Tag Archives: Carolyn Zapf

Week Two Talkback (March 18) – New Ideas Festival 2017

Bloggergal took in the Week Two lineup at the Saturday matinee performance, March 18, which was followed by a Talkback with playwrights and directors – bonus!

The plays in Week Two are:

Aleksandra Maslennikova in “The Red Lacquered Box” by Burke Campbell. Photo: Bruce Peters

The Red Lacquered Box, written by Burke Campbell; directed by Lynn Weintraub.

Parallax, written by Michelle Glennie; directed by Ara Glenn-Johanson.

Y, written by Rosemary Doyle; directed by Sandra Cardinal.

Professionally Ethnic, written by Bobby Del Rio; directed by Rouvan Silogix.

One of the New Ideas Festival’s Artistic Directors, Carolyn Zapf, fielded questions at the Talkback, and primed the audience by asking the playwrights to talk about the genesis or inspiration for their plays.

Michelle Glennie (who made the trip to

Rock (Duncan Rowe) and Marie Soleil (Melanie Leon) as astronauts in “Parallax” by Michelle Glennie. Photo: Bruce Peters

Toronto from Montreal) shared that her funny time-travel piece Parallax grew out of her fascination for “Les filles du roi” (‘the daughters of the king”: young French women sponsored by their government to come to Canada, starting in the 1660s), and for the more recent lottery for astronauts to colonize Mars!  The 30-minute version of Parallax presented at New Ideas is cut down from a full-length play, which Michelle has plans to revise, based on changes that came out of the rehearsal process here.

 

The Festival producers called on the prolific Rosemary Doyle to replace a selected play that had dropped out of New Ideas.

Taylor Bogaert and Alison Parovel in “Y” by Rosemary Doyle.

She got the call on a Wednesday, talked to director Sandra Cardinal about the already-cast actors, and came up with a delightful twisty-turny plot – Y – on Thursday.  The actors were rehearsing the play by Friday.  When asked the question “where do you want to take it?”, Rosemary told us that she’s polled the cast, to get their ideas about what happens to their characters, or if there’s anything they think needs to be explained in a more fleshed-out version!  Y currently runs about 15 minutes.

 

Burke Campbell admits to hearing the voices of his characters, and screening “an ongoing movie in my head”.  He wrote his solo period piece The Red Lacquered Box “some time ago, and I don’t recall my state of mind at the time!”  His director Lynn Weintraub notes that the original script was more like a piece of literature (Ed. Note: some really beautiful turns of phrase remain) than a play , so she and dramaturge Rosemary Doyle (yes, again!) worked with actor Aleksandra Maslennikova to make it more active and theatrical.  The director has a background in dance, and it showed subtly in Aleksandra’s graceful performance.

 

Chantel McDonald and Ronak Singh in Bobby Del Rio​’s “Professionally Ethnic”. Photo: Bruce Peters​

The playwright of Professionally Ethnic, Bobby Del Rio, could not make the Talkback, but director Rouvan Silogix guessed that the subject matter was inspired by real life.  On directing it, he concentrated on working fine details of the physical comedy to make the script even funnier.  I’m guessing there were many rehearsals with Rob Candy as pompous theatre company figurehead Gerrard, condescending mightily to “ethnic” actor William (Ronak Singh), as well as with Chantel McDonald as William’s girlfriend Tracey, and Simon Bennett as his basketball-playing friend Kyle.

 

The final week of New Ideas Festival runs Wednesday to Sunday, March 22-26, and it’s a whole different lineup of short plays.  More info here:  http://www.alumnaetheatre.com/2017-week-3.html  Performances are Wed – Sat at 8pm, plus matinees Sat & Sun at 2:30pm.  Saturday’s matinee is followed by a Talkback.  Tickets are $15, and admit you to all 4 plays.  Purchase online (https://app.arts-people.com/index.php?ticketing=atc13), or reserve in advance (phone 416-364-4170 Box 1 / e-mail reservations@alumnaetheatre.com) and pay cash* at the door.

There is also a one-time staged reading of a longer play, Thistlepatch by Catherine Frid, at noon on Saturday March 25.  The reading is PWYC, no reservations required.

 

*Box Office does not accept credit or debit cards for in-person sales.

