Posts tagged ‘Brendan Healy’

April 7, 2013

Sunday Roundup – April 7

rc_fluteNo rest for the weary this week as I spent yesterday afternoon at the first of four public consultations for spending priorities for the new arts funding. Online surveys and other consult dates are here. It was an interesting afternoon, with a full house and a great deal of discussion on spending and where artists and arts workers envision this new money going. I hope the responses are taken seriously by those collecting them, and thoughtfully added into the grand scheme of things. And I hope the momentum of the past year is maintained. It needs to be.

Sometimes Hearing is Believing  The Whipping Man is running for another week and I urge you to go and see it. Some wonderful work there.

About Yesterday…

Supporting the Arts in Many Ways, Legoland and Social Influences

Arts Funding, Social Media Presence, and Where We Work

Brendan Healy wrote an extremely brave letter last week. From TorontoistIt’s no secret that many of Toronto’s theatre companies have seen the numbers of paying customers coming through their doors shrink over the last few years. Companies have had to adjust in response—a process known euphemistically as “right-sizing.” But when the artistic director of one of Toronto’s most iconic companies—which Buddies In Bad Times, “the largest facility-based queer theatre company in the world,” definitely is—has to write a letter to the citizens of Toronto (theatre-going or not) expressing his surprise at low attendance for a new play from one of Canada’s most acclaimed and accomplished playwrights (Daniel MacIvor’s Arigato, Tokyo, in this instance), there’s a problem. ADs are not usually ones to admit a show, especially one they’ve directed themselves, isn’t performing up to their expectations in the box office.

TAPA has been working for quite some time on documenting and understanding these numbers. Quick article in the Globe and Mail last week –
Healy’s actions come less than a month after he attended a meeting to which the Toronto Alliance for the Performing Arts invited the artistic directors of some 185 professional theatre, dance and opera companies “to discuss the current climate … the current challenges.”
Details of the March 11 meeting are confidential. Nevertheless, it’s likely attendance was discussed as TAPA, established in 1979, has been gathering statistics for almost 10 years with respect to Toronto performing arts. In a brief interview Thursday, TAPA executive director Jacoba Knaapen noted that between 2005-06 and 2009-10, ticket sales to professional theatre, dance and opera performances declined by eight per cent, going to 2.3-million tickets purchased from 2.5-million.
Read more

Giving a workshop in Social Media 101 for DTRC’s Living Creatively conference. I like the setup of this one – Tierney of Tech Soup is doing the tech part, I am doing the social part. I like new formats, and am looking forward to seeing who’s there.

Off into the day. Apparently it’s spring. I wish I could see more proof of that.

OH! Was at the opening of Opera Atelier’s the Magic Flute last night – so, so beautiful. Go and see if you can. It’s an easy intro opera – populist if you will, it’s  in English and it’s  a singspiel and it’s wonderful to see so many people under the age of twenty, heck, under the age of twelve at the opera and loving it.

February 20, 2013

Three Directors Talk Back and Baby’s First Opening

Tonight’s post performance for 4.49 Psychosis is not just worth seeing for the show, but staying to hear directors Vikki Anderson, Brendan Healy and Jennifer Tarver discuss what it’s like working in Kane’s worlds. Moderated by J. Kelly Nestruck.
Some tickets still available: 416-368-3110 or
Can’t make it? You can post your questions on the Necessary Angel FB page, or tweet with #4.48psychosis

My Communications Coordinator Lisa continues  blog posting for the company. Read on.


Baby’s First Opening!

Toronto-20130214-00538Last Thursday marked the opening of4.48 Psychosis at the Berkley, as well as my first opening with Sue! The night, with the exception of a terrifying taxi ride to the theatre*, ran very smoothly… We arrived at the Berkley early to set up the press kits. Medical charts and candy hearts decorated our media table and personalized pill bottles awaited the reviewers. As people started pouring into the space they stopped to say hi to Sue and she made sure to introduce me as well. I’m always hearing about how small the Toronto arts scene is, how everyone knows everybody else, but had never really witnessed it until 4.48’s opening. There were lots of hugs and European-style cheek kisses. One day I will master the double cheek kiss, instead of just making squeaky noises into people ears. (Unless that’s what you’re supposed to do?)

I met Jon Kaplan, who I’d been emailing with earlier in the week (rookie mistake: I sent a press release to listings@____, guys if you want to post an event, don’t do that) as well as a couple others who I’d seen around the Comedy Bar many times but had never officially met. And I was reunited with the Tarragon’s Renna Reddie who I hadn’t seen since we met at improv camp over a decade ago!

Once all the introductions were finished and everyone had grabbed their kits I was free to find a seat in the quickly filling theatre. I found a one high on the left side and was able to look upon the faces of the audience. There were so many that I now recognized… and many more to get to know. After the show finished Sue and I spent some time talking with a few more people and I met Lisa Walter whose work was on display in the foyer of Berkley. It wasn’t a formal introduction. I accidentally photobombed a photo she took. I guess it’s one way to meet people. Though next time I think I’ll stick to the “Hi, I’m Lisa” routine.

On the cab ride home Sue and I agreed that it was a great opening. I was happy to have seen the thought-provoking show. It brings you into a world fraught with mental instability and challenges you to reside there until the play’s close. The movement to break the silence and stigma around mental health issues has been growing, and I believe Sarah Kane‘s play helps do this. Go see it… Sue and I won’t be there to welcome you with charts and candy hearts, but I’m sure there’ll be someone you know there or someone to introduce yourself to… through a photobombs or handshakes, whichever you prefer.

4.48 Psychosis runs until Feb. 23!

*it was a terrifying cab ride, although irritating would be my choice of words. Between GPS and Pearly’s, I need a driver to know where he’s going. Still, major props to you for hailing – that ability is a huge bonus point for me. – se

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