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Self-determination after theatre school

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toolsofthetrade
Post-graduate tools of the trade: Headshot, resume, rep book, grant forms, business cards. Not pictured: wine.

I thought I was pretty prepared for life after theatre school.  I had no illusions about booking fancy Equity gigs my first summer out, or landing a sweet film agent and getting shipped off to play a vampire in some TV show.  My expectations for artistic employment were low.  I was not wrong.  But what I didn’t expect was the crushing weight of autonomy.  Self-determination, not unemployment, became the enemy.

This isn’t about “emerging artists” not getting work.  I think we all talk about that a lot – I think I’ve been to approximately six thousand panels and seminars and desperate shop talk sessions over a pitcher of beer mulling over the facts: work is scarce for emerging artists, auditions are hard to get for non-Equity actors, and it feels like the same people get work over and over again.  They’re tough, ugly facts, and the bitterness and discouragement experienced by young actors is real.  In the few years I’ve been out of school, I’ve spent a bit of time working, and a lot of time not working.  My biggest fear now is not a lack of work – it’s of losing the ability to create meaningful and rigorous art; It’s of having my creative impulse atrophied or distorted by the realities of pursing a professional career.

A blog post by Holger Syme titled “Canadian Theatre has a Youth Problem”  recently made the rounds on Facebook.  It was reposted by a dozen or so friends (all emerging actors), all with comments along the lines of “YEP.”  Syme makes some compelling comparisons between casting practices in the UK and Canada, using Romeo and Juliet as a case study.  According to Syme, in Canada “no actors get cast in any roles of any substance before their mid-twenties. And virtually nobody gets to play marquee roles before their late thirties.” He references multiple examples of British stage actors given a shot at playing the Bard’s juiciest roles while they were still the character’s intended age (I’ll admit to whimpering a bit at this section – Juliet at the RSC by 23?  It’s already too late for me.)

He goes on to argue how this casting practice contributes to a healthier overall ecology by giving young actors a chance to develop their craft in the presence of established professionals.  Syme argues that in Canada “younger actors are taught over and again to play minor roles, to integrate themselves into the company, to make safe and conformist choices, to produce something already established and recognized as quality work rather than to develop and reimagine their craft in new and unexpected ways.”

I greatly enjoyed Syme’s essay – and the fiery debate sparked in the comments section – and it got me started along a slightly different train of thought about the difference between career and craft.  When my peers and I graduated from theatre school we did everything that was in our power to start our careers; we got the fancy headshots, submitted to anyone with a mailbox or email address, hustled as hard as we could.  The first cycle out of school was brutal: Land a big audition after much postage and many emails; Invest (both emotionally and financially) in audition preparation; make bizarre and contrived wardrobe choices on the day; Try to wallow in only the most constructive self-loathing and despair after rejection.  A year passes.  Repeat.  It dawned on me one day in a chilling moment immediately after opening my mouth in an audition: I don’t know how to do this any more.

stationaryrehearsal
My theatre company Delinquent Theatre in our rehearsal space that was often sticky and always smelled strongly of stale beer (but we loved it anyway).

Which brings me to the question Syme’s essay brought up for me: How can a theatre artist protect and develop their craft while early-career?  I’ve realized that often the pressures of seeking work can sometimes place your artistic practice only in the context of an audition room, which is destructive on a variety of levels.  Essentially we’ve moved from qualitative evaluation in the classrooms and rehearsal halls of our training institutions to the rather stark quantitative evaluation of professional theatre: you got the job, or you did not.  But try as I might to remind myself that this is in fact not an evaluation of my work at all, but the outcome of a variety of factors (we’ve all listed them to ourselves, haven’t we?) it is, for me at least, impossible not to view my work in that context.

I didn’t realize the extent to which the logistics of pursuing a professional career could change my relationship to my artistic process.  I didn’t think that such long gaps between projects could erode my creative courage, but at times I have felt that start to happen.  The time for bold experimentation, for freedom and the possibility of failure is probably not in the audition room.  Bold choices and risks?  Sure.  But those can only be supported by a healthy and regular practice.

And here’s where that self-determination thing comes in – it’s up to us to find the space for those practices.  Space that exists outside the realm of auditions, away from the view of directors or ADs, or what have you.  Space that connects you to your practice in a way that reminds you why you’re so hellbent on working in this Godforsaken industry.  Working hard is not the problem – we all do that.  It’s finding a way to work gently.

