Festival Archives - James Hutchison

Amanda Forbis and Wendy Tilby: 2023 Lieutenant Governor of Alberta Distinguished Artists

Posted on December 10, 2023February 2, 2024 by James Hutchison

Photograph of Amanda Forbis and Wendy Tilby

On September 16th, 2023, friends, family, and members of the Alberta arts community gathered in Medicine Hat to celebrate this year’s recipients of The Lieutenant Governor of Alberta Distinguished Artist Awards. This year’s recipients include playwright and theatre artist Mieko Ouchi, film and theatre performer Michelle Thrush and film animators Amanda Forbis & Wendy Tilby.

Chair of the Lieutenant Governor of Alberta Arts Awards Arlene Strom said, “Albertans can be proud of the contributions of these Distinguished Artists who have pushed the boundaries of art to reflect indigenous identity and expression, present a more inclusive and diverse view of Alberta’s history, and highlight the art of film animation in Alberta and worldwide. Each has contributed immeasurably to the development of the province’s artists, arts communities and expanding art disciplines.”

L to R: Clint Lawrence, Mieko Ouchi, Michelle Thrush, Amanda Forbis, Wendy Tilby, Photo Credit Randy Feere

Her Honour, the Honourable Salma Lakhani, Lieutenant Governor of Alberta said, “The women receiving the Distinguished Artist Award this year have offered important contributions to the arts in Canada. We have all been granted the opportunity, through their work, to learn and grow in our understanding of the human condition. Artists such as these are essential to the lifeblood of our communities, and we are truly fortunate to have them as cultural leaders in their respective disciplines, in our province and our country as a whole.”

I contacted Michelle Thrush and Mieko Ouchi to talk with them about their work and creative process. You can read those interviews by following the links above. I also spoke with Wendy Tilby and Amanda Forbis who are celebrated Oscar nominated and award-winning contributors to the art of film animation. Their unique visual style has captured the hearts and imaginations of audiences worldwide in ground-breaking short films that explore themes of human connection, environmentalism, and the fragility of life. In our conversation we talked about how their work has evolved over the years, the relationship between the artist and the audience, and what it means to be recognized for their work by receiving The Lieutenant Governor of Alberta Arts Award.

JAMES HUTCHISON

After thirty-plus years you have created a body of work including the three films you’ve produced together and those are:

When the Day Breaks nominated for an Oscar in 1999 and is a story about a pig living in a large city who witnesses the accidental death of a stranger.

Wild Life which was nominated for an Oscar in 2012 and tells the story about a young remittance man sent from England to Alberta to try ranching in 1909 and who is not in any way prepared for the harsh conditions of prairie life he encounters.

And The Flying Sailor which was up for an Oscar this year and is inspired by the true story of Charles Mayers a sailor who was blown two kilometres through the air and landed naked but alive after the Halifax explosion on December 6, 1917.

So, I’m wondering how have the types of stories and themes you’re interested in evolved over the years. What kind of stories did you tell when you began your careers and what type of stories are you telling now, and do you see any sort of path from that early work to the work you’re doing now?

WENDY TILBY

Well, it’s funny, having completed our third film together we’re only now realizing that they’re really all the same. They have similar themes. Preoccupations. When we’re coming up with an idea we’re not thinking, “Oh, yes – let’s do something along the same lines of the previous one.” In fact, we actually specifically don’t do that. But we have noted, and other people point out, that there is a kind of a common thread that I suppose could be described as connectedness. That’s one theme that keeps emerging. And we do seem to touch on death a lot. We’re not obsessed with death, but death is an element of each of the three films and it seems to be a way to talk about life, or aspects of life. If you look at When the Day Breaks, Wildlife, and The Flying Sailor that idea has just become a little more distilled over the years.

AMANDA FORBIS

I think death is a part of every one of them. In The Day Breaks it was primarily about the unseen and often unappreciated ways in which we’re connected to others. In Wild Life it was more about what happens when that connection is severed. And in The Flying Sailor he seems to me to be going solo. He may be reviewing his life and reviewing his connections but he’s on his own and I’m reminded of the line, “You’re born alone, you live alone, and you die alone.” It’s a very bleak statement but we hope that The Sailor isn’t as bleak as that.

WENDY

The explosion and the near-death experience of the sailor is a way for us to explore, in a nutshell, who he was – which is what often happens in near-death experiences. There is a review of life that many people have written about and so we wanted to get at that question – what is life? Is it our physical selves? We’re made up of bones and cells and vessels, but really what our lives are is a collection of experiences and connections and relationships and memories, all encapsulated in this bag of flesh.

JAMES

You’re talking about connections and earlier today I was thinking about how social media has changed the way we connect to the world just as an individual experience. Have you been pondering social media and these connections between people and has that interested you in any way as something you want to explore in your work?

AMANDA

It certainly interests us on a personal level and on how you navigate it because it changes all the ground rules. I’ll just speak for myself. I sometimes say extremely rude things about other drivers from the safety of my own car, and what social media does is it provides us all with our own cars and everybody feels free to say horrible things to other people.

WENDY

Yes, the trolls come out.

AMANDA

But on the other hand, it is a fantastic connection tool. Even at my darkest moments on Facebook I still like seeing my cousin Barbara on her recumbent cycling trips in Oregon. And so just like every single human endeavour it’s a huge mixed bag. But as to whether that will filter its way into our work remains to be seen.

WENDY

Obviously, we contemplate it in a way that everybody does. We marvel at it and how we are able to connect with people virtually. In our film When the Day Breaks – which was made in the late 90s – connectedness is illustrated by way of the plumbing and wires, the telephone and subway – the vessels that literally connect us in cities. That all looks very quaint now.

AMANDA

I never thought of that but it’s true. It looks totally quaint.

WENDY

How much has changed in a couple of decades is remarkable.

JAMES

I think about the telephone a lot because I remember the family phone. And so the family phone was in the kitchen, and people would call the family. So, I would end up talking to my aunts and my parent’s friends, and when my friends would call my parents would end up talking to my friends. It was more of a community and you touched base with many different people involved with the family because it was a family phone. And that has gone away. Now we have our individual phones and I’ve lost all those unexpected connections to people that just don’t happen anymore.

WENDY

We even had a party line for a while.

AMANDA

Yeah, a party line. That’s a connection you don’t want. It is weird how we’re simultaneously much more disconnected to people and much more connected to them.

JAMES

My next question was about how people access your work now. We have YouTube we have Vimeo we have all these ways for me to access stuff through the internet on my desktop on my home TV. Not that long ago about the only way to see your work was if they ran it before a movie or you sought out the NFB library. Do you think that connection has changed the relationship between the filmmaker, the product, and the audience?

AMANDA

Well, yes. Short NFB films used to seem more precious. Now content feels really disposable. How much do they upload on YouTube every day — it’s astonishing. When we started out you could work in the short-animated film area and if you made a good film it would have a shelf life of at least forty years, and it would be in the pantheon of NFB films, and I’m not even sure that pantheon really exists anymore. So that’s one way in which it’s changed.

And people used to ask, “How do we see your work?” And we’d say, “You can go to the library or you can go to the NFB library or if you’re really lucky you might be able to see it at a theatre or on TV.” And so, it’s really lovely to be able to just direct people straight to your work. And also to have our film, The Flying Sailor, on The New Yorker site brought us a massive audience we hadn’t had before.

So, there are tremendous advantages like that, but then there’s the horrible prospect of people watching the film on their phone. I don’t think there’s any filmmaker that likes to see that happen. A couple of times we’ve had people say. “Oh yeah, I watched it on my phone.” And they don’t say much about it – and then if they happen to see it in a big theatre they’re much more profoundly affected. It’s a totally different experience.

WENDY

And we really struggled with that, particularly with The Flying Sailor, because the sound was mixed in a new technology called Atmos, which is a souped-up Dolby with a lot of speakers. We’re not really fans of a lot of the gimmicks with sound but in this case when you experienced the film in a theatre with Atmos in just the right circumstances, it was fantastic. You felt the sound of the explosion viscerally and not in a gimmicky way. We’ve had to accept that very few people are going to see it that way.

JAMES

So, in theatre ten-minute plays are very popular. And I think ten minutes as a platform lets you break some conventions and look at stories in different ways and I’m wondering in what ways do you think the short film format allows you to explore things differently – to look at different subjects – and topics and to examine story.

WENDY

I think the length is appealing to us as animators because of the way we work. We’re like a little cottage industry. We like to do everything ourselves and there’s a handcrafted quality to what we do. The more people you get involved the more diluted that process is and it’s hard to find ten people to paint the way we paint or to draw the way we draw. And if more people are involved it becomes an assembly line. Animation, no matter how you do it, is onerous – it’s tedious – and it’s going to require a lot of hands the longer it gets. So, feature length animation always looks a little watered down in terms of the technique.

AMANDA

Well not always. It depends on who’s doing it.

WENDY

Well, they’re less idiosyncratic because it’s an assembly line. And also the budgets are such that to get the money needed to make a feature it has to be a money-maker. And what we do at the Film Board is not reliant on it making money. We’re making films as art and there’s no expectation it’s going to turn a profit. And so as a filmmaker and as an artist that’s a…

AMANDA

…gift…

WENDY

… and greatly appealing. So, nobody’s going to be after us about it being popular in that sense. And we like the concision. It’s like a poem or a short story. Everything we put in there is in there is there for a reason because it’s so much work. We wouldn’t put it in there if it wasn’t furthering our story. We’re striving to convey character in as few strokes as possible and that’s challenging and that’s interesting to us.