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Playwright’s Note: “The Creases in My Sari’ (FireWorks 2016)

The Creases in My Sari playwright Sindhuri Nandhakumar couldn’t make it to her own premiere last night, as she is working in India and Sri Lanka.  But she promised to wear a sari to mark the occasion!  She wrote to Alumnae Theatre Company’s FireWorks series producer Molly Thom:  “My soul will be in Toronto with you and everybody else who has been working so hard on this play.”

"The Creases in My Sari" playwright Sindhuri Nandhakumar

“The Creases in My Sari” playwright Sindhuri Nandhakumar

This is Sindhu’s playwright’s note:

Born to an Indian-Tamil family in the Sri Lankan Central Province of Kandy, I grew up firmly steeped in the periphery of a conflict. Ealam and the war zone were far away from me. My family, while sympathetic to the plights of fellow Tamils in the North and East, were largely apolitical and strove to continue running their small businesses without attracting too much attention from either the military or the Tamil Tigers – money is what had brought them from India to Sri Lanka, after all. Large numbers of my relatives had fled to India after the 1983 pogroms, but there was a certain stoicism about the war. The mentality was that even if we were affected, it wasn’t our battle.

In 2009, two months after the war ended, my family migrated to Canada. The move wasn’t politically motivated – it was economic. We moved in to an apartment in Scarborough, and for the first time in my life, I experienced a sense of Sri Lankanness that I had never seen before – there was an obvious display of pride in Tamil culture, and that too a uniquely Sri Lankan Tamil culture. I have seen more signage in Tamil in Scarborough than I have seen in Sri Lanka. I have learned more about Jaffna cuisine in Toronto than I did in Kandy or Colombo. Not being able to travel to the former war zone until recently, Toronto was the first place where I learned more about the “other” Sri Lanka.

I also learned that people in Toronto had displayed their anger about the war more vocally than most Sri Lankans had. People in Sri Lanka either didn’t or couldn’t protest with such vigour, probably because they feared for their lives at a time when the President and his outfit ran the country with an iron fist and an unforgiving attitude. Canada, on the other hand, provided a platform for these grievances to be aired, and provided a home for many of Sri Lanka’s Tamil refugees to express themselves and their identity.

I felt both a part of this world and excluded from it. Yes, I grew up in a war torn country, but much like Chanaka [played by Suchiththa Wickremesooriya in The Creases in My Sari; his father is a military man], I grew up in privilege. I wanted to write about these tensions within my own identity, and that is what gave birth to this play. I hope you go on a journey with these characters and feel the battle between the political and the personal as much as I did – as much as I still do.

Carolyn Zapf, the dramaturg of this play, is probably the sole reason why this play exists. With her encyclopedic knowledge and kind attitude, she did not let me forget about the play until it went through the many revisions that it did. I owe her all my gratitude. Thank you Carolyn.

 

The Creases in My Sari runs to Sunday Nov 13 in the Studio at Alumnae Theatre.  Showtimes:  Wed – Sat at 8pm, plus 2pm matinees on Sat & Sun.  Tickets:  $15.  Purchase online (http://www.alumnaetheatre.com/tickets.html)  or reserve at 416-364-4170 Box 1 and pay cash at Box Office .  No credit or debit cards accepted for in-person sales.

 

BONUS EVENTS

7pm on Friday Nov 11 – Pre-show panel discussion (in lobby) with author Koom Kankesan; former Tamil refugee and current PhD candidate Thursica Kovinthan; and Sri Lankans Without Borders member Amra Ghouse.
Saturday Nov 12 – post-matinee Talk Back: Writer and director discuss their artistic process and answer audience questions about the play and the production.

https://www.facebook.com/events/982210198574332/

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New Ideas Festival 2015 lineup, etc.

Auditions for the 2015 New Ideas Festival take place January 7-11. To book a slot, please see the instructions at http://www.alumnaetheatre.com/auditions.html

To brush up on audition tips, it couldn’t hurt to read this post from 2013 –https://alumnaetheatre.wordpress.com/2013/01/07/tips-for-actors-from-now-completed-new-ideas-festival-2013-general-auditions/

New Ideas 2015 imageAnd now – the lineup for the 2015 Festival.   Plays and writers and directors, oh, my!   The names in bold font are members of Alumnae Theatre Company.