One of my favorite twitter accounts, @ProResting (which calls out some of the worst casting breakdowns known to man) refers to ‘unemployed’ actors as ‘resting’.  I like that.  To me, it implies an artist ready to spring into action and response.  To me, I like the idea of taking a rest from my hopes and anxieties about career, and refocus on craft.  This might look like taking classes, watching shows with anticipation instead of analysis, or reading a play out loud with friends.  It means breathing instead of holding my breath for the next E-Drive.  And it means allowing myself this notion: if I take this time to reconnect with my practice, the next time I step into an audition notice, I’ll be ready to deliver work worthy of the stage.  If I don’t get it?  I know a worthwhile place to rest til the next one.

#CdnCult Times; Volume 2, Edition 2

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This volume is all about barriers in the/to the theatre.

Barriers to speaking about the state theatre in Canada, barriers to talking about our own work with each other, barriers to early career artists practicing their craft.

Our Geographic Correspondents look at this issue from 3 disparate corners of the country. I decide to get my own feedback on the play I just closed, publicly, from a playwright and a dramaturg I have worked with before. In Vancouver, Christine Quintana raises an even bigger question than how do emerging artists get work: How to overcome the barriers that prevent you from being good at theatre?

Collectively these pieces represent a smattering of barriers, broadly speaking, to theatrical communication. I am fond of this volume as each article hopefully breaks these barriers down a little bit.

Michael Wheeler
Editor-in-Chief: #CdnCult Times

Do you remember the first time you encountered the internet?

By
Vancouver

I was in first year university when I finally got access to the world wide web, where there was something for everyone. Faced with the vastness of “anything”, I could only think of one thing to search for, and I ended up with a recipe for pesto shrimp with bow-tie pasta. I still have it around here, somewhere. But I never bothered making it.

It’s telling that when grappling with the amorphously huge web of knowledge that the internet is, my impulse was to focus on something very familiar, very universal, very physical. Even now, users access the internet for all sorts of reasons, but it is a deeply human impulse that seems to drive many of us to our screens. Social networks like Facebook, Twitter, and Instagram are about making connections, about bridging distance and difference with a cute cat video, or a pithy statement, or a picture of what I had for lunch. How deep and meaningful those connections are is arguable and variable. I can’t imagine raising my son so far from his grandparents without access to video-chat.

Internet connectivity and the near ubiquity of connection devices for the creative-middle-class (and that’s a whole other blog post) have changed the kind of work I do, who I’m working with, and how I’m doing that work. Yet, at the core, my work is still driven by a very human desire to connect people with people, and to navigate distance and difference. These are very Neworld ideas to me. As is the notion of using popular forms to engage with challenging ideas and subject matter. And the internet is nothing if not popular.

This line of thinking is what draws Neworld to the SpiderWebShow as a place to engage with these ideas and see how they can relate – and possibly change – the way theatre is practiced.

Is a digital theatre possible? I’m betting “yes”. But I’m also willing to bet that it’s not going to look like what we think it’s going to look like. If theatre is partly defined as a place where groups gather together to witness a shared event, I ask: must that gathering always be of physical bodies? Do our “selves” not extend beyond those bodies, through our senses, our minds, our imaginations. Our fingers may be busy scrolling, but our minds are flying around the world at the speed of data. If this is true, it follows that a gathering can be of our consciousnesses. And given the asynchronous nature of time on the internet, we may not all have to be there at the same moment!

Exploring these ideas through discussion and experimentation are, to me, critical at a time when so many of us move seamlessly between the physical and digital worlds many times every day.

“But what does the internet have to do with us? We work in real time and real space!”

Yes, we do. But to me, that’s like Canada Post saying, “why worry, people will always have to mail letters.”

“But it’s experimental!”

YES, and that’s the beauty of the space that the SpiderWebShow provides. It allows for wild imagining, bold choices, and failure. It lets us apply all we know of storytelling and devising site-responsive works to a place that is only defined by our ability to develop code and the speed of our servers. The imagination truly can reign supreme.

And in the same way that IRL[1] theatre tools are applied to the virtual space, perhaps here we shall invent new tools that will loop back into the theatres of body and breath.