AMANDA

You come up with an idea for a shot and it has to convey a number of things. You’re trying to pack as much into every shot as you can and then you tweak it so it goes in a slightly different direction and it says more. And then you throw it out. Then you put it back in again. It’s a bit of a puzzle. A creative puzzle. And it’s a lot of fun and that’s something that I don’t think the long form does in the same way.

And as you say it frees you up from conventional dramatic structure. You don’t necessarily have to have a dramatic arc and a climax three-quarters of the way through and then have the character be changed and be a new person at the end of the story. You don’t have to follow those conventional structures because you’re not holding the audience that long, so we’re big fans of the short structure.

WENDY

Short animation is also is also a very rich form of expression. If you go to an animation festival and you see an evening of animation with one film after another it’s almost too much. It’s like too many candies at once because each one is so rich.

JAMES

I’m curious about your thoughts right now in regard to artificial intelligence. We’re just on the cusp of something changing and I’m not looking for any definite answers. But in the six months, it’s just been in the conversation. There are good things and bad things about it just like you mentioned before with social media. What are some of your general thoughts about AI and how do you feel it’s going to influence your work and the future of creation?

WENDY

A friend of ours, Jay Ingram, just published a book called The Future of Us. He was writing about AI just as ChatGPT was coming out – along with other major developments – and he kept having to update it. It was frustrating because even by the publication date the landscape was still changing. And so, it’s one of those things that’s almost impossible to talk about because the ground is shifting beneath our feet.

In our field people are nervous about it. And I think it’s actually more nerve-wracking when you think about it in the context of news and people imitating other people’s likeness or voice. And we work in advertising too and that’s a whole other ball game. I think in advertising it’s going to put a lot of people out of work, particularly in storyboarding or visualizing.

It’s actually a helpful tool because you can ask it to visualize a scene in three dimensions which is helpful for storyboarding and blocking the action. Whether it will replace what we’re doing remains to be seen, but what we’re doing is so specifically aimed at something that’s not AI that I hope that distinction will continue to be appreciated. But I don’t know. It is a little bit frightening and intriguing at the same time.

AMANDA

I think one of the things that bothers me is that since 1830 or whatever we’ve been looking at the extinction of craft. People who craft. Craftsmen. And what Wendy was saying is the people who storyboard and who do previsualization – these people who are deeply committed to that part of filmmaking – they’re out of a job. And that’s regrettable because humans are built to craft, and craftspeople always bring a depth to what they’re doing that cannot be imitated – in the same way that a handmade box is a completely different thing than a box that’s slammed together in a factory.

And then if you consider that we don’t even really understand how AI learns at this point and how it’s producing what it does we can’t really know where it’s going to end or if it’s going to end. And that’s pretty alarming.

So, the thing I have to lean on as an artist and I’m talking about the realm of really great art – that I’m not going to lay claim to – but a really great piece of art takes you somewhere that you didn’t see coming, or makes a point to you that you understand but it comes from way back in the depths of your brain and you recognize the truth of it. I would like to believe that’s beyond AI.

So, I trotted that thought out to our friend Jay and Jay said, “Oh, bullshit.” (laughs) He said, “It’ll get there.” And then I thought, “Well he’s not an artist. I don’t know if he necessarily feels that in the same way as I do.”

WENDY

Well, it brings up so many bigger questions about consciousness and what it is to be human and the big question of whether or not machines will ever get there. We’ve played a little bit with Midjourney and it’s a program where you can tell it to give you an image of a man running down a hallway…

AMANDA

…in the style of Picasso…

WENDY

…carrying a briefcase and see what comes up. And it’s very good at ultra-realism and it’s astonishing really what it does but it’s quite boring. A lot of people would be seduced by it and enraptured by the images that it gives you. We didn’t really like them but we were impressed by it that’s for sure.

JAMES

You’re one of this year’s recipients of the Lieutenant Governor of Alberta Arts Awards and so what was that evening like – you know – where everyone gathered to honour the recipients? What sort of weekend was it like and what does it mean to be recognized for your work by receiving that award?

AMANDA

The evening itself was – what’s the right word – it was elegant. It was really a wonderful event, and everybody involved with it did such a great job, and Salma Lakhani was fantastic. I don’t know how to get past saying all these effusive things, but it was a beautiful evening, and it was actually a genuine honour to be there. The whole weekend was really fun.

WENDY

And two dear friends of ours were also there. Part of the award is you are able to honour one other artist. We actually sneaked in with two because there are two of us after all. And they were there and that made it especially fun. It was more fun than the Oscars.

AMANDA

It was more meaningful than the Oscars.

WENDY

And much less stress.

AMANDA

And I don’t think we’ve necessarily been on Alberta’s radar (if I can even say a strange thing like that) so to get that honour at a provincial level and to be declared someone of note in the Alberta Arts scene felt pretty great. Of course, at the Oscars, you talk to lots of people who have interesting things to say about your work and care very deeply about animation, but really that kind of all gets swept aside for the grand pageant and the promotion. But to be nominated for the LG award by somebody in the Arts community and then have it juried by the Arts community is very meaningful. It’s much more meaningful than measuring success by whether or not our film was on a billboard on Sunset Boulevard.

Written in Stone Premieres at the Newmarket National Ten Minute Play Festival

Posted on July 18, 2019September 28, 2023 by James Hutchison

Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.

Michael Halfin, Artistic & Executive Director Newmarket National Play Festival “I have always been fascinated by the 10-minute format. I find it exciting and I had my senior students write 10-minute scripts for production every year. I came to see that this was a format akin to the studies visual artists do before they explore a concept on a larger canvas. Playwrights such as ‘Tennessee Williams and William Inge explored these short versions of plays before they expanded them into full-length scripts. So, what is wonderful about the format, is that it is an invitation for EVERYONE to write. For EVERYONE to have a voice because it’s a format wherein even the novice playwright can find success.”

Heather Dick, Director Written in Stone“For me, one of the themes the play explores is the traditional corporate structure and goals such as getting the corner office and the expense account at the cost of perhaps personal integrity and values. Changing the genders allows us to question how women have perhaps succumbed to following these traditions in order to take their place in the business world both as employee and owner. I’m hoping that an all-female cast will start people talking about and questioning female roles and power within a corporate structure, especially as God is presented as a woman.”

I’m very excited to announce that for the second year in a row I have a play being produced in the Newmarket National 10 Minute Play Festival. Last year my drama Valentine’s Day which is a story about a recently widowed old man named Tom remembering the day fifty years ago when he met the love of his life, Heather, was part of the festival. This year my short comedy, Written in Stone, which is about the creation of the Ten Commandments is one of twenty-four new plays being premiered from Monday, July 22nd to Sunday, July 28th. The NNPF is a festival dedicated to Canadian plays and the diverse voices of this country and takes place forty minutes north of Toronto in Newmarket Ontario.

It took Charlton Heston, Cecile B Demille, and Hollywood $122,000,000 million dollars, adjusted for inflation, and 220 minutes to tell a story I can tell in 10 minutes with a much smaller cast and budget. Of course, I didn’t really cover the part of the story where Moses is set adrift as a baby into the reeds and grows up as a son of Pharaoh, and I didn’t deal that much with the 10 plagues, although I mention it, and the Exodus doesn’t really appear in my version of the story although it obviously happened because Moses is heading up Mt Sinai to get the commandments and he had to cross the Red Sea in order to get there.

The plays are grouped into four themed Pods with six plays being presented in each Pod. Tickets are just twenty bucks per Pod and each Pod is presented four times during the festival. Written in Stone which is part of the “you|TURN” Pod tells the story, as mentioned before, about the creation of the Ten Commandments but it’s also about the reason man was given a soul, and how Lucifer ended up in hell. The production is being directed by Heather Dick and stars Bridget Bezanson as Michael, Meredith Busteed as Lucifer, Stephanie Christiaens as Gabriel, and Alexia Vassos as God. Other plays in the “you TURN” Pod include Running Low by Jessica Ayana-May where a misty morning jog along a mountain trail leads to a disturbing discovery and Penance by Peter Genoway where the un-cloistered truth leads two nuns into conflict. This pod is suitable for most ages and is described as: “When travelling the winding road, it’s hard to see the curve that lies ahead.”

If your tastes run a little more mature you might want to see the “end|RUN” Pod which has plays dealing with mature themes, and contains adult language, and violence. This Pod includes Plus ça change by Genevieve Adam where a royal romping rumpus disrupts the king’s court and Not Going Nowhere by Natalie Frijia where more than a house is reduced to ashes as the fire rages on. This Pod is described as: “If the end is inevitable, why didn’t we know that from the beginning?”

The third Pod called “stand|OUT” includes a story about a lonely woman who hopes a furnace repairman can restart her pilot light in a play by Jerri Jerreat called Seducing Harry and Nothing but the Tooth by Jody McColman which is an incisive story about a cash transaction that goes hilariously awry. This Pod is suitable for most ages and its description reads: “Sometimes, a door isn’t locked; It’s just stuck in place.

“Life belongs to the living, and he who lives must be prepared for changes.” That’s the description of Pod number four: “after|LIFE”. Plays include Dispatch by Andrew G. Cooper about a 911 operator coping with the unceasing trauma of the job and Like a Kite by Ron Fromstein where the traditional family dinner goes up in smoke in this half-baked comedy. This pod is intended for a mature audience as it contains disturbing scenes and deals with mature themes and language.