 Week 1 – March 11 – 15, 2015

Inheritance by Tabitha Keast, directed by Matthew Hines

The Indigo Forest by Bridget Erin, directed by Sandra Banman

Lost Connection by Lindsay Finnie, directed by Zita Nyarady

Devices by Meredith Taylor-Parry, directed by Ingryd Pleitez

Saturday Reading: Surrender Dorothy by Liz Best, directed by Eric Benson.

 

Week 2 – March 18 – 22, 2015

(En)Lightning by Catherine Frid, directed by Sandra Burley

Canis familiaris by Carolyn Bennett, directed by Brenda Darling

Sandworms! by D.J. Sylvis, directed by Stacy Halloran

You Can Ask Me How I’m Doing by Norman Yeung, directed by Meg Moran

Saturday Reading: Buy My House by Natalie Frijia, directed by Emily Nixon.

 

Week 3 – March 25 – 29, 2015

Rowing, Onward by Eugenie Carabatsos, directed by Anne MacMillan

Grief Circus by Crystal Wood, directed by Kelsey Laine Jacobson

A Death and the Marias by Rose Napoli, directed by Clara McBride

Friends with Benefits by Neil Naft, directed by Donald Molnar

Saturday Reading: The Creases in My Sari by Sindhuri Nandhakumar, directed by Joanne Williams.

 

New Ideas Festival Co-Artistic Director Carolyn Zapf reported that a total of 375 script submissions were received this year – 105 from Canada and 270 from the rest of the world. Most of the international scripts were from writers in the U.S., but we also received scripts from the United Kingdom, Ireland, France, New Zealand, Australia, Mexico, Argentina, Bulgaria, and Iran.

Carolyn believes that the “huge increase” in scripts received this year is partly because the submission fee was eliminated (originally free since the Festival’s inception in 1988, $10 per script had been charged for submissions to NIF 2012, 2013 and 2014). There is a movement among playwrights, especially in the United States, to boycott festivals with script submission fees.  Many more Canadian scripts than usual were received this year, which she attributes to some targeted invitations and the article about NIF in the Playwrights Guild of Canada e-journal.

Two of the 15 selected scripts are by U.S. writers: The Indigo Forest by Bridget Erin (Louisiana) and Rowing, Onward by Eugenie Carabatsos (New York).  Of the 13 selected Canadian scripts, all are by writers from Toronto & environs, except Devices by Meredith Taylor-Parry, who is from Calgary.

Three scripts are written by members of Alumnae Theatre Company – note that all submissions are read blind:  Inheritance by Tabitha Keast and Surrender Dorothy by Liz Best in Week 1, and (En)Lightning by Catherine Frid in Week 2.  Catherine is a 3-time NIF veteran; Tabitha and Liz are experienced actors, but these are the first plays they have written. Congrats, ladies!

 

In addition to Catherine Frid (Buff – 2010, Over the Edge – 2013; Burying Toni – FireWorks 2014), several other writers from prior years also have plays in NIF 2015:

Norman Yeung (see Week 2) – his play Theory was workshopped in NIF in 2010, expanded and remounted later that year in the SummerWorks Festival, and then staged as part of Alumnae Theatre Company’s first FireWorks festival in 2013.

D.J. Sylvis (see Week 2) – three previous NIF plays:  Godzilla on Sundays (2008), Chance (2009), and Act I of An Inked Heart (2010).

Eugenie Carabatsos (see Week 3) – two previous NIF plays:  In Their Glory (2012), Stalled (2013).

 

Returning directors are Sandra Banman, Eric Benson, Sandra Burley, Brenda Darling, Stacy Halloran, Anne MacMillan, and Joanne Williams.

 

New Ideas Festival runs March 11 – 29. Tickets ($15 each week; readings extra) or passes ($40 for everything) can be purchased online at http://www.alumnaetheatre.com/tickets.html

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Filed under 2014/15 Season, New Ideas Festival 2015

Toronto Fringe: Sharp-witted, informative & moving story of the fight for the lumpectomy in Radical

Developed from a staged reading at Alumnae Theatre Company’s New Ideas Festival in March 2015, Charles Hayter’s Radical is an important piece of Canadian medical history. Running to July 13 at Tarragon Main Space in Toronto Fringe.

http://fringetoronto.com/fringe-festival/shows/radical/

life with more cowbell

radical.web_-250x250So what if I told you that, up until the 70s, radical mastectomy was the go-to procedure for Stage One breast cancer (e.g., a pea-sized tumor)? You’d likely be a bit shocked, puzzled and possibly enraged. Right? I know I was.