Theatre is a marginal art-form. It does not exist in the mainstream experience of most Canadians. In order to bridge this gap, we – as a community of makers and supporters – need to examine how our work relates to how people live. I’m thinking of this in a very sociological kind of way. A hundred years from now, would a researcher looking at the relationship of theatre to social and political movements of the early 21st century be able to write a paragraph, a chapter, or a book? The SpiderWebShow, and the #CdnCult Times in particular, are creating an archive of our times. But the project is also asking us as practitioners, to think of our work in the context – and even as a product of – trends in a rapidly paced and highly mediated society.

Finally, I’m very excited about the SpiderWebShow as a space for artists. When Camyar Chai founded Neworld with Tom Scholte and Mara Coward in 1994, he envisioned the company as an artistic home; a space where creators could feel comfortable and free to take the risk of engaging with content or forms without exactly knowing how it would work itself out on the stage. We are pleased to join the National Arts Centre and Praxis Theatre – two companies whose work we admire and are engaged by – in grappling with these, and other, questions.

[1] “In Real Life”

The Coming Out Episode

By
Ottawa

Welcome to Volume 2: the coming out episode.

I am fairly certain that Volume 2 is a mostly meaningless appellation as there was no Volume 1 when we started SpiderWebShow. But here we are, at the dawn of a new volume and so we called it Volume 2: the coming out show. Actually “The Coming Out Episode” part is my addition to the edition. More on that soon.

There are a bunch of changes to make the new volume meaningful.

Like Neworld Theatre has come onboard as producer for the show. Like Adrienne Wong is heading up research for the Experiments, and she has joined SpiderWebShow as Artistic Associate. Like we are launching the Thought Residencies. Like we are looking forward to University Ottawa giving us some #CDNtheatrethrowback and, like, a whole lot more.

10 brand new editions of Volume 2: the coming out episode are getting ready to reveal themselves between now and March 21, 2014. Basically, a lot of new. In case you were worried, there is just as much – if not more – that is coming back from Volume 1. Phew!

But because we trade in story, I think I am going to tell you one here.

This is the Story of the birthing of a Second Volume of The SpiderWebShow: the coming out episode. Within the story, I have placed a paradox because most good stories hold conflict or, at the very least, obstacle.

The Story of a Second Volume of The SpiderWebShow begins with a desire to connect in greater number and in more substantial ways with Performance Minds in Canada. We want to make things more visible and celebrate more fully the potential that SpiderWebShow has, for being the place where theatre can find its home online. This is something we want to do.

To this end, Volume 2: the coming out episode, arrives at your digital doorstep with change; since you last saw it, the episode has done some growing up and is negotiating a few more followers than it had way back at the dawn of Volume 1. It also comes with an unmasking: hence my subtitle.

The SpiderWebShow is a shared initiative between NAC English Theatre, Praxis Theatre and Neworld Theatre. Most people like getting their name out there, but this Artistic Director (newly minted) of The SpiderWebShow has reservations about you all knowing that NAC is involved in this venture. Praxis Theatre? Sure! Neworld Theatre? Absolutely! NAC? I worried! I worried that you would not be as interested. That you might think we wanted something from you. That you would not accept our voice as readily as you might accept the voice of others. I am forever trying to come to terms with the tall poppy paradox.

The tall poppy story, like so much of the inception for The SpiderWebShow, began in a non-verbal space. Apparently it is the story of a lesson taught without words or specific commands. There are two characters in this story. Person A and Person B.

Person A gets invited to go for a walk in a field with Person B, a person for whom Person B holds great respect. While in the field, Person A starts casually lopping the tops of the highest wheat, or poppy, or corn, while Person B awaits the words of wisdom they anticipated receiving from this specific invitation. Person A, however, never speaks and Person B is left to conclude that the most eminent people must be cut down. Person B leaves the field and sets out on an adventure of terror and destruction, all in the name of social control and equality for all.

The genealogy of the story traces back to Herodotus – was picked up by Aristotle – and has kept repeating through the centuries ever since.

I expect people who unquestioningly subscribe to this story also follow the belief that leading by example is the golden rule and that following without examination is its obvious corollary. In keeping with the coming out episode subtitle, I must confess that I am constantly coming up against my own apathetic will to simply believe, rather than question. I mean, really, who has the time?

The tall poppy story has plagued me my entire career. Wanting to reveal, while all the while being terrified that the revelation will be deemed incorrect. Knowing that this very thought is unproductive, but nervous that to believe this will place a limit on my sense of security. I am pretty sure I am not alone here. It is incredible how certain things stick.