A few weeks ago, I did an interview with Michael Halfin the Artistic and Executive Director of the Newmarket National Play Festival to talk with him about this year’s festival and his thoughts about the importance of Art as well as an interview with the director of my play Heather Dick.

Michael Halfin – Founder, Artistic and Executive Director Newmarket National Play Festival

JAMES HUTCHISON

This is year three of the festival and it continues to grow. What have you retained from the past two years and what have you added or improved on the festival for this year?

MICHAEL HALFIN

I am very excited about our partnership with the Newmarket Group of Artists. We explored the idea of combining a visual arts interpretation of our pod themes in year one with some success but went another direction last year. This year, we’ve returned with more lead time to the idea of the art exhibition, and I’m thrilled that we have close to 50 pieces linked to our four themes. We are offering guided tours of “NGA-EXPLORE” that focus on the theme of one pod at a time. Patrons explore a theme—like after|LIFE—as a visual art experience, then they go up and see the performance art exploration of that same theme.

JAMES

So, every year the festival selects twenty-four plays and you put those plays into four individual pods that are focused on particular themes. And last year you told me you don’t “theme” the festival and people can write about whatever they want, but what you’ve discovered is that playwrights are attuned to the Zeitgeist and seem to write around particular themes on any given year anyway so the plays seem to naturally group around particular themes and that seems to indicate that playwrights are responding to issues and events of the time, and so I’m wondering what do you think the themes at this year’s festival tell us about what’s on people’s and playwrights minds?

MICHAEL

That, sir, is a great question. I don’t want to be too pinned down on that one because we collocate words as pod themes. That is, a pod like After|Life can be read and interpreted in many different ways such as: Someone is after your life which is threatening; the afterlife we know from our faith systems; the pursuit of happiness and people’s dissatisfaction with their life as it is because it seems like people are chasing after the life they think they deserve rather than the life they are living; a new reality such as climate change means we are now living life after a change from the way we’ve always lived it. And that’s as much as I’m going to give you because if I deconstruct the various interpretations of each pod theme, I’m ruining the fun for the playgoer. And, in any case, there’s the after-show talks where people can explore how the pod theme applied to each of the six plays in it.

JAMES

Over the last few years, I’ve entered a lot of ten-minute festivals and they’re not all equal in terms of their treatment of writers and artists. One of the things I really appreciate and like about the NNPF is the amount of exposure and support and professionalism you offer the winning playwrights and participating artists. You put a biography online for all the playwrights, directors, actors, and production staff with links back to their websites if they have one. You promote the festival as well as individual playwrights and artists through your social media including Facebook, Instagram, and Twitter. You are a Canadian Actors’ Equity Association production under the Festival Policy. You offer playwrights that can come to the festival an opportunity to do a public reading from another work. Plus, and this is a big plus, all playwrights receive a royalty for the production of their plays. To me, you really set the standard for what a 10-minute play festival should be especially when asking to premiere new work. I’m curious, how did you arrive at this vision and decide this was the way you wanted to produce the festival?

MICHAEL

Wow. You’re forcing me to put as much thought into my answers as you are putting into your questions. I guess this idea had been growing in my mind for many years. As the Coordinator of the Regional Arts Program at Huron Heights Secondary School, I wanted kids to know what Canadian Culture is. To that end, I conceived what we called the Canadian Play Festival, which I ran for 25 years and the school is still producing to this day. In any given year, we produced 6-7 Canadian Plays. I would order 60 or so scripts a year from Playwrights Canada for student directors to comb through and select what we should produce. I am proud to say that Playwrights Canada told me that Huron Heights had the largest library of Canadian plays in the country.

I have always been fascinated by the 10-minute format. I find it exciting and I had my senior students write 10-minute scripts for production every year. I came to see that this was a format akin to the studies visual artists do before they explore a concept on a larger canvas. Playwrights such as Tennessee Williams and William Inge explored these short versions of plays before they expanded them into full-length scripts. So, what is wonderful about the format, is that it is an invitation for EVERYONE to write. For EVERYONE to have a voice because it’s a format wherein even the novice playwright can find success.

Newmarket National Play Festival Table work and Rehearsals — Table work and Rehearsals for this year’s National Newmarket 10 Minute Play Festival. Photo Jason Wighton.

JAMES

The arts would not exist without partnerships and support from the community, local business, and governments. I think the success of your festival indicates you’ve spent the time and energy to develop and nurture those partnerships. How did you go about creating those partnerships and what do your partners get out of participating and supporting the festival?

MICHAEL

I couldn’t ask for more from our principal partner, The Town of Newmarket. We had our table read on Tuesday, July 2nd and the Mayor and half of the town councillors came out to welcome the 24 companies. How do I get that kind of buy-in? I honestly don’t know. I just believe that we can do things in better and different ways than people have done before, and others seem to want to ride along on this dream. But, honestly, it’s very hard work. It’s 365 days a year, it’s—literally—walking up and down the same street dozens of times to talk to people, thousands and thousands of emails and phone calls, and pitching, pitching, pitching. My dad was a salesman and when he retired, my mother wanted me to take over his business. I said, “No, mom, sorry, I’m not a salesman.” I realize, now, that I am very much my father’s son. He said to me once, “Michael, you can’t sell anyone something they really don’t want to buy.”

JAMES

You often hear people question the value of arts and yet music surrounds us. We hang paintings on our wall. We watch television. We go to movies and music festivals. And many of us paint and play instruments and write fanfiction or poetry. So, we are surrounded by art and consume art on a daily basis. To remove art would be to remove much of what gives life value and meaning. Because it’s a national play festival how do you think the NNPF contributes to the artistic and cultural life of our country?

MICHAEL

Another great question and I’m not going to give you a cliché answer. I spent 35 years as a drama educator and the last 20 of those as a very vocal arts advocate. You’d think that the point you’ve made here is obvious—why wouldn’t the “Everyman” realize what a huge consumer of arts and culture he really is? Well, do we actually have to concentrate on breathing, or do we just autonomically do it? Well, that’s the arts. We breathe it in and out and don’t realize how it sustains us and is the life’s breath that permeates our collective consciousness. That’s why the NNPF, through the art exhibition, the director/actor talk back sessions, the pints with the playwrights, the staged readings of plays we are helping to develop from 10 minutes to full-length scripts, the playwriting workshops, and of course, the playwright readings are all about connecting the artists with their audience and the audience with their artists. We have 16 of 24 playwrights coming to the festival this year and many of them, as you can see from their biographies, come from all over Canada. Whether it be Newfoundland or B.C, our regions shape our views. Those regional voices come together here, and I feel, help us articulate what it means to find our unity in our diversity.

JAMES

Last year you told me a little bit about your vision for the future of the festival so I’m curious about where you’re at with your vision of expanding the festival to go beyond the ten-minute play?

MICHAEL

Well, as I just referenced, we are taking two scripts that were introduced at last year’s festival and are performing them as staged readings with two performances each on July 22 and 23. One show, in particular, has had a lot of dramaturgical support from us and the playwright has told me that the script has grown enormously through the process. My guess is our next step will be to do full productions on plays like this as either an adjunct to the summer festival or as part of a winter season.

JAMES

Okay, so my play in this year’s festival is more or less a discussion about the Law of God and what those laws should be. If you had the power to add a commandment to God’s Law what would it be? What do you think is a good guiding principle for mankind? And just so you know it can be serious or otherwise. My own favourite unserious but highly beneficial commandment would be, don’t forget to floss.

MICHAEL

Yes, I do have an 11th commandment, and I’m quite serious about it. It is, “Thou shalt not be mediocre.” I find wayyy too many people are satisfied with doing the minimum; that, well, that’s good enough. Nothing is ever good enough. Luisa, a character in The Fantasticks, exclaims, “Oh, God. Oh please. Don’t let me be normal!” That’s the point. Don’t be normal—be excellent!

JAMES

Final thoughts? Anything you want to add?

MICHAEL

I really appreciate your kind words about how we respect the work of the artists who participate in NNPF. This is a place where you will find respect and the freedom to create.

***

***

Actors, directors, and designers all make significant contributions to bringing a play to life and no two productions are ever going to be the same so it’s always fun to get a chance to talk with the people putting your work before an audience. I asked Heather Dick, the director of my play a bit about her own theatre company as well as some questions about working on Written In Stone.

JAMES HUTCHISON

Heather, you’re the founding Artistic Director of the Sirius Theatrical Company. Tell me a little bit about the company and how it started and what type of theatre you generally produce?

HEATHER DICK

I founded the company in 1989 because I was interested in creating theatrical performances and working on roles that inspired and challenged me in ways that I wasn’t being cast at the time. As is often the case, I was frustrated with the roles I was being offered and wanted to work on darker material and themes and to experiment with a variety of styles of theatre including traditional, site-specific, and others that would leave audiences questioning traditional perspectives. Founding the Sirius Theatrical Company gave me the opportunity to experiment and work in non-traditional ways. Now, the shows that I produce are very connected to the community in which I live and work and incorporate themes and issues that are relevant to the people who live here.

JAMES

Have you found that the themes or types of the plays you produce now compared to when you started the company are different and if so why and if not – why do you think that would be?

HEATHER

When I first began producing, I wanted to focus primarily on Canadian work and as much as possible new work. Since early 2006 I have produced large scale multi-disciplinary performance pieces that incorporate photography, dance, music and poetry as well as traditional scene work. I’ve also written several of the pieces, which I’ve very much enjoyed doing and which has sparked my work as a playwright. This work is very connected to issues that are specific to the community in which the company is located.

