Edition 3

Edition 3

Harolds 2.0

Unlike so many of the theatre events I had attended, The Harolds seemed hardwired to oppose the status quo. Swearing: Check. Disdain for value-affirming theatre: Check. Mad respect for artists that aren’t mainstream and all the other people that are required to create theatre from stage managers to volunteers: Check. What kind of amazing Anarcho-Communists were funding this enterprise –and why hadn’t I heard about them before?

Money or Power Please and Thank You

I don’t like award shows. I don’t like any award shows. I don’t like what they represent. I don’t like how they suggest it is possible to judge one film or play or performance or song against another. I don’t like their in-group back slappery, or how they all seem to be trying for some representation of American showmanship and the Oscars.
1994 production of Die in Debt, under the Gardiner Expressway. Randi Helmers runs across frame, with Alex Bulmer standing in foreground


I mean the guy rarely made sense and yet, when he did, it cut through all the bullshit like only a true fool could do. I basked in his attention (whether wanted or not) and I can assure you that being heckled by Harold during a Toronto performance made us feel as though we had arrived. That we were noteworthy. That we had a Harold Heckle story to tell.