Playwright/oncologist Charles Hayter’s play Radical – developed and presented as a reading at Alumnae Theatre’s New Ideas Festival in March, and currently running in the Toronto Fringe Festival – tells the true-life story of Dr. Vera Peters, a Princess Margaret Hospital oncologist who fought for an alternative procedure, the lumpectomy, where only the tumor is removed.

Directed by Edgar Chua, Radical has a fine cast: Jane Smythe gives a very strong performance as the sharp, wry-witted and kind workaholic Peters; and Susan Q. Wilson is a picture of efficiency and protective concern as Peters’ nurse colleague Helen. Sheila Russell is a force to be reckoned with as the…

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MooneyOnTheatre article: The history of New Ideas Festival – right up to the present

MooneyOnTheatre did a fascinating in-depth interview with this year’s New Ideas co-Artistic Producers  Pat McCarthy and Carolyn Zapf, plus Festival co-founder Molly Thom, and one of this year’s featured playwrights, Charles Hayter.

The article includes a pointed paragraph about the differences between “amateur” and “professional “  in theatre, especially as those definitions relate to the Alumnae.

Alumnae Theatre, 2013

Alumnae Theatre, 2013

Turns out the differences are not that many!

http://www.mooneyontheatre.com/2014/03/21/go-out-and-try-it-old-fashioned-innovation-at-the-alumnae-theatres-new-ideas-festival/

 

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New Ideas Week One recap; Week Two opens today!

Week One of the 25th anniversary New Ideas Festival wrapped on Sunday (March 10).  Barely had the audience cleared out of the Studio after the Sunday matinee, when the Week Two groups started arriving for the tech times.   The Festival is very efficiently scheduled by Artistic Directors Pat McCarthy and Carolyn Zapf.  Ladies, I salute you!

So, Week One.   Because I had a play in this week, I saw all 6 performances.  Go ahead, call me a geek.  It’s theatre – I like to see how it grows and changes.   And one play sure did:  Shirley Barrie’s Revelation.  It was a retrospective remount from 2001, and for the first three performances, all went smoothly.  The New Orleans-style funeral music made me smile every time, as did the thunder crash that greeted actor Steven Burley’s exclamation of “I’ll be damned!”.  Then actor Patricia Hawk was unable to perform on Saturday or Sunday, due to a nasty virus.  She told me afterwards that the queasy dizziness actually started on Friday night – she had to hang on to Steven’s hand at the curtain call, or she would have fallen.  So an hour before matinee showtime on Saturday, Pat McCarthy pressed Jane Carnwath (most recently the director of Così, but she has acted in If We Were Women and Amy’s View, among others) into service.  With just one cold read under her belt (and that involved first finding Pat Hawk’s script!), Jane and Steven took to the stage in their street clothes, and performed Revelation.  It was pretty darn impressive.  For the Saturday evening show, Jane and Steven wore costumes, and Jane’s performance was lovely – she even organically did most of the blocking – they did not rehearse that, Steven assured me.

At the Sunday matinee,the play’s director Molly Thom (who’d been unavailable on Saturday) played the role, wearing Pat’s costume, as they are much the same size.  Of course, Molly knew the blocking perfectly, and most of the time did not need to refer to her script for the lines.  So in the space of a week, I got to see three different actors play the same role, AND observe how the unflappable Steven Burley expertly shaded his own performance, depending on what his scene partner threw at him.  See, live theatre: it’ll constantly surprise you!

Play #2 in the lineup, Suzanne Gauthier’s Still Waters, was written last fall for Write Now!, a writing challenge devised by Alumnae Theatre’s New Play Development Group (NPD) – the theme this year was running water.  Also, Suzanne mentioned at Saturday’s Talkback that she wanted to write roles for older actors.  One of my favourite  laugh-out-loud moments was Frank’s (John Illingworth) demonstration of the water wheel he’s built to help wife Monica (Sandra Burley – yes, she’s distantly related to Steven, through her husband!)  sleep:  “Uuup and over.  Uuup and over…”.   Cracked me up every time.  And there’s this lovely exchange: Monica remarks that at this stage in their lives, it’s the beginning of the end.  Frank responds, “Then let’s not spend it in separate beds.”