Gwyn Beaver, Dan Karpenchuk, Stephen Ingram in Valse Sentimentale (stand|OUT) by Wyatt Lamoureux, Directed by Trevor Curran. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton

JAMES

You’re directing two plays in this year’s Newmarket National Play Festival. Buried by Sarah Anne Murphy and my play Written In Stone. Tell me a little bit about what attracted you to these particular plays and why you wanted to tell their stories?

HEATHER

I loved both Buried and Written In Stone the minute I read them. They are as different as can be from each other in style, characters, setting and story, yet both grabbed my heart in different ways.

Buried is a mother/son relationship story and, as you might imagine, touches on so many aspects of the love and ties between a mother and her son. It is bitter, sweet, loving, sometimes pain-filled and sometimes full of joy and happiness. As a mother, I understand how hard and scary it is to let a child fly on their own when all you want to do is, perhaps selfishly, keep them close. As a daughter, I understand the need to be my own person unbound by parental issues and needs. I wanted to share all of this with an audience.

Your play, Written In Stone, had me laughing but also asking myself, “Could this be the way the ten commandments were written? What if……?” I love that it makes me reflect on traditional beliefs while taking place in such a contemporary corporate setting that everyone will be able to relate to the characters, their relationships and the questions it poses. I also love all the humour. I hope that people leave the theatre chatting about it and laughing too.

JAMES

When I originally wrote the play it was about God and three angels working on the ten commandments and it was intended for an all-male cast but for the NNPF we’ve recast the play so that all the parts are being played by women. I’m curious to know if changing genders offered any additional insights or new takes on the themes of the play?

Written in Stone at the Newmarket National Play Festival

HEATHER

I’d say ‘yes’ and ‘no’.

For me, one of the themes the play explores is the traditional corporate structure and goals such as getting the corner office and the expense account at the cost of perhaps personal integrity and values. Changing the genders allows us to question how women have perhaps succumbed to following these traditions in order to take their place in the business world both as employee and owner. I’m hoping that an all-female cast will start people talking about and questioning female roles and power within a corporate structure, especially as God is presented as a woman.

Written In Stone also looks at traditional stories/beliefs surrounding the creation of the ten commandments and asks us to reflect on whether or not they all still have value and relevance in the world as it is today, as represented by the modern corporate boardroom setting. I think this reflection stands whether the gender of the characters is male or female, so changing the gender doesn’t affect this questioning.

Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Bridget Bezanson in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Bridget Bezanson, Meredith Busteed, Stephanie Christiaens in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.
Meredith Busteed in the NNPF 2019 production of Written in Stone by James Hutchison. Directed by Heather Dick. Scenic design, Ellen Brooker. Costume Design, Madeline Ius. Lighting Design, Christopher Pattenden. Photo: Jason Wighton.

JAMES

HEATHER

Find a moment of laughter in everything you do.

The Last House (after|LIFE) by Andrew Paulsen. Photo: Jason Wighton

JAMES

What have been some of your discussions with the cast about the play and its story and themes?

HEATHER

I’m delighted with the cast. Everyone is bringing a sense of humour and play to both the rehearsals and the production. Bridget Bezanson is playing Michael, Meredith Busteed is Lucifer, Stephanie Christiaens is Gabriel and Alexia Vassos is God. Our wonderful stage manager is Ashley Frederick who keeps all organized and on time with a light and caring touch. To date, our discussions have focussed on character relationships – employee to employee, employee to boss, and jealousy – which are all relevant to many of the commandments and how we treat our fellow human beings.

JAMES

So, I asked Michael the same question, you often hear people question the value of arts and yet music surrounds us. We hang paintings on our wall. We watch television. We go to movies and music festivals. And many of us paint and play instruments and write fanfiction or poetry. So, we are surrounded by art and consume art on a daily basis. To remove art would be to remove much of what gives life value and meaning. I was wondering what you felt arts in general and the Newmarket National play festival specifically contributes to the artistic and cultural life of our country?

HEATHER

The Festival is a gift to the actors, directors, and production crew who have an opportunity to create and learn in a generous and supportive environment. For our country, it is building a stronger Canadian cultural voice.

DIRECTOR, CAST, and STAGE MANAGER

WRITTEN IN STONE

Heather Dick – Director

Heather is excited to be directing at the Newmarket National 10 Minute Play Festival for the first time. As a director, actor and voice artist she has worked across the country. Favourite directing credits include: Earth Tourist (Chandlier Factory Prods.), Forgotten Voices (World Premiere), Mail-Order Annie and Streethearts ( Sirius Theatrical Co.), The Art of Listening (Canadian Premier, Southern Mirrors Prods.), La Sante C’est Pas Sorcier (Waterwood Prods. – Ontario Tour), and The Peacemaker (Golden Horseshoe Players). For over 30 years, Heather has coached and taught workshops in acting, comedy and voice for many independent Toronto acting studios. She is also the Founding Artistic Director of the Sirius Theatrical Company (Toronto) where she currently teaches acting and voice and has produced multi-disciplinary performance pieces. Heather Dick is a member of Canadian Actors Equity Association. www.siriustheatrical.com

Bridget Bezanson in Written in Stone at The Newmarket National Play Festival.

Bridget Bezanson – Buried, Seducing Harry, Written in Stone

Bridget is excited for her third summer with the Newmarket National 10 Minute Play Festival. She is an actor and classically trained singer with credits in regional theatre throughout Ontario and Atlantic Canada. Favourite performances include Funeral Sandwiches (NNPF), Rockbound (Two Planks and a Passion), Love You Forever (Stirling Festival), No Way to Treat a Lady (Festival Antigonish), and Annie (Neptune Theatre). Other credits include voice work in radio drama and animation (CBC), radio commercials, and narration. A versatile vocalist, Bridget has recently performed at corporate events for Manulife and Shoppers Drug Mart, and performs regularly as a soloist and band singer. Bridget Bezanson is a member of Canadian Actors Equity Association. www.bridgetbezanson.com

Meredith Busteed in Written in Stone at The Newmarket National Play Festival.

Meredith Busteed – Secret Santa, Written in Stone

Meredith is thrilled to be joining The Newmarket National Ten Minute Play Festival this summer. She is a music theatre performer with credits in regional theatre throughout Southern Ontario and the United Kingdom. Favourite performances include The Wizard of Oz (Diversified Theatre), 9 to 5 The Musical (Edinburgh Fringe Festival), Assassins (RCS), Up the River (Thousand Islands Playhouse), Anne in Anne of Green Gables (MMT), and Mary in Mary’s Wedding (Theatre Kingston). Other credits include commercials with Rogers (Next Issue), Anti-mean tweets campaign (Sportsnet). A versatile performer, Meredith has also dedicated her career to teaching private voice, musical theatre and dance to the next generation of artists. @mabusteed

Stephanie Christiaens in Written in Stone at The Newmarket National Play Festival.

Stephanie Christiaens – Like a Kite, Written in Stone

Steph is excited to be making her debut at the Newmarket National 10 Minute Play Festival! She has been performing around Southwestern Ontario for over 20 Years and recently made her professional debut last summer at the Lighthouse Festival Theatre in Port Dover in Stage Fright. Favourite performances include The Day They Shot John Lennon (Players’ Guild of Hamilton), Noises Off! (Dundas Little Theatre), The Whores (Stage 88), Key For Two (The Aldershot Players), and Don’t Misunderstand Me (Act 4 Productions). Other credits include TV commercials (CTV London), independent film productions (Post-Life Productions), and reporting for Rogers Local access network.

Alexia Vassos in Written in Stone at The Newmarket National Play Festival.

Alexia Vassos – Nothing but the Tooth, Secret Santa, Written in Stone

Alexia is delighted to be involved with the Newmarket National 10 Minute Play Festival for the very first time. She is a recent graduate from the Theatre and Drama Studies program at the University of Toronto Mississauga and Sheridan College. Alexia’s credits include: Olga in Three Sisters (Theatre Erindale), Silenus/Therapist/Baucis in Metamorphoses (Theatre Erindale) and Maria in Twelfth Night (Theatre Erindale).

Ahsley Frederick Stage Manager Written in Stone at The Newmarket National Play Festival.

Ashley Frederick – Stage Manager

Ashley is thrilled to be participating in the Newmarket National 10 Minute Play Festival for her first time! Recent stage management credits include The Teeny Tiny Music Show (Hamilton Fringe, 2016), This Is War (York University, 2016) R.E.M. (York University, 2017), and InspiraTO Festival- Blue Show (2017). Ashley is also a performer, director, deviser, and founding member of Atomic Oddity Productions, whose first show After George premiered this year at the Devised Theatre Festival, and the Theatre Centre. Ashley will be graduating from York University’s Theatre program with a specialization in Devised Theatre in January 2020.

Matt Dy: Director of Script Competitions Austin Film Festival

Posted on October 22, 2018July 14, 2023 by James Hutchison

If you have ambitions of pursuing a career as a screenwriter or television showrunner then I’d highly recommend you attend the Austin Film Festival. I attended the 2018 Austin Film Festival Writer’s Conference and found it to be a very rewarding and exciting opportunity to connect with industry professionals as well as up-and-coming writers. This interview with Matt Dy, the Director of Competitions about the Austin Film Festival will give you a comprehensive overview of what the festival is about and why you should enter the competition.

Executive Director and Co-Founder of the Austin Film Festival Barbara Morgan talks with the 2017 AFF Awardees: Walter Hill, Keenen Ivory Wayans, and Kenneth Lonergan.

