A Monologue on the Future of Canadian Theatre

Last week, Martin Julien (at the UofT Centre for Drama) organized a "redux" of the 1973 conversation on the state of Canadian theatre, which followed fairly closely on the "crisis" identified by the Canadian theatres of the late 60s and early 70s, in which it was determined that a major fix was required to create a truly Canadian theatre. These events, of course, are the things we teach in Canadian Drama courses at universities across the country. The Farm Show, Leaving Home, The Ecstasy of Rita Joe; all those great Canadian plays that helped to define us, while companies like the Tarragon, Theatre Passe Muraille, Prairie Theatre Exchange, and more grew from little fringe companies to national creative cultural forces. This period saw the creation of the Arts Council System, providing some serious funding for theatre which previously had been scant. And to some extent, the 1973 conversation, while it identifies continued challenges, has a feeling of "job well done".

(you can view most of that 1973 discussion here: https://vimeo.com/88594280 )

Fast forward to 2015: How much has changed?

Interestingly, a quote from the first conversation strikes me as perfectly descriptive of the current situation; that "there is something wrong with a theatre that has been around for awhile and hasn't grown in any particular direction." Now this sounds horribly reductionist, but in many ways, it is true. Look at what is programmed. Where are the experiments, the gutsy new forms and new theatrical languages that help grow and engage an audience? Where are the directors, playwrights, and to some extent even actors under 35? Does the arts council system still fund in a way that promotes the continued growth of the Canadian theatrical voice, or does it reinforce that which already happens, with the emphasis on "community building." The conversation in 2015, while it raised some valuable points, I felt focused too heavily on how we make money. Yes, we need money to make theatre. But not as much as we might think -- some of the most exciting choices and creative solutions come out of an absence, and this is a challenge we need to take up with vigour, rather than whinge about. There is a certain conflict in the young theatre makers I see today (perhaps myself included). We rail at the system that we work doggedly to break in to, with an odd sense of entitlement to get funding, and yet we shy away from doing the very kind of work that got those now well-established theatre makers noticed in the first place. Paul Thompson, TPM's first AD and artistic leader of The Farm Show creation said it best during the 2015 discussion, and in many ways echoed what he said in 1973; don't worry about the system, make work. Make work with urgency and vividness, and scrape together. Make work outside the rules. Ask for forgiveness rather than permission.

Don't wait for someone else to validate your work. Write it, perform it, create it. If it is well done, someone will notice. If they don't, just get louder.

Now it may sound a little idyllic, but that's the theatre I want for Canada over the next 40 years. Theatre that breaks the rules, makes its own voice, and figures out the details afterward. This is what the theatre makers we study now did. If we want to make a mark, we need to do the same, or else we risk becoming a part of what Jordan Tannahill controversially (but somewhat truthfully) labeled as "boring".

Huff by Cliff Cardinal @ Native Earth Performing Arts

Cliff Cardinal's one-man show Huff isn't an easy night at the theatre, but that is what makes it so important. Beginning on stage with a bag duct-taped over his head, he proceeds through a monologue. This is no stage trick, the bag is really on his head, and we can really see the clear plastic contracting over the contours of his face as he tells us about the game. From this attention-getting starting point, Cardinal weaves through a story of a warrior and his wife, to their eventual children (Don't worry -- he takes the bag off his head before damage is done, but don't think that you're being let off the hook). The story weaves a large cast of characters and voices and perspectives, which aren't always completely clear; at times it was challenging to follow who was speaking, and Cardinal's mainly razor sharp physical and vocal transitions did sometimes lose their specificity. Nonetheless, the story that emerged was at once funny and emotionally shattering.

His playful use of comedy to lull the audience in positions us both as judge and possible saviour, and this is a challenging place to sit for 75 minutes. His jokes veer on the politically incorrect, edging the audience to take stock of when they are more prejudiced than they think they are, and point that judgement inward. Cardinal speaks the unspeakable loudly. And the audience have no choice but to notice.

I would be remiss not to speak of the elegant staging which transformed a small number of props and pieces of furniture into multiple locations and objects, through Cardinal's deft navigation of the world of the play.

This script is difficult. But it is difficult because it lays on the table and shouts all the things that we know in the backs of our minds but won't utter aloud. And it points to the flaws in the system we are all a part of and therefore share responsibility for. I urge you to read or see it if you can.

The show has closed in Toronto but is now embarking on a National tour. There isn't currently a Winnipeg stop, and someone should rectify this immediately.