Courtesy sahlgoode on Flickr

The capital city of Alberta just won’t leave me be!  Not that I mind… I’ve always loved Edmonton.

So the bad news from a few weeks back certainly has a flip side, which I mentioned on my twitter feed and facebook page recently.  I’ve been accepted into the Citadel Theatre/Banff Centre Professional Development Program in 2011.  I’ll be in Banff for four weeks, then off to Edmonton for 15 weeks to do two shows, The Three Musketeers & Little Women.

I’m not sure just yet who I’ll be playing in Musketeers but I’ll be playing “Laurie” in Little Women.  Both shows are directed by the AD at the Citadel, Bob Baker, with plenty of incredible theatre artists leading workshops in playwriting, mask, acting, text analysis and more.  Check out the Citadel’s website for more information on the program.

Ryan Nelson, a dear friend and a wonderful actor was part of the program last year and had nothing but great things to say about it.  He also told me they’ll “work your ass off.”  That’s good too, because during the winter in Edmonton, I’ll need something to keep me busy in order to stay warm.  And away from the mall.

It’s also the end of a journey that started in 1999 when I spent a month in Edmonton doing a production of FAME: The Musical at Fringe Theatre Adventures in their Imagine program, which was sadly canned a few years ago.  It was during that time that I really decided I wanted to be an actor when I grew up, and working at the Citadel would be one of signs that I was on the right path.

I’m on the right path then?  I sure hope so, but I’m pretty sure I haven’t grown up yet….

So there ya have it!  My 2010/2011 season is pretty much mapped out!  The Life Inside at the Belfry Theatre in Victoria, Three Musketeers and Little Women at the Citadel.  Still have a blank spot in the summer time that I’m hoping to fill.  It’s the first time I’ve had the majority of a season all booked and I cannot express how grateful I am.

The Critic - Lajos Tihanyi Thanks, Wikipedia!

Do a search for a theatrical production happening in your city right now, and you’re likely to find quite a bit of stuff online.  Photos, video clips, actor and director bios, etc.  If the show is open and running, you’re also likely to find reviews from the newspapers and, in the last few years, from bloggers.

Bloggers writing about theatre may not seem like a big deal, but it certainly has become one.

A very interesting debate is going on in the dressing rooms and home offices across Canada.  On one side of the debate are bloggers who command unique online communities of people looking to connect.  On the other side of the debate are actors, directors, dancers and other theatre artists looking to connect with new audiences and grow their numbers.

If both are looking to connect, looking to provoke dialogue and build community, why do they seem so far apart right now?

Let’s travel to Edmonton, which has become the epicentre of this debate.  An actor and director named Jeff Haslam left a comment on the blog “Only Here for the Food” after it’s writer, Sharon, gave a review of one of Jeff’s recent shows at Teatro La Quindicina.  Mr. Haslam questioned the credibility of a blogger to provide professional criticism of the theatre and later went on to request the blogger not return his company as a patron.

Naturally the blogger was taken aback, as the review really wasn’t bad and she is used to be one of Jeff’s biggest fans.

Here’s the original blog post, another from a popular Edmonton blogger, Mack D. Mail, an article from the Edmonton Journal on the subject and another from J. Kelly Nestruck in the Globe and Mail.

Pretty big deal, hey?

As someone who makes his living in the theatre and also someone who believes in the incredible force of social media, I feel a sense of duty to both sides.  I think that’s how I came to my opinion that both sides have it all wrong.

Haslam is right in that theatre criticism has been an important part of the business and art form for a long time.  In order to gain the credibility required to give fair and thoughtful reviews, the critic is expected to have a vast amount of knowledge on the subject they critique, be aware of the trends and current practices at play in the industry and be recognized as a professional in their own field, typically journalism.  Seen by the general public as having their finger on the pulse of theatre, potential audience members often make their buying decisions based on a professional recommendation from the critic of their choice.  Theatre artists are already taking on a lot by bearing their souls and passions onstage and having to read about it in the papers.  The week the reviews all come out are seldom joyous days in dressing rooms, particularly when a critic isn’t keen on the work.  Like I’ve said before, having a bad day at work in the theatre is something thousands of people can end up reading about.  Not too many other jobs carry that threat.  Theatre criticism even has it’s own international body which offers training for new critics.  Maybe that should be something online theatre reviewers consider.