We all have favourite stories – favourite films – favourite television shows and books and plays – because these stories somehow reach us. They make us laugh, or cry, or reflect more deeply about life, or simply give us a momentary escape from our troubles.

That’s why I’m really excited to announce that my play Masquerade is a finalist in the stage play competition at this years Austin Film Festival – which is a festival that’s dedicated to story. Masquerade is about an empty nest couple, Sarah and Glenn, that have drifted apart. They were talking divorce and selling the house until they discovered a book called: A Good Marriage is Just a Fantasy by Dr. Ravi Shasta. Basically, it’s a book about exploring your sexual fantasies with your partner. Unfortunately, sometimes what is real and what is fantasy can become blurred and what was intended to bring a couple closer together can sometimes drive them apart.

The Austin Film Festival is a celebration of film and television that focuses on story and the people who write the screenplays and teleplays. The festival features industry professionals as well as up and coming writers. I’ll be flying down to Austin to participate in the festival as well the staged reading of my play. I gave Matt Dy, the Director of Competitions for The Austin Film Festival, a call to talk to him about how the festival began and what participants can expect.

Gabbi Lindgren, Script Competitions Coordinator & Matt Dy, Director of Script Competitions – Austin Film Festival

JAMES HUTCHISON

The Austin Film Festival was founded in 1993 by Barbara Morgan, who still serves as Festival Director, for the purpose of furthering the art and craft and business of screenwriting and filmmaking. So, I’m curious over the last twenty-five-year history of the festival how have those founding goals been developed?

MATT DY

The Festival was also co-founded by Marsha Milam who is still involved in a limited capacity, but Barbara Morgan is sole Executive Director for the Festival now. The two of them started the festival because they felt there was a need for a community like this. There really wasn’t a writer’s festival let alone very many screenplay competitions at the time. There were maybe a handful and now there are hundreds of them in existence, but we’re one of the original ones which is a really nice thing to be able to say.

The thing that still remains intact over the twenty-five-year history of the festival is our goal and mission to champion the screenwriter. We’re now open to playwrights and eventually we may become more of a hub for all forms of story because we’re also expanding into fiction podcasting and we have a digital series component as well – content for the web – so there’s a lot of different formats that we’ve embraced over the years but the mission to champion the writer is still the same.

First Day of the Austin Film Festival in 2017 – a room full of storytellers.

JAMES

You know when I think of successful screenwriters they might have different success stories but I’m wondering if there might be a couple of qualities that sets the successful screenwriter apart and I’m thinking one of those qualities is having a dedication to the craft. In what way do you think a dedication to the craft benefits a writer’s career and development?

MATT

That is absolutely essential and it’s easier said than done. I’m a writer as well and I tend not to take my own advice – to write every day you know – you hear of people who have nine to five jobs and they’re married, and they have kids, and maybe they have a second job, and they still make time to write. So my thing is to not make excuses anymore and just do it. It is about dedication. It is about finding time to write because, as a writer, you want to treat the writing as if it’s going to be your job. You need to set deadlines and goals and that’s why competitions are a great thing for writers because you work towards a deadline to get your script in for the competition.

It’s also teaching you about persistence. You’re a finalist in our Stage Play Competition. You’re in the top three out of 655 plays that were submitted but a lot of people that didn’t make it as far as you have may actually have a really good play and we may have overlooked it because – it’s a little bit of the luck of the draw – trying to find a good match for the reader that might respond to it. It’s a human process, and it’s incredibly subjective, so you’re going to get different results from different competitions, and so it’s also about being persistent and moving on and entering the next competition

JAMES

Enter other ones or give it a rewrite and enter again.

MATT

Yeah, and you’ll find that exists in every creative field. And if you pick any popular film or stage play that has gotten produced – if you talk to those writers they will tell you consistently that they had so many doors closed on them – so many people told them this would never get produced or shouldn’t be produced and yet they still got it produced. And so the writer’s process is to write every day and stay persistent, stay focused, and write the story you want to tell.

Writer, director, actor Dennis Hopper at the Austin Film Festival in 1997.

JAMES

You said you’re a writer yourself so I’m just wondering from your own perspective – because you’re surrounded by writers – what does keep someone going? I mean those rejection letters are piling up and you work for years for little money…what is that keeps writers going? Why do they keep writing stories?

MATT

Passion. Love. A lot of playwrights are incredibly passionate – they love their work – they do it for the love of the art – and I think a lot of screenwriters feel the same way. It’s a dream and if you don’t have a dream it’s hard to find the motivation to get up each day and work on that passion project

JAMES

I wonder if part of it might be realizing that when you sit down at your desk to begin the research, the writing, the outlining or just diving into writing your script you might be starting a ten or fifteen or twenty-year journey in order to realize that project.

MATT

Absolutely. Everybody has their own process. There are some writers who end up having one project that they spend their entire lives working on, but there are other writers who work on many different projects all at the same time because they know their one pet project may not be the one that gets them discovered.

JAMES

The festival has a number of writing competitions. You’ve got the feature-length drama. You’ve got the comedy feature. Horror. Sci-fi. So you’ve got lots of different categories, but I’m wondering, regardless of the genre, do you notice anything that the winning scripts seem to possess? Something in them that makes this writing stand out.

MATT

I think if I had to pin it on one thing it would be stories that have that unique voice – that unique perspective. Those stories end up winning or advancing in the competition. It’s always their unique spin on a familiar story. A different perspective so that when you’re reading it you go, “Oh that’s brilliant. I wasn’t expecting that.”

Each writer is going to have their own perspective on the world and so their version of a story is going to be different than someone else’s version of the story, and you can tell when they’re writing something for themselves for the passion and for the love of their story rather than when they’re trying to write something for the masses that they think would sell.

Writer/Director Robert Altman – M.A.S.H., McCabe & Mrs. Miller, Nashville, and The Player talks with screenwriter and actor Buck Henry – The Graduate, Get Smart, and Catch 22 at the Austin Film Festival.

JAMES

You bring up an interesting point because I just watched Get Out which was a huge hit last year and so I’m wondering when you have a hit like that – a film that, you know, is well made, does well at the box office, gets awards – does the success of that film, in the marketplace, influence the types of scripts you see being entered into the festival?

MATT

Oh yeah, not just the marketplace but also the climate – and what’s happening politically and what’s been happening in the industry with movements for diversity. All these different ancillary things that are happening in the world obviously effect what people are writing and submitting to the competition. You can definitely feel that when you’re reading scripts, and you’ll find that there are many people who are commenting on the current President and many of the other things that are happening in the Zeitgeist because we write to talk about and make sense of the world we live in.

Of course, there are going to be people who are going to try and anticipate what is marketable and usually if they try to emulate what’s popular right now they’re too late because those projects were long in gestation and they’re striking a cord now. As a writer, you should just continue to write what you’re passionate about and then something might happen to make your script a timely subject. There was a playwright here from last year in the playwriting competition who happened to write a play about immigration on a border town in Texas. It was a play she had written a long time ago that never got produced but she pulled that back out of her drawer because she knew this is the time for it.

JAMES

Well, let’s talk a little bit about the festival. There are two components. There’s the film festival and there’s the conference and the conference is filled with industry professionals and established as well as up and coming writers. What’s the conference part of the festival about?

MATT

I like to call it summer camp for screenwriters except it’s only four days. It sort of has that Kumbaya feel when you first arrive. It’s palatable – at least for me. You know you can stereotype writers and say they’re all an isolated bunch who are very introverted who don’t like to converse or be communal, but I find that even the most introverted screenwriter, deep down, really wants to connect, and I think when they realize that wow, I’m not the only one who feels that way, and they come to a conference where it’s a bunch of introverts and a lot of thinkers and creative types who are just like them then the walls start to come down. And we try to make it easy for them to get to know each other and just converse and make friends. Usually without fail that’s what happens.

Samuel Weller, Allison Norlian, Sean Collins-Smith, and Emily McGregor at one of the many mix and mingle functions at the 2017 Austin Film Festival

MATT

I also think a lot of people come to the conference with the goal of getting their script sold and produced or getting an agent or manager but that rarely ever happens at the festival. I like to think of the festival as an incubator where things just take time to develop. Like you’re planting the seeds. You’re making connections with people you wouldn’t normally be able to meet. If you place in the competition you’re going through a special track of panels with people who are just like you – quality writers, talented people with great ideas, so you’re in a very talented room with people that you’re going to several events with and you never know you might find your next collaborator or somebody who would love to read your work and would introduce you to somebody that they know in the industry and so usually those are where most of the success stories come from.

JAMES

As a participant in the conference there are panels there are readings what kind of things are happening?

MATT

Everything that happens at the conference is about the creative and business sides of story, so if you want to learn about other people’s writing process and how you can apply that to your own writing you can do that, or if you’re really wanting to understand how it works in the TV writers room we usually have that covered. We have pitching opportunities, we have script reading workshops, we have an indie filmmaker track as well if you’re a filmmaker and want to learn more about microbudget filmmaking. We have a playwriting track. We have a panel that covers writing for webisodes. We have a script to screen series where writers will show a few clips from their film or show and show the process of what they wrote and how that translated to the screen. We have a conversation series with people who just talk about their career in general and usually, those are the bigger people and in particular our awardees like Tony Gilroy

Barbara Morgan co-founder and Executive Director of The Austin Film Festival hosts In Conversation with Kenneth Lonergan the writer/director of Manchester by the Sea.