So, Volume 2; the coming out episode, comes with a challenge.

I want to know more about what holds us back as artists in today’s clime. What are the barriers that mitigate our capacity as artists to report exactly what we see? What stops us from seeing? How can we see better? And how, can we support one another when we see it?  Volume 2: the coming out episode is about taking on the tall poppy paradox.

It’s about being dazzled (because we must be dazzled), it’s about being humble (because we must be humble), and finally it’s about our shared mission: The SpiderWebShow is a theatrical space where Canada, the Internet and performance minds intersect .Volume 2: the coming out episode aims to peel off a layer, get stronger (the web must support), get taller (because if we are looking at the sun we are going to grow) become more adventuresome (traditions are good until they aren’t) and be true.

The SpiderWebShow Volume 2: the coming out episode, is produced by Neworld Theatre in association with Praxis Theatre and English Theatre at the NAC. Welcome to The SpiderWebShow. Hit it Diana!

Online Evolution

By
Toronto

SpiderWebShow seems to be an enormous opportunity for Praxis Theatre. Since first starting a blog at praxistheatre.com, over the past seven years we have used our online identity to complement and integrate with our theatre making.

This has taken a number of forms over the years: First as a blogspot blog with a focus on marketing led by then Praxis Marketing Director Ian Mackenzie. Then as a more politically-oriented space when I became editor and moved the site to WordPress. Later, when Aislinn Rose joined the company, for the past four and a half years it has become integrated with the work we create.

A funny thing has happened to the Praxis website, since becoming a company with resources that allows us to create more than one show a year. Our content about the ideas, concepts and people that make up the #theatrosphere has been superseded by information about ourselves. This is actually a big no-no in blogland. People return to these sites because they connect with other people and are not primarily (an overt) act of self-promotion.

There is nothing to be done about it though. After a decade of slowly building Praxis Theatre into a company that creates theatre in space we have put together a season of programming that has included a National Tour of an adaptation of a Facebook note about G20 Toronto, a World Premiere of a the latest play by Canada’s Governor General’s Award Winner for English Drama, Nicholas Billon and we are Guest-Curating a series of social media-integrated performance experiments at Harbourfront Centre.

In this new context we actually have no choice but to use our own website for information and ideas about all of these performances and events. This is not to say that we won’t have posts about topics other than ourselves there. We just can’t keep the same volume or quality of engagement with the #theatrosphere.

Which is where SpiderWebShow, and specifically #CdnCult Times, comes in. By establishing an online space that regularly, weekly in fact, generates discussions and ideas around performance, we hope to contribute to the same work we have been doing since  2006 in a different space. The nature of #CdnCult Times, which requires three related posts to be published on the same day will help us present multiple perspectives and entryways into a conversation.

The use of a hashtag, #CdnCult, has a specific intention that relates to how we (Sarah and I as co-creators of the show) perceive discussions evolving online. Where before a majority of conversations would take place in the comments of a blog post – these ideas have now become much less centralized. In particular they have moved to Facebook and Twitter. It is our hope that intelligent and relevant promotion of #cdncult, will provide a way to re-aggregate these conversations in a way that makes them accessible to anyone who is interested. The #CdnCult Times seeks to play a lead role in the promotion of this hashtag.

Finally, we also hope to engage with SpiderWebShow in a way that doesn’t just talk about the work, but also integrates with it. We have several ideas for projects that can find a home in The Experiments section of the site. Having access to a laboratory that is an established space for this will provide us with the platform to engage in a way that Praxis thinks is integral to our development as a company. Online tools have progressed in our work at Praxis, to no longer just be about conversations, but also to integrate with the work we put onstage.

To facilitate this evolution we have begun to consider ‘social design’ in the same way we think about other design elements. Like set design, costume design, lighting design, costume design and sound design – ‘social design’ considers what online tools would best cohesively complement a production. SpiderWebShow gives us a platform and toolbox to work with as we determine the social design for our new works.

In essence, we are very excited about the possibilities inherent in SpiderWebShow. It is collaborative, malleable and ready for new ideas – all of which makes it an ideal space for Praxis to improve and challenge the work we make.

#CdnCult Times; Volume 2, Edition 1

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Change, Change, Change!

Change is the only category all three of this edition’s posts are categorized under. This is because SpiderWebShow is changing.