The bloggers here also have a point, too.  They’re out sipping and sampling from all cultural forms that make up a part of their daily lives.  Whether it’s TV, film, theatre, food, wine or community events, they’re heading out into the world in search of experiences they can share with their own community, which wasn’t likely very easy to build.  Their readers (or viewers, if it’s a video blog), have followed them on their travels and engaged in a thoughtful dialogue with the author and others on the things that matter to them.  In this case, it’s theatre.  People talking about theatre only gets more people going to the theatre.  Anyone with an ounce of marketing knowledge will agree with me on that.  Not to mention, social media is now a part of the landscape and isn’t going anywhere.  Today, consumers go online to hear from other consumers that are just like them to find out what to spend money on.  That’s why sites like Yelp are so popular.

So why the disconnect?  Why does Jeff mention the hurt feelings of his colleagues instead of ignoring it?  If it’s about the dialogue and community, why are the bloggers complying with the request to avoid Teatro La Quindicina’s productions?

It’s all ego.  On both sides.

As artists we are egotistical in the view that someone (other than the critics we know and hate/love) would come into the place we work and publish their opinions of us for all to read, as if they were an expert on the subject.  We like to feel we have some level of expertise… we do it every day.

Egotistical bloggers have a sense of entitlement because of the profound impact their work has had on the media landscape.  While society grapples with whether or not a blogger is truly a journalist, the writers themselves feel very strongly that they deserve the same rights and freedoms as those who work at newspapers or other news outlets.  Just because they have a smaller paycheque, if one at all, doesn’t make their viewpoint any less relevant.

Somewhere in the middle lies a place where our communities actually rely on each other.  Theatre companies and artists are able to engage in discussion and connect with more people than ever before by making themselves and their work accessible to social media.  These online communities are made of people who are thinking locally and looking to enrich their existence.  They’re young, have money to spend and want to connect with others in order to learn or debate.  They often have some level of higher education, as well.  Sounds to me like perfect audience members!!!

Bloggers need to make their reviews a part of a conversation, a dialogue.  Artists seldom write to critics because traditional media isn’t about community, it’s about “reporting on it”.  Blog reviews should seek to gain other people’s opinions in the comments, ask questions about the issues raised in the work, and ultimately suggest their audience check it out, or ignore it.  In other words, take the criticism on their work in the way they expect their criticism to be taken.

So I hope Sharon and Mack continue to see Teatro La Quindicina and Jeff Haslam’s shows.  I hope Jeff continues to challenge them to a debate on the work that they see and the opinions they’ve shared.  These dialogues will not only make for a great read next time you’re online, but also build a richer, more robust theatre community in Canada.

So I welcome your thoughts!!  Artists, other bloggers, audience members… let’s talk.  How to we build a better relationship between artists and bloggers, social media sites or other non-traditional sources of criticism?

It’s 10:00 am, I’m relaxing in my robe before the final two performances of The 25th Annual Putnam County Spelling Bee.  My hair isn’t done, I have coffee breath and am generally un-presentable to the public at large.  Perfect time to blog.

For five months we’ve been spelling “acouchi” and “pheochromocytomata” for thousands of theatre-goers in Victoria and Vancouver.  For 129 performances, we’ve invited four audience members onstage with us to dig into these crazy words and have a few laughs at their expense.

Tonight, it will be the last time.

It will surely be sad to sing our final goodbyes to the crowd tonight, and I’m happy for that.  Having a bit of sorrow at the end of a show, to me, means that you still love what you d

o.  And I love my job dearly.  Granted, I’m excited to have a bit of a break before heading back onstage in November for The Life Inside, I’d like to share with you some of the things I will miss the most about Spelling Bee.

Leaf Coneybear

I was really nervous about playing this role, but I quickly fell in love with hippy dippy Leaf Coneybear.  It was plenty of fun to step into his sandals every night, but incredibly rewarding to help build a character that I hope had the humanity that could easily be missed in all of the silliness.

New Friends

For years, there have been a few actors in Vancouver that I’ve been dying to work with because I’ve felt they were crazy talented and I’ve finally had the opportunity to share the stage with them.  In particular, Tracy Neff and Josh Epstein.  They are very giving actors that bring so much to the table every single performance and they always know how to raise the barre.  In addition, they are incredible individuals who are supportive and believe in those they work with.  They give their time when you need help with an audition, they lend a hand when you need one and they’re willing to give the “business” advice that others may not.  Love them.  Michael Blake is another wonderful actor whom I admire greatly for his talent and skill, but also for his willingness to give guidance and advice to those earlier along in their careers.  Thanks to all of you for all you’ve done.