JAMES

Why don’t we talk a little bit about that since you brought it up? As part of the festival, you honour screenwriters and filmmakers, and the very first person that was honoured at the festival was Horton Foote who wrote Tender Mercies and adapted To Kill a Mockingbird for the screen, and then last year you had Kenneth Lonergan at the festival who wrote and directed Manchester by the Sea. Who are you honouring this year and why?

MATT

I mentioned Tony Gilroy who is a screenwriter and filmmaker. He’s somebody that we’ve tried to get for a very long time. We try and find people that have a rich history of contributing to storytelling and also have an ability to be accessible to our audience because that’s something we also pride ourselves in is that you have an opportunity to meet Tony Gilroy and talk with him or meet somebody like Vince Gilligan the creator and showrunner for Breaking Bad who took the time to meet everybody when he was here for the festival.

Tony Gilroy is the writer/director of the Oscar Nominated thriller Michael Clayton starring George Clooney. He also wrote the first three Bourne films and co-wrote and directed the fourth film in the franchise. More recently he is the co-writer of Rogue One: A Star Wars Story and the writer/producer of the political thriller Beirut starring Jon Hamm and Rosamund Pike.

MATT

Another awardee we have this year is Daniel Petrie, Jr. who we’re giving our Heart of Film Award and we invited him because he’s been involved with the festival for such a long time and he really loves our festival and he’s very giving and he comes almost every year and we even gave his production company a category the Enderby Entertainment award because his company produced a finalist script from I think 2008 or 9 from our competition and it premiered here at the festival, and they’ve worked with many writers that they’ve met here at the festival. And so usually we try to find in an awardee who has left a mark on the industry and is somebody who can share words of wisdom for the next generation of creators.

Daniel Petrie, Jr. will receive the Heart of Film Award for his many contributions to the film and television industry and his service to the screenwriting community. Dan’s screenwriting credits include the Oscar-nominated Beverly Hills Cop as well as The Big Easy, Shoot to Kill, and Turner and Hooch. Dan is also a two-term past president of the Writers Guild of America West and a long time panelist and supporter of the Austin Film Festival.

JAMES

And you’re also honouring Roger Corman. How many careers has he helped launch?

MATT

Yes, I know that’s another reason it was very clear why we chose him because when you find out all the careers he’s started you wonder why he hasn’t received more credit. It was clear for us that he needed to be an awardee.

Roger Corman has been credited with discovering such talent as Jack Nicholson, Francis Ford Coppola, Diane Ladd, Peter Bogdanovich, Martin Scorsese, and James Cameron. He is the director of over 500 films including Little Shop of Horrors, Death Race 2000, and The Pit and the Pendulum. Corman’s company New World Pictures was also a distributor of foreign cinema including the work of Francois Truffaut, Akira Kurosawa, and Federico Fellini.

JAMES

And then you’ve got Larry Wilmore.

MATT

Yes, and he’s somebody else who has been so great as well. Somebody who has been great talking with our attendees and very giving and very accessible as well.

Emmy Award winning Larry Wilmore has been a television producer, actor, comedian and writer for more than 25 years. Wilmore created the Bernie Mac Show which ran for five seasons on FOX and recently helped launch ABC’s Black-ish. On camera, Wilmore was the “Senior Black Correspondent” on The Daily Show with Jon Stewart and was the host of his own show The Nightly Show with Larry Wilmore for two years on Comedy Central.

JAMES

So, my play Masquerade is a finalist in this year’s Stage Play Competition and I’m really excited to be attending the festival, but I was curious about why you decided to add a stage play category to the film festival?

MATT

It was our Executive Director who had the idea to do it because we work with many playwrights, and we find that many screenwriters and tv writers aren’t just screenwriters and tv writers they also have plays and a lot of these people have been asking us to start a playwriting competition. A lot of playwrights living in New York City, for example, find it hard to make any money as a playwright so a lot of them make their money in TV. The Americans, House of Cards, Orange is the New Black those writer’s rooms took place in New York and a lot of them consisted of playwrights. We started the screenplay competition in 1994 because there was a need for something like that and so we thought this would be a great way for playwrights who want to make that transition into film and television to utilize the resources that we already have in place. And also to give recognition to your own play because the placement and the exposure your play gets from the festival could help get it produced because every playwright still wants to have their play produced.

JAMES

Let’s talk about the other aspect of the festival – so you’ve got the conference part but it’s also a film festival and the film festival runs for an additional four or five days after the conference ends. What are some of the highlights coming up this year as far as films go?

MATT

What I love about our film festival is that our mission to honour the writer still exists. All the awards that are handed out for the different categories in the film competition are handed out to the writers of the film. Not the director or the producer. You know when you watch award shows or you’re at a film festival and they announce the best picture they usually hand out the awards to the director and the producing team. Unless it’s a writer/director but usually the writer isn’t involved with directing or producing they just wrote the script. But at our festival, the writer is the one who actually receives the award. We put a stronger emphasis on the quality of the writing than the marketability or the production values of the films that are chosen to be in the festival. So story really is the thing that we look for the most.

Greta Gerwig the writer and director of the Oscar-nominated film Lady Bird attends the 2017 Austin Film Festival screening of her film.

MATT

The thing that’s nice about our festival is that we’re after Toronto after Venice – after all the bigger film festivals that have those Oscar contenders – and so we have a lot of those big films that end up getting nominated for Oscars. Last year, I think, we might have had nine or ten of them. We had Lady Bird, Three Billboards, I Tonya, Mudbound, and Call Me By Your Name.

JAMES

That was quite the lineup.

MATT

And while a lot of people are going to be gravitating towards the bigger marquee films that we have this year like The Favourite or Boy Erased or Widows you don’t want to miss out on all the other films that are playing within the film festival competition because those are films that you might not be able to see anywhere else anytime soon.

JAMES

So, as I mentioned this is my first time going to the conference. What basic tips or advice can you tell me about coming to the festival that I should know and would help prep me or anybody else who is going?

MATT

Well, get familiar with our list of panelists that are attending the festival and the conference. Find out if your screenwriting heroes are going to be here because they’re going to be out during the festival. They’re going to be at the Driskill bar and they’re going to be at the partner parties and their badge is just going to say their name. It won’t tell you any of their credits or if they’re a panelist. So you never know who you’re going to be standing next to and if you recognize them you can respectfully introduce yourself like, “Hi I’m a finalist in the playwriting competition.” And there aren’t very many finalists. There’s about fifty of you and that’s a huge difference from the ten thousand five hundred scripts that were submitted this year. And your badge will say finalist and you should wear that badge proudly and introduce yourself, “I’m James, I’m a finalist in the playwriting competition.” And that is something that will hopefully open doors. “Oh, you’re a finalist. Okay, tell me about your play.” And of course what’s also going to happen next is, “Well what else are you working on?” And so be prepared to talk about other work that you’ve written and of course be ready to talk about your play.

2017 Panelists Amy Berg, Eric Heisserer, Megan Amram, and Raamla Mohamed attend the Writers Guild of America West Welcome Party

MATT

You’d be surprised how many writers come here and they have a fantastic piece of work but they don’t know how to talk about it to people. So, just be prepared for that elevator pitch but I wouldn’t necessarily call it pitching at the festival because nobody really likes to be pitched to. A lot of these agents and managers and producers who are here are here to have a good time and to meet writers and contribute to the festival. They don’t want to be treated as if the only reason you’re talking to them is so you can send them your script – there’s so many people that are after them that they just want to be treated like a human being.

JAMES

Well, treat them like you would want to be treated if you were in their position.

MATT

Yeah, exactly and as a manager, it’s all about the relationship and so if that’s how you’re going into it they’re probably going to think I’m not sure I want a relationship with this person. And don’t forget about your fellow writers that are sitting right next to you because you know everybody comes here wanting to try and meet the panelist or agents and managers but it’s a chance for you to meet other writers like yourself and develop your network and friendships and your professional relationships.

JAMES

I was thinking about the legacy of the festival. And I have to say I really like what you guys are doing with the Austin Film Festival – On Story. Tell me a little bit about how that started and what you guys are doing with that part of the festival.

MATT

So, Barb our Executive Director had always envisioned that we would have a TV show and so she had the foresight to record all of our panels during the festival and to keep a record of it so that we could utilize it in some way one day. And we also had a lot of people who attended our festival asking if we had any recordings so there was a demand for it. And so we went through our archives and created a quality product that PBS loved and picked up and our marketing team has gotten us in almost all the markets for PBS and now On Story has expanded into a book and a radio show on PRI and we have a podcast as well. So On Story has really become its own brand and people really love it.

JAMES

I watched a couple of them on YouTube and shared them through Facebook, and Twitter and Instagram. I watched Carl Reiner talking about the early days of working on the Dick Van Dyck Show and it was really interesting, and I watched Kenneth Lonergan who you had here last year and I thought it’s nice to have those things available.

Vince Gilligan creator of Breaking Bad & Better Call Saul at the 2013 Austin Film Festival

MATT

And we’re proud to say we’re an Emmy award winner as well. We won an Emmy for our episode featuring Vince Gilligan whom I had mentioned earlier and actually, we’re nominated this year for an Emmy for our episode featuring Eric Heisserer the writer for Arrival.

JAMES

I’ll have to hunt those down and watch them. Are there any legendary stories from the festival that you can share?

MATT

Oh God. Legendary stories. Well from the first year the winning script in our competition actually got optioned and produced rather quickly. It was called Excess Baggage and it was written by Max D. Adams. It had Alicia Silverstone and Benicio Del Toro in it.