I can’t really be objective about my own piece, Say The Words.  My main concern was not to bore the audience with such a bare-bones piece (an 8-minute monologue about love, loss, and words unsaid), but various audience members praised actor Alexandra Manea and director Kim Radmacher, and seemed to like the script.  I’d loved Kim’s initial ideas about projections, but it wasn’t possible due to technical difficulties.  Instead, she and Alex worked on dissecting the text and trying out abstract movement before paring it down.  The final result was very minimalist, but it worked for the audience.

Stalled was just delightful.  New Ideas co-founder Kerri MacDonald directed the piece, which New York playwright Eugenie Carabatsos told the Talkback audience was inspired by her own car getting demolished in an accident.  “I was surprised how devastated I was,” she said.  Kerri’s staging, with actors sporting black T-shirts with tire tracks playing real characters as well as humanizing the car (which provides running commentary of noises) was so innovative.  Jillian Welsh as the car radio was hysterical, blaring French talk as well as snippets of 1980s and ‘90s hits like Ace of Base’s “The Sign”, Hanson’s “MMMBop” and Madonna’s “Material Girl” when her dial was spun.  Best line came from Maggie’s (Julie Cohn) dad (Rob Candy):  “You had sex with BOTH my daughters?!”

 The staged reading in Week One (noon on Sat. March 9) was Falling , a lyrical and magical 35-minute play written by Jamie Johnson, dramaturged by Diane Forrest, and directed by Ed Rosing.  It featured Ruth Miller as Lou, mother of a troubled girl named Constance, who was played at different ages by four actors:  Carys Lewis as the child who doesn’t yet realize that her life isn’t perfect; Cora Matheson as the rebellious and somewhat dangerous teen; Kristen Scott as the unhappily married 20-something; and Cathy McKim as the present-day Constance in her 40s. The play begins with Lou telling a fairytale story about the moon protecting a little girl named Constance, who would ever after “be at home in the night”.  Gradually each character reveals a story from her own version of the past, and the audience gets the full picture of Constance’s life.

The reading was followed by a Talkback, and playwright Jamie Johnson noted that Falling – based on concepts of time and memory: how we remember and react at different stages in life – was originally a story that he wanted to turn into a play. He churned out five or six drafts, including 3 “major” revisions in the past four months.  The original submission last September to the New Ideas Festival didn’t have Constance split into ages/voices, and her two husbands (who are only mentioned now) were actual on-stage characters until the third draft.  Johnson joked that the descriptions of the moon and the night, which an audience member commented were “magical”, were maybe the only things left from the original script!

The genesis of the story was a conversation Johnson had with his own mother, who endured a pattern of abusive relationships.  To a question about what triggered the reconciliation between Constance and her mother in the play, Johnson responded that Lou (the mother) recognizes that Constance has taken control and done what Lou could not: killed her abuser.  This sensitive topic was delicately treated, and it was interesting to note that five such pitch-perfect female voices were produced by a male writer.

 

At the Saturday matinee Talkback, the Festival ADs Pat and Carolyn confirmed that they had tried to group the plays thematically each week.  For Week One, the clear theme was feelings not expressed.   Hmm – I wonder what the theme is for Week Two?  Check out the details of the March 13-17 lineup at http://www.alumnaetheatre.com/ideas2013-2.html.  Tickets ($15) can be purchased by clicking on the arrow-shaped TICKETS icon on that page, or make a reservation by phone at 416-364-4170 box 1, and pay cash at the Box Office on arrival.

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New Ideas Festival 2013: The ‘Creative Exchange’ – aka writers meet directors in a Speed Dating event!

On Saturday Nov 17, Pat McCarthy and Carolyn Zapf, Artistic Directors of the New Ideas Festival, held a ‘ Creative Exchange’ for writers whose scripts had been selected and the directors who had applied. During the first part of the event, the playwrights (13 new and two returning – though only 9 of the new writers were present, some being from out of town) introduced themselves to the others; the directors had not yet arrived.  Included in the writers’ circle were Diane Forrest, a member of the NIF reading committee that selected the plays; and Shirley Barrie, also on the reading committee, and one of the “returning” writers.  Her short play Revelation was a hit at the 2001 Festival.  As part of the   salute to NIF’s 25th anniversary, two favourites from past years – Revelation, and Flora Stohr-Danziger’s My Red Feather Boa (2004) – will be reprised at the 2013 Festival, helmed by the original directors: Molly Thom (NIF co-founder!) and Nancy Bradshaw.  Another reading committee member, Neale Kimmel (herself a playwright – the first act of Frances and Marybeth premiered at NIF 2011, and an expanded version played at the Factory Theatre a year later) dropped by later.