Michael Shamata

Our fearless leader, Mr. Shamata is trulyl a great director.  He asked more from me than any other director I’ve worked with, challenged me every day, and did so with great heart, passion, and dedication.  I don’t think I would have created the Leaf Coneybear we have today without his guidance.  I hope very much that I get the opportunity to with him you again, very soon!!

Obviously I could go on and on about everyone who has worked on the Bee, and I wish I could.  But it takes a great deal of work to turn this troll into a presentable human being, and I need to get on that.

If you’ve seen the show, thank you so much for your support.  If you didn’t… well you m-i-s-s-e-d o-u-t.

Cheers!

I made it official on my Twitter feed today, so I thought I should maybe add a little post about leaving the company of [title of show].

To sum it up very bluntly, it’s really shitty.

The company Mike Mackenzie and Sara-Jeanne Hosie have created is truly an amazing one that will blow the sox off of theatre goers in Vancouver.  Lauren Bowler, Meghan Gardiner & Greg Armstrong-Morris would have been wonderful to share the stage with.  And the script!!  Damn, I really want to play Jeff in that wonderful show.

The good news for the company is that Jeff will be in the incredible hands of Shawn MacDonald.

Why on earth would I leave such an amazing company in such a kick-ass show?  Well that’s the other good news, which is for another day.

Will I be in another show?  Yes, I will and I’m really chomping at the bit to talk about it openly, but until I’ve got the ol’ contract offer in hand, I’m terrified of jinxing it.

It’s actually the first time in my career that I’ve been faced a choice like this.  [title of show] has been very high on my list of shows to do since I first heard the recording.  The show is a co-op, so there was no guarantee of a paycheque, but I knew it was an opportunity to really feed the artist.

This isn’t to say the “good news” to come won’t feed me as an artist.  On the contrary, the new year will be essentially devoted to developing my craft in a massive way and creating new, exciting theatre with some of Canada’s most talented pros.

Telling Mike Mackenzie and the company of [title of show] was incredibly difficult for me.  I felt like I was selling them out and letting them down.  I’ve never commited to a project only to walk away when something else comes along, because that simply isn’t me.  So now is the time that I’m feeling crappy about it, a bit sorry for myself (so lame), and maybe even a little jealous.

I am, however, still designing the [tos] website (which will be really cool, I think), and helping out with some of the marketing ideas the team has.  So I’ll still feel like I have a couple of toes in the show.  I still wanna cry, but whatevs.

The post about the good news, however, will be jubilant and celebratory.  But, that is still to come.

I asked an interesting question in the dressing room recently, which started a very interesting discussion on musicals, changing tastes and whether Broadway’s biggest stars of yesterday would have their incredible careers today.

“So, Ethel Merman,” I said, “do you think she’d be as big a star if she came along today?” I immediately answered my own question with “Cuz I sure as hell don’t think so.”

To be honest, I’m not a huge fan of the old chestnut musicals. I’ve always been more interested in theatre that really says something about my life today, and many of the “musicales” are just too showy.

A few cast members disagreed with me. One made the very good point that Ethel’s voice was something you really loved or hated, but made everyone talk. If they’re talking about you, ultimately you’re already somewhat successful because you’re worth talking about, right?

Musical Director, Bruce Kellett, listened to the discussion intently for a moment or two before chiming in to say it would be impossible to tell. “Tastes have changed. Technology has changed.”

Composers wrote their best score for Merman who could belt them effortlessly to the back of any theatre, eight times a week. Today, singers are able to lean (or sometimes rely) on a microphone to be heard by the audience. We’re trained to use our voices differently and the scores are far more “pop-y” which requires a different style.

The next day, Bruce emailed me this bit of discussion.  While it really revolves around the recording of performances, I think it’s points are just as salient to the question I asked.

But it’s true… musicals are different today than they were decades ago, and the power of a performance is only really there in the live theatre.  Therefore, it’s impossible to tell.

