re-post of an article I wrote after the 2008 Fringe, but it seemed worth repeating, *before* Fringe this time. I’ve done some editing and additions in this version, but it is still based on the post from last year.
After going to many many many Fringe shows at the Toronto Fringe Festival I’ve noticed some challenges that seem common among Fringe productions. I thought I’d share some observations and hopefully impart some useful advice. Or, you know, annoy people. Whichever…
This isn’t going to be about how to cast, or rehearse for a space you don’t know, or anything like that. It’s going to cover length, show descriptions and promotion, all from the perspective of an audience member.
Frustrated with Fringe
By Megan Mooney
I know as well as anyone how hard it is to pull stuff together. And to pull something together on the scale of the Toronto Fringe Festival, well, I can’t even imagine the amount of work that would take.
I appreciate that, I do.
*UPDATE and clarification* Apparently what I was saying here was misinterpreted. My apologies for that. Fringe folks thought I was implying that they were working on things other than Fringe. I just want to clarify, that’s not the case at all. I know they’re all working their asses off, one individual doing the work 10 and so on. My issue was only with the wording on one page of the website. I just didn’t like feeling like I was being chastised for looking at their website.
Jian Gomeshi, Billy Bob Thornton, Albert Schultz and shifting perspectives
By Megan Mooney
So, by now you’ve likely all heard about the SNAFU on Q yesterday with Billy Bob Thornton.
Albert Schultz had to follow Billy Bob, which was both good and bad. Good because he was the perfect person to provide a bit of comic relief afterwards, providing the knife needed to cut the tension. Bad because it was hard to focus on his interview because my mind was still reeling from the interview before. Since I happened to be with someone when I heard it, we kept randomly speaking over Mr. Schultz talking about just how terrible Billy Bob was.
So, before I go on about Billy Bob and Jian, let me point out to you that Albert Schultz is the Soulpepper production Glengarry Glen Ross that is running until May 9, 2009. If you go on a Tuesday maybe he’ll be at the talkback and you can ask him about the interview. Oh, and a quick note about the show – it starts at 7:30, so you’ll be disappointed if you show up to go in for 8.
Now, on to Billy Bob and Jian:
Reviewers and critics as practitioners…
By Megan Mooney
J Kelly Nestruck has a piece up today about the question ”Should theatre critics moonlight in the theatre?”
It’s a curious question. I actually never really thought about it. I know that I recuse myself from reviewing a show if a friend is involved in it. I guess I kind of just assume that people govern themselves with these kind of things. But it’s a good question.