Here are the selected plays, which will be seen at the New Ideas Festival, March 6-24, 2013.  Some plays are as short as 10 minutes; some run up to 35.  The readings may be 60 minutes or so.  There’s a different lineup of plays in each week of the Festival.

Revelation by Shirley Barrie (re-mount from 2001)

Dinner Date by Jessica Moss – two couples have dinner.  A comedy.

Say the Words by Tina McCulloch – monologue (for man or woman) about love and loss.

 Stalled by Eugenie Carabatsos – this New York writer’s play In Their Glory was a reading in NIF 2012.

SATURDAY READING (Week 1):  Everything but the Cat by Adrianna Prosser – a “not-so-one-woman show”.

Pieces of Penelope by Gina Femia – a writer from New York.

Over the Edge by Cate Frid – didn’t get a synopsis.

Two Actresses by R.J. Downes – formerly based in Toronto; now in Kingston.  His circus play Tightrope was in NIF 2010.

The Deepest Trench by Chloë Whitehorn – originally written for Fringe’s 24hr playwriting contest!

SATURDAY READING (Week 2):  Falling by Jamie Johnson – this play was stashed in a drawer for 18 yrs…

Dead French Philosophers and What We Mean When We Talk About Love by James Papoutsis – a professor talks to his class about wildly inappropriate stuff.

My Friend’s Best Friend’s Boyfriend by Wesley J. Colford – a “sort-of comedy” about abuse; written 2 yrs ago and put away.

Eglinton by Anthony MacMahon – part of what (hopefully) will be a 3-play cycle.

My Red Feather Boa by Flora Stohr-Danziger  (re-mount from 2004)

SATURDAY READING (Week 3):  Lullaby for the Abandoned by Rain Chan – not present; I know nothing!

DISCLAIMER: The synopses above are my very brief notes extracted from what each writer said about their play, and should not be construed as necessarily accurate or complete!  Will have a better feel for the plays after the cold readings in the week of Dec 3, when playwrights and directors get to hear actors read their words cold.  And I mean ICE cold: recruited actors are literally handed a script when they walk in the door!  But since these cold readings are not the auditions, there’s absolutely no pressure.  The real auditions will happen the first week of January.

Before the directors arrived, I quizzed Artistic Directors Carolyn Zapf and Pat McCarthy about the process of choosing the scripts.  They told me that 114 scripts were received, and were evaluated by a 9-member reading committee.  The submission instructions (writers’ names do not appear on the scripts, only on a cover page that the committee does not see) ensured that each script was read blind.

For the first round, each script was read by a group of three – comprised (if possible) of an actor, a director and a writer to ensure a wide range of viewpoints.  If at least two committee members agreed (the options were YES, NO or ANOTHER READER), a script passed on to the second round.  At this point, around 50% of the submissions had been eliminated.  For the second round, readers were told the gender of the writer, and membership status.  (If two scripts were in contention, preference was given to the one written by an Alumnae Theatre member or by a woman, per the company mandate.)

For the third round (now down to about 20 scripts), readers were given the writers’ names and the short bio which had been sent with their submission.  From those 20, the reading committee found the lucky 13!  All of the script-reading and swapping was done online through Google Docs, which Carolyn said was efficient and interactive.

And then the directors came in!  They had all responded to the Call for Directors posted on Alumnae’s website and other places back in mid-October.   Writers were positioned around the theatre lobby in chairs labeled with their play titles, and potential directors moved from one writer to the other (I believe it was supposed to be clockwise) in a sort of Speed Dating format – 10 minutes each meeting.  Pat set the alarm on her phone to ring when time was up.  The directors had been given the password to the site to read the selected scripts a couple of days before.  They probably had favourites that particularly interested them, but were required to speak to all the writers.

After this event (which was on a Saturday) each writer and director was required to submit their top 3 picks to the Artistic Directors by the following Wednesday evening.  Then the ADs would have the difficult task of matching them up, and announce the teams by Sunday night.  It turned out to be even more difficult than anticipated (“a lot of juggling”, they said), so final matches didn’t happen until Monday night.   I’ll have a list of the matched-up writer/play/director teams to publish tomorrow.

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Filed under 2012/13 Season, New Ideas Festival 2013