At the end of the day, I think that musical theatre is certainly changing with the times.  Although that means we’re getting fewer original stories on the great white way, we also get the incredible theatrical experiences of “Spring Awakening”, “In the Heights” and many other shows that would never have made it back in Ethel’s day.

Your thoughts?

There has been a really interesting dialogue going on recently, mainly regarding the “sharing” of music on the internet.

“Hey Jeremy.  This is so old.”

I know, but there is something brand new about this debate, at least from where I sit.

Jason Robert Brown, an incredible composer and equally talented as a singer, has long been someone who’s work I’ve admired.  Last summer, a few dear friends including Shane Snow, Sara-Jeanne Hosie, Alison MacDonald, Jennie Newman and Jonathan Winsby produced an excellent co-op of “Songs For a New World.”  JRB came to see the show and held an intimate concert after SFANW which was simply breathtaking.  The only thing more wonderful than hearing his music sung, is hearing him sing and play it himself.

JRB wrote a blog post recently, read it here, which outlines a twitter/email debate with a 15 year old regarding the sharing of his music online.  Musical Theatre kids (and sadly, professionals) have taken to websites that connect one another for the purposes of sharing digital copies of their sheet music.  It’s the same as using Napster (and now I’ve aged myself) to share digital music.

He also recently wrote a blog post on the New York Times’ site talking about the debate and why he’s waded into it.

The only thing I really learned was that composers and publishers are now facing the same challenges as recording artists and record companies.  I didn’t realize how widespread this all was.  But it was interesting to hear from an artist who was out there trying to protect his business right from his own computer, using his own words.  We’ve heard clips and sound bytes from singers, but it’s really the record executives and their army of lawyers who’ve been on the forefront of the digital download debate for the last decade.  We don’t feel sorry for them.  They’re loaded and probably always will be.  On the other hand, JRB says it perfectly in the Times post, “I write for the theater. It’s not a particularly reliable or consistent way to make a living, but I have found my way to a comfortable middle-class lifestyle by offering my work for sale in ways ancillary to public performances. It no longer makes sense to produce and sell CDs of my work – the expense of producing those recordings far exceeds the income earned in the current climate. Now sheet music is equally endangered.”

I’ll bet you figured Mr. Brown was living in a mansion built of gold and Tony awards.

For the record, of course I’ve downloaded music illegally.  Not in a very long while, however, because iTunes is a hell of a lot easier to use, doesn’t leave viruses on my computer and some of that cash is actually going to the creators of the music or movies I’m consuming.  I have not, however, downloaded or uploaded sheet music.

There are great sites I use to buy sheet music online and I adore the service!  It’s really cheap… like $4.00.  Some of my music I get from the reference section of the library, although I’m kinda feeling bad about that because I’m unsure it’s any different than grabbing it free online.  The copies cost money.  Does that count?  I dunno.

I do know that if I’m ever gifted enough to actually write a song people want to hear, I’ll want to be paid for my work.  It’s what we all deserve, artist or not.

Hey there summer, thanks for showing up.  You’re my favourite time of year and I was starting to fear you were considering abandoning your good friend, Critty.  I’m glad you didnt.

But I have a new problemo, and I’m hoping my fine blog readers and website visitors can help me out with it.

I live in one of the most beautiful cities in the world, full of potential adventure.  My job (the best in the world) provides me with scads of free time every day and I want that time to be filled with beams from the sun.

I’ve been taking advantage of our new patio in Gastown, as I was during this great picture with the uber talented and hilarious Meghan Gardiner.  But I know there are tonnes from great things I’m not digging into.

Obviously I’ll be doing the usual tourist traps like the Cap Suspension Bridge and the Aquarium, but what else???  Lemme know in the comments.

Photo shoots are just so much fun.  Way more so as an adult than they are when you’re a kid doing those lame family photos.  I wish I had some of those classic shots here in Vancouver to show you… there is one where I’m sporting a red bow tie and red suspenders over a white shirt and black pants.  For years my older brother asked why I was dressed like a 1980′s KFC cashier.

I’ll make an effort in December to dig that one out of the basement in Medicine Hat.

I thought you might enjoy a few new photos from The 25th Annual Putnam County Spelling Bee. I’m also EXTREMELY excited to let you know that the show is holding over until August 21st.

We learned that bit of good news on Saturday afternoon, and I let my Facebook friends know right away.  Check out my page and click on the “like” button if you’d like to follow me FBook.