I believe the first screenwriters’ conference for AFF happened at Willie Nelson’s old opera house, but it was run down, and it was rainy but somehow it brought people together, and you know we said magic happened there. I wasn’t around for it but this is what our director Barbara Morgan has said repeatedly over and over again – that magic happened there despite all the chaos because everybody was there because they believed in story and telling their stories. And a lot of big influential people from Columbia Pictures were there as well and they felt the magic too, and I think that helped encourage them to become more involved with us and to see us as a legitimate resource for writers, and they optioned that first script and produced it and that’s really what put us on the map.

Austin Film Festival 2017 Awards Lunch (L to R) Walter Hill, Extraordinary Contribution to Film, Keenen Ivory Wayans – Extraordinary Contribution to Television, Kenneth Lonergan, Distinguished Screenwriter

MATT

And you know what feels legendary for me each year is the Awards Luncheon and hopefully you’ll see that and feel that too when you’re here because the awards luncheon is where we celebrate the winners in the competition and win or lose it’s still a really great event because on that stage we are awarding up and coming writers from our competition and we’re also honouring the established writers like the Tony Gilroys, the Larry Wilmores, Roger Corman, Dan Petrie and so they’re all on the same stage together. And what’s so beautiful is that one of those awardees, almost without fail, will comment on what they’ve seen from the up and coming writers. They’re deeply moved by the time they get up on stage because they’re also not sure what to expect at our festival. So, when they see we’re really championing the writer and they’re hearing all the winner’s stories and we even have a young filmmakers award so they end up seeing young kids going up there and accepting awards too it makes an impact. And these kids are in awe of what they are seeing – you know these teenagers are seeing people from different backgrounds and ages winning our script competition and our film competition and then they’re seeing highly established people as well and so that’s really inspiring for the next generation of young people who are going to continue to create and write and tell stories. And for me, that feels legendary because everybody always comes away feeling so invigorated and inspired.

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The Austin Film Festival and Writers Conference runs from October 25th to November 1st. You can check out all the details regarding the Festival at their website online.

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AFF is pleased to announce the 2018 Script Competition Finalists and Winners. 51 scripts were chosen for the Final Round with one winner to be determined in each of the 13 categories. The winners were announced during this year’s Conference at the Awards Luncheon held on Saturday, October 27 at the Austin Club. (Winners in Bold.)

COMEDY FEATURE SCREENPLAY
Presented by Sony Pictures Animation

Sex APPeal by Tate Elizabeth Hanyok
Darryn the Bold and the Sword of Boldness by Justin Best
Meet Cute by Noga Pnueli
My Date Is Kate by Carlin Adelson
Orientation by Eve Symington

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DRAMA FEATURE SCREENPLAY
Presented by Writers Guild of America, East

Horsehead Girls by Wenonah Wilms
The Death of Colm Canter by Revati Dhomse & Hector Lowe
Dig Two Graves by Jared Schincariol
The Huntress by Abdullah Alhendyani
The Innocent and the Vicious by Dominique Genest & Nick Kreiss

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SCI-FI FEATURE SCREENPLAY
Open to science fiction, fantasy, horror, surrealism, myth/legend and fantastical storytelling.

Our Own Devices by Paul Vance
Darryn the Bold and the Sword of Boldness by Justin Best
No Man’s Land by Jeffrey R. Field & Michelle Davidson

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HORROR FEATURE SCREENPLAY
Open to thrillers, dark suspense, sci-fi, and macabre themes.

The Patience of Vultures by Greg Sisco
Blood of Israel by Davey Morrison
Shaky Shivers by Andrew McAllister & Aaron Strongoni

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ENDERBY ENTERTAINMENT AWARD
For feature scripts in all genres with an original concept and distinctive voice that can be produced for under $10 million. The production company was founded by Rick Dugdale and Daniel Petrie, Jr.

Project Horizon by Charles Morris
Grit N’ Glitter by Seth Michael Donsky
The Patience of Vultures by Greg Sisco
Put Your Hands In by Warner James Wood
Surfmen by Christopher Rhoads

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AMC DRAMA TELEPLAY PILOT
All Semifinalists will be reviewed exclusively by AMC who will determine the Finalists and eventual Winner.

Worth by Stuti Malhotra
Double Time Dames by Davia Carter
Liberty Falls by Robert Attenweiler
Lifers Anonymous by Sean Collins-Smith
Mindset by Ethan Solli & Ziba Sadeghinejad
Ticker by Connie O’Donahue & Jeremy Nielsen

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COMEDY TELEPLAY PILOT

What Will Jessie Do? by Kevin Luperchio
Band of Mothers by Sabrina Brennan
Bastards by Erin Muroski
The Last Abortion Clinic in Kansas by Tammy Caplan
Rice, Fish, and La Croix by Naomi Iwamoto

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DRAMA TELEPLAY SPEC

The Handmaid’s Tale: Rebels by Angela Jorgensen
Billions: Trust by Amanda Parham
The Handmaid’s Tale: The Abduction by Todd Goodlett

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COMEDY TELEPLAY SPEC

Unbreakable Kimmy Schmidt: Kimmy Volunteers! by Maggie Gottlieb
Better Things: Goy Vey by Robert Axelrod
Master of None: Headspace by Honora Talbott

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SHORT SCREENPLAY

Ruby Throat by Sarah Polhaus
Seat 23B by Eliott Behar
A War on Terror by Peter Haig

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SCRIPTED DIGITAL SERIES
Presented by Stage 13

Epizootic by Daniel Young
Halcyon by Jonathan Marx
hello, world\ by Michelle Sarkany

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STAGE PLAY

Particular Disposition by Benjamin Fulk
Masquerade by James Hutchison
Disposable Necessities by Neil McGowan

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FICTION PODCAST

The Rest Stop at the End of the Universe by Samuel Suksiri
Alethea by Katrina Day & Phillip R. Polefrone
Forces by Len Sousa
Welles D-11 by Simon Nicholas

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JOSEPHSON ENTERTAINMENT SCREENWRITING FELLOWSHIP FINALISTS
In addition to this year’s Script Competition Finalists, we are proud to announce the Finalists for the inaugural Josephson Entertainment Screenwriting Fellowship. This new opportunity will provide a one-on-one mentorship with producer Barry Josephson and his team in Los Angeles for the writers of one feature screenplay and one teleplay pilot.

***

Feature Screenplays

The Death of Colm Canter by Revati Dhomse & Hector Lowe
Darryn the Bold and the Sword of Boldness by Justin Best
Meet Cute by Noga Pnueli
The Patience of Vultures by Greg Sisco
Sex APPeal by Tate Elizabeth Hanyok

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Teleplay Pilots

Lifers Anonymous by Sean Collins-Smith
Band of Mothers by Sabrina Brennan
Mindset by Ethan Solli & Ziba Sadeghinejad
Ticker by Connie O’Donahue & Jeremy Nielsen
Worth by Stuti Malhotra

***

This interview has been edited for length and clarity. Revised on November 26, 2018.

Newmarket National 10 Minute Play Festival Celebrates Canadian Theatre

Posted on July 23, 2018July 15, 2023 by James Hutchison

I’m very excited to announce that my play, Valentine’s Day, is one of twenty-four plays being produced at the 2018 Newmarket National 10 Minute Play Festival. The NNPF is a festival dedicated to Canadian plays and the diverse voices of this country and takes place forty minutes north of Toronto in Newmarket Ontario.

The plays are grouped into four themed Pods with six plays being presented in each Pod. Tickets are just twenty bucks per Pod and each Pod is presented four times during the festival. Valentine’s Day which is part of the “off BALANCE” Pod is about Tom who remembers the day fifty years ago when he met the love of his life, Heather. The production is being directed by Dale Sheldrake and stars Dan Karpenchuk as Old Tom, Tiffany Deobald as Heather, Kyra Van Den Enden as Karen, and Ilya Iyashyk as Young Tom.

Other plays in the “off BALANCE” Pod include Hero by Peter Cavell a sweet romantic comedy where even heroes need a hero and Funeral Sandwiches by Greg White where a grieving Barbara learns the truth about her husband and another woman. This pod is suitable for most audiences and is described as: “In life’s ledger, what we lose and what we gain always affects the balance.”

If your tastes run a little more mature you might want to see the “side KICKS” Pod which deals with mature themes, coarse language and sexuality and includes If the Shoe Fits by Genevieve Adam where a loyal knight, a glass slipper, and a pig farmer provide a new twist on an old tale and The Kiss by Janet Kish where Panda learns about the give and take of love in an innocent clown-like world. This Pod is definitely meant for a mature audience and is described as: “Best Buddies. Sidekicks? Boon companion or boot the companion? Relationships are so complex!”

The third Pod called “social ORDERS” includes a story about two unlikely refugees who encounter unanticipated obstacles when they try to cross the border in a play by Guy Newsham called The Other Side. This Pod is suitable for most ages and its description reads: “Independence. Interdependence. When there’s no comfort in conformity, something’s out of order.”

“Sometimes we get what we’ve longed for. Sometimes, what we get, is long overdue.” That’s the description of Pod number four: “past DUE.” Plays include Daphne of Evora by Samantha Machado which is about Daphne who faces a forced marriage to an English duke after being stolen from her homeland and Cataloguing the Stars by Andrew Lee where Agnes and Alex’s relationship is catalogued in notes that reach across the chasm of space and time. This Pod contains mature themes and is therefore intended for a mature audience.

Interview with Michael Halfin Artistic Director of the Newmarket National 10 Minute Play Festival

“We’ve received submissions from every province in Canada and from Canadians from around the world. We’ve received scripts from China, Tasmania, Australia, Ireland, many states throughout the U.S., and so on, and I think that Canadians are catching on to the idea that this is their festival.”