The biggest change is the addition of Neworld Theatre as a producer as Adrienne Wong joins the show as Artistic Associate and Head Researcher. We are excited to collaborate with an artist ideally suited to push the boundaries of what this site can facilitate and her initial thoughts on this development can be found in her first article to the site.

Meanwhile, Old Hands (we’ve been around since October) Sarah Garton Stanley and I are also thirsting for change. Stanley expands upon this desire with allusions to an ancient Greek parable, while I go straight for the nuts and bolts of where Praxis has been and where it’s going.

Welcome to Volume 2 where change is the name of the game and we couldn’t be happier about it.

Michael Wheeler
Editor-in-Chief: #CdnCult Times

Denise Clarke

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Are you a purist that believes theatrical conventions only exist in three dimensions on a singular physical plane?

By and

When we met a year ago to discuss SpiderWebShow, before it had a name or URL, there were some core things we wanted to achieve guided by a desire to both enhance and channel performance chatter and to develop new spaces where creators could make and show their work. Here’s what’s happened so far:

  • Regular Weekly Editions of #CdnCult Times have begun to establish it as a way to talk about theatre in Canada.
  • The early beginnings of centering this discussion around the #cdncult hashtag.
  • Weekly YouTube Commissions by theatre artists have begun to create a living online archive of work by theatre creators.
  • Maps with visual representations of artists making work in Collaboration with The English Theatre at the NAC, and a “Makers Map” of anyone who has contributed to the site with links to their SpiderWebBio including social media tools.

This was the video we made to explain The Commissions this summer before they launched.

A good start but we want the site to do more.

We want it to be a home for experimentation and a theatre of online theatres. A (newly dimensioned) place (space, URLs where?) where digital performance can be conceived and performed. A site that is both necessary and novel. A home for ideas and concepts that have not, and may never, be proven.

We suspect this new space will occur somewhere at the intersection of what is live, and how performance can integrate with online tools to explore the fundamentals of live-ness the internet presents.

“what we are facing is the notion of a live performance. There is a parallel with the music industry.  The way technology evolved over the last ten years totally imploded the model of the music industry.  The business model was created with selling CD’s. It was about selling a format and the live performance was just a means to an end. Now with easy access of that format, they had to reinvent, trying to use the Internet to give more value to live performances. It’s true for music and social change. “

National Theatre School CEO Simon Brault, interviewed this weekend in The Charlebois Post.


survey service

This tenth edition of the #CdnCult Times is the final of our first volume (V01E10). The first edition of the second edition (V02E01) will be back after the holiday season on January 14. The Commissions (2.0) will be back that week with a new one on January 16.

As we look ahead to the upcoming second season of The SpiderWebShow we hope achieve three things:

1)    Build on the successes of the first season by continuing to be a meeting place for online theatrical expression.

2)    Become a venue for new and exciting experiments with performance and online integration.

3)    Make an announcement that we think will have big impact on the above

Are you creating theatre that requires online integration? This post is an open call with no deadline to let us know about what you think should/could be here.

Season two begins with you.

Happy Holiday Season to all!

Sincerely,

Michael and Sarah

Policy, politics, Rhubarb

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Rhubarb35

The Rhubarb Festival did not receive Department of Canadian Heritage (DCH) funding. Read the letter and response here.

Nothing New

The DCH is an arm of the government in power. That was true under the Liberals and PC’s when it was used to promote “Canadian” culture abroad and in Quebec. (oh for the ¿golden age? of Separatism and Cold War.) This direct relationship is why the move to arms-length funding is historically so important. For all the work to be done on public funding systems, the arms-length nature is integral to having an arts culture that can be outside the direct influence of government ministers.1 The idea that the arts might have a role to play in democracy other than cheerleading or distraction is contained in this idea.

I disagree vehemently about the governments policy and ideology (see below) but I can’t feign surprise at DCH not supporting Rhubarb.

Policy beats politics

Rhubarb didn’t have their funding cut (a thing we can protest) – they applied,unsuccessfully, for a project grant (a thing that artists do all the time.)

A shift in policy to support “community” is hard to argue against. All across the arts we’re seeing moves for “engagement” and a focus on participation and an articulated relationship with “community.”2 It is difficult and unpopular to argue publicly for the need for governments to fund things that only benefit a relatively small group of people. That’s what back room lobbyists are for.