The gallery below has some great new promotional shots done by Ross at Pink Monkey Studios.  He also took this pic of Sara-Jeanne Hosie and I at the end of the shoot… it’s not Coneybear and Rona, but it is two best friends who can no longer complain about not having a great picture together.

Here’s another subject I’m somewhat reluctant to blog too much about, but what the heck?  What could go wrong?!

This last week was a busy one with packed houses for Spelling Bee and getting ready for two auditions.  I won’t say what either was for, cuz I don’t really want to jinx anything, but I’d be absolutely over the moon to book either job.

The premiere audition for the week was the first call I’d had for this particular show.  I needed to bring in two contrasting songs to sing for the auditors for a more classic-styled musical theatre piece.  I chose “Come to me, Bend to me” from Brigadoon by Lerner and Lowe and the first section of “Pirelli’s Miracle Elixir” from Sweeney Todd.  Neither went particularly well.

The Brigadoon piece is one that I did in the show at the Gateway Theatre a few years ago.  I took for granted how well I knew it, apparently, because singing it at the call seemed like the first time I’d ever heard the song at all!!  I can’t really blame anyone for that but myself.  I always try to work with someone who plays the piano ahead of time to work on these pieces, even the ones I figure will be no problem.  Evidently I was feeling cocky.  The Sweeney piece went much better, but still not great.  I had a few voice cracks because I was SUPER tense after dropping the ball on my first piece.

They were very kind, and hopefully familiar enough with my work to give a second crack at it, but I’m not holding my breath.

The second audition was a great reminder of just how great it feels to really prepare for an audition, even if it doesn’t go exactly as planned.

Four scenes and a song were to be prepared, which I’d spent quite a bit of time on (probably why I shat the bed so badly on the first audition).  One scene was a historical character, a king, which I had a blast digging into.  Josh Epstein was gracious enough to give me a coaching on the piece, which was incredibly helpful.  As we pounded through the pages, it was so great to have an outside eye there to really help me shape the scene in a way I had so clearly laid out in my head.  Without his help, I know it just wouldn’t have had the same depth.

The other three scenes were from a musical based on a classic novel.  At the end of the first scene came the song I was asked to prepare, and it was an incredibly challenging song.  Musically, it goes right up to the top of my singing range and just kinda hangs out there for the whole song.  In my solo runs with it at home, it was a disaster.  But another one of my Spelling Bee cast mates answered the call to help me navigate the challenging song.  Tracy Neff!!  If you need someone to help you with a song, she’s the one to go to.

I’m lucky to have these great people in my life.

I think the audition went off really well, and although the song wasn’t as smooth as I’d have liked it to be, it still showed I had what it took… or so I hope.

The moral to the story?  Not sure.  But maybe if I put out my audition stories into the world I’ll be more likely to treat each audition like the second.

If there is good news, you’ll be the first to know.

Critics, directors, colleagues and many others will be coming to see the opening night performance of The 25th Annual Putnam County Spelling Bee at the Granville Island Stage tonight, a guaranteed full house.  It’s the single performance that many of the newspaper writers and bloggers will base their opinions upon.

Stressful.

For most, when you have a rough day at work, your boss gives you a bit of feedback and the next day it’s all forgotten.  Tonight, a rough day at work could find it’s way into newspapers read across Canada, or onto blogs read around the world.

Jerry Seinfeld says, “According to most studies, people’s number one fear is public speaking. Number two is death. Death is number two. Does that sound right? This means to the average person, if you go to a funeral, you’re better off in the casket than doing the eulogy.”  I’d personally rather give the eulogy, but I understand the fear of judgement, and even more, the fear of how crushing that judgement can be.

Although I’m not a particularly nervous person, there will definitely be a shot of adrenaline coursing through my body around 8:05pm tonight as I head towards the stage, but that’s OK.  If I’ve learned anything in my life, it’s that you can’t let these things control you.  We must stand proudly by the work that we do because it is ultimately a reflection of who we are.  My Leaf Coneybear is the result of hours upon hours of hard work and experimentation, of detailed consideration and falling flat on my face in front of my colleagues.  It’s also a reflection of the work of our directors, Michael Shamata, Bruce Kellett and Laura Krewski.  The pride is much stronger than the nervousness.

That, and they’ll totally kick my ass if I screw up.