Quiet policy change is Harper’s preferred method of politics, because it doesn’t look like politics until it’s too late.

In addition, for decades arts lobbyists have been been making the economic impact argument, claiming culture and heritage delivered “tangible and measurable results” for a broad civic good. Those of us dissenting from this argument, or even trying to complicate it, were being ideologues and/or paranoid about the political and economic consequences.3 We were asked to sit in the back and not rock the boat.

Again, this decision, and the rest I predict we’ll hear about, comes as no surprise.

The Rhubarb Festival does not fit into the Harper Conservative world view.

When Harper says “Canadians”, queer Toronto is not who he means. Queer Toronto isn’t a community worth supporting. We are not going to vote for him, and the world we want is (or should be) radically different from the one that Harper and Co. desire.

Any blow back will only help with his base who have been convinced by decades of divisive politics that we live in a cultural zero-sum game. The only culture political danger is in Quebec and so the administrative / policy nature of the changes provides cover and little to nothing will be said publicly.

In negotiation, we’re well advised to find mutual shared interest and work towards a solution that benefits all parties.

This is not a negotiation. It is a debate, where multiple sides are appealing to a “third” party (people who vote) to declare a winner. We can be sad about this state of our politics but we shouldn’t be naive about the strategies being used by the other side.

What is to be done?

Democratic reform: Canada needs a new way of electing politicians. Here are someresources. I’m not informed enough to know what is the best way, but we need to force the boys and the batshit old school back rooms of both the NDP and the Liberals to get over themselves and start caring more about the country than power.

Regime Change: While I’m grateful for those able to stomach lobbying Conservatives, I’m not one of them and I have no faith in shared values. While none of the federal parties make me excited these days, Harper needs to go.

How? The big question.

Of course, I don’t know – but the story needs to change. The conservative movement excels at defining the story, of creating the zero-sum scenario and manipulating it to their economic and political advantage.

Arts groups arguing for more arts funding fits perfectly into their story of privilege, waste and entitlement. Artists and art lovers arguing against community programs and changes to a problematic structure fit perfectly too.

I will write to my MP and have written a letter of support about the impact Rhubarb has had on my life (HUGE!) for Buddies – but I am doubtful about the effectiveness of these strategies. They fit into the expected narratively too cleanly to disrupt it.

This post is long enough – proposals can go in the comments and I’d love to have this discussion and plan to write more on populism, art and how those things can become something worth standing behind.

* This article originally appeared on Minor Expletives & Better Questions from Jacob Zimmer.

  1. There is of course a slower creep of influence and priority, and this is potentially dangerous, but is a space we can be happy about the pace of change at arts councils.  ↩
  2. Community is a word that is almost meaningless now. Much of the time, I’m on the pro-community side of conversations. I’m still working on a populism I can stand behind. There has been a harmful separation between the “real world” and “artists” that has been created by a combination of factors including Reagan/Thatcher culture wars and artists moving to the academy and self-reference for stability and community. For me, this is a situation that needs changing and that change is complex and not the same for any two artists, arts organizations and “communities.”  ↩
  3. I’ve been a little obsessed with evaluation these days – about wanting to find a meaningful, helpful and rigorous way to do it. I think a lot of things we’re doing aren’t going very well and that we should have processes to review that and get better. Right now the main evaluation model in the arts is quantitative analysis of numbers of people and money transferring hands. This is not meaningful or helpful for most arts work – or social work for that matter. Something else is needed and we have to be involved in its creation or suffer under the needs of short sighted, idealogical politicians. ↩

#CdnCult Times; Volume 1, Edition 10

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This is the final edition of the first volume of The #CdnCult Times. It seems appropriate that each author poses some big questions about what happens now moving forwards.

Sarah Garton Stanley and myself address the question directly by discussing what we hope SpiderWebShow will be and do moving forwards into V2. Jacob Zimmer looks forwards in his post on funding for the Rhubarb Festival and what this means moving forwards in terms of advocacy. Zoe Sweet recounts how a Suzuki workshop challenged her expectations and how that could be extrapolated to how we practice theatre in a way that pushes the medium forwards.

Here we are at the end of 2013 and our first volume looking forwards to new possibilities and new approaches to theatre. Thanks to everyone who has engaged with us so far and we hope you will continue to challenge us to keep our own standards high.

Michael Wheeler
Editor-in-Chief: #CdnCult Times

 

 

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