Michael Halfin, Artistic & Executive Director NNPF

Michael Halfin, Artistic & Executive Director NewMarket National Play Festival

I talked with founder and Artistic Director of the NNPF Michael Halfin and to Dale Sheldrake the director of my play about this year’s festival.

JAMES HUTCHISON

Michael, I understand you had retired and when we think of retirement most of us think of golf courses and trips to Europe and working in the garden, but after eight months of retirement, you decided to create a national festival of ten-minute plays. Where did the idea for the festival come from, and why did you take on the challenge of putting the festival together?

MICHAEL HALFIN

I’ve always been fascinated by the ten-minute play format, and as a drama teacher, I’d found it to be a great format to teach students dramatic structure, acting process, characterization…really the whole package that full length plays offer, without having to deal with pages and pages of text that kids are resistant to reading. Moreover, I’d read these plays and sometimes find myself weeping at the end – and they were only 10 pages long! It wasn’t long before I was getting kids to write their own ten-minute scripts and inviting professional playwrights into my classroom to dramaturge with them. The results were outstanding. I knew this was a format for writers, actors, and audience, and so the opportunity to create a national play festival exclusively for Canadian writers would be so inviting to playwrights because of the format’s tight structure and huge dramatic pay off just seemed logical to me.

As for retirement, I felt after 35 years it was time to leave teaching and apply all I’d learned in a different way. I’ve always been a creator, and I guess, it’s just impossible for me to stop.

JAMES

One of the things I really like about the festival is the fact that people have a chance to see twenty-four original Canadian plays. What has been the response from the playwriting community across the country, and why do you feel it’s important to showcase so many plays?

MICHAEL

I think what’s been most delightful to see in these first two years is where people are submitting scripts from. We’ve received submissions from every province in Canada and from Canadians from around the world. We’ve received scripts from China, Tasmania, Australia, Ireland, many states throughout the U.S., and so on, and I think that Canadians are catching on to the idea that this is their festival. We don’t “theme” the festival. People can write whatever they want, and what we consistently find, is that Canadians are attuned to the Zeitgeist and have a kind of “collective unconsciousness” and tend to write scripts on the same themes in a given year. So, we select twenty-four and they just naturally fall into the six-pack pods we build around themes that are common in those six scripts.

Breanne Dietrich, Jake Wilkinson, in A Little Reservation. Book & Lyrics by Trevor Curran; Music by JaeMoon Lee. Directed by Mandy Roveda. Photo: Jason Wighton – Newmarket National 10 Minute Play Festival

JAMES

The first year was very successful and in its second year, the festival is getting bigger and better having expanded from two days to five. What is your ultimate vision of what the festival can become?

MICHAEL

Ultimately, I’d like to see us expand into divisions of the festival that would be ten-minute, one act, full-length, and even full-length musicals, but for now, the most important thing is establishing that we are a credible, committed organization that respects creative artists and wants to open the door to the diverse voices of our country. And just as importantly, honour that ten-minute format that appeals to every generation–especially the i-generation people who want information fast and to the point. If we want theatre to be viable, we have to get the youngest generations into our houses.

JAMES

How is the community of Newmarket involved in the production and running of the festival?

MICHAEL

At the board level, all of us are volunteers. We don’t take a single cent from gate receipts for ourselves. Last year, we were overwhelmed by volunteers and we couldn’t find enough work for them to do. This year, we’ve identified our areas of need more clearly to make the best use of people’s time during festival week. We’ve also had tremendous buy-in by the restaurateurs and merchants in the downtown core who are giving ticket holders discounts on their meals and purchases. Just incredible validation from small business owners! And I can’t say enough about the Town of Newmarket itself. Without their support, this festival simply couldn’t happen. Lastly, we have a number of people in town who are billeting a number of our artists for the month of July. You can’t ask for better community support than that.

JAMES

Why should someone come to the festival?

MICHAEL

First, I think they should come for the plays! This is theatre for people who’ve never liked theatre. My 22-year-old son hates theatre, but even he likes this format. He said, “Dad, I know if five minutes in I don’t like the play, at least I know a new one is coming five minutes later. I don’t have to sit there being bored for two hours!” For experienced theatre-goers, the themed pods of six plays give them a full diet of what they’ve come for. We also build the festival around the plays. Last year, local visual artists curated an entire exhibition around our four pod themes, and we’ll be doing that again. We have 14 playwrights coming to do readings of some of their other work before the audience engages the performance of their ten-minute play. We have director and actor talkback sessions, historical tours, and have built Buskerfest into our program so people have lots of live performances to see on the streets. It’s fun. It’s great theatre and it tells us who we are as Canadians. All of these activities are free. The only thing you pay for is your theatre ticket. Somebody tell me where you can get more bang for twenty bucks?

***

Artistic Director Michael Halfin watches a rehearsal of actors Ilya Ilysshyk and Meghan de Chastelain in For the Love of Austen by Stefanie Curran, directed by Dale Sheldrake. Newmarket National 10 Minute Play Festival

Interview with Dale Sheldrake Newmarket National 10 Minute Play Festival

“Telling and hearing stories keeps us in the emotional and intellectual company of one another. I think deep down, people desire to know they can rely on other people, and stories and theatre can offer that by creating a like-minded culture.”

Dale Sheldrake, Director Valentines’ Day

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One of the exciting things about having your plays produced at festivals is the chance to connect with the artists who are producing your play. I’ve made connections in England, and Australia and now in Newmarket Ontario. A few weeks ago I connected with the director of my play Dale Sheldrake.

JAMES HUTCHISON

Dale, you’re directing four plays in this year’s festival. Which plays are you directing and what attracted you to each particular play?

DALE SHELDRAKE

I’m directing Hero by Peter Cavell, For the Love of Austen by Stefanie Curran, Pausing At The Fringe by David Healey, and Valentine’s Day. Each play has aspects of love involved in its story: the need for love, lost and found love, new love, old love, restricting love, freeing love. These aspects of love shift and evolve in each play and reveal how present and important love is to every person’s day, existence and lifetime.

I was drawn to these plays because they’re well told but also because three of them have messages of hope in them regarding love. That’s a theme I like to share with audiences when possible. Valentine’s Day is different because of its context, but still, the main character, Tom, reflects on how his life was more meaningful than he could have ever hoped for because of his love for his wife Heather. So his hope is in reflecting on the love he had which comforts him in his current lonely life. That’s a nice twist.

JAMES

You’ve had a rich and successful career working in film and television on lots of different shows including The Handmaids Tale and Penny Dreadful. You’re a playwright and published poet, screenwriter, documentary filmmaker, a singer and a musician, and apparently make a mean Tex-Mex chili. You’ve worked in a lot of different mediums and have experience in a lot of different areas of production. With all these various skills what in particular do you use as a theatre director to help bring a story to life on the stage?

DALE

Everything, really. I love storytelling and can’t get it out of my system. Having experience in different entertainment mediums and settings has been valuable for staging a performance and helpful with directing. As a starting point, I read the play and visualize it, considering what is connecting with me emotionally, in regards to the characters and what’s happening between them. This opens up aspects of presentation that can be applied to the story. The purpose, of course, is to figure out what will make the audience best able to relate personally to these characters, feel the emotions the story conveys and understand the underlying lesson? I think most stories try to teach a lesson of some kind or offer a perspective on one.

JAMES

As a person deeply involved with the creation and telling of stories why do you think people have this deep desire to hear and tell stories?

DALE

People need and want social interaction, whether it’s in person or not. Stories tell us about each other and give us a lens to look at ourselves and our behaviour. Live storytelling, like theatre, brings groups of people together, entertains us, and lets us share in emotional experiences without being personally involved. It’s safe and it feels good to laugh with others, and shed a tear with these sudden communities and friendships. Telling and hearing stories keeps us in the emotional and intellectual company of one another. I think deep down, people desire to know they can rely on other people, and stories and theatre can offer that by creating a like-minded culture.

JAMES

You had a table read with all the actors a few weeks ago where all twenty-four plays were read. What was that experience like for the people involved in the festival?

DALE

The full company table read was super! There are actors who would never have met each other during the festival because of different schedules so it worked as an introduction. It gave a depth and shape to what a huge commitment and undertaking it is to put this festival together. It gave an overview of all of the terrific writing and talent involved. Everyone loved it!

JAMES

What do you find most inspirational about the NNPF and want people to know about the festival?

DALE

The Newmarket play festival preparations are incredibly professional, and having everything creative in one place: rehearsals, set design, wardrobe, staging, props, it all just buzzes like a beehive on certain days. Most inspiring is the growing presence of the magic of theatre, of numerous people working together to build something visual, thought-provoking, heart-grabbing and grand from the words on the page. Excitement grows a little day by day as we near opening night.

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The Newmarket National 10 Minute Play Festival runs from July 25 to July 29th. Tickets are just twenty bucks per show and there are four shows of six plays based on a common theme available to see. You can get tickets and check out the complete festival schedule at the Newmarket National Play Festival Website.

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Man, I wish I could be there. I’d love to see all the plays and meet the other playwrights and actors and directors and I’d definitely be heading to the Chip+Malt for some fish and chips. The Chip+Malt is just one of the many restaurants and retailers offering discounts during the festival. But that’s what festivals are – they’re about going out with friends, making new friends, seeing some shows, talking about those shows, having something to eat, and exploring the community. And the great thing is the world wide web expands that community and it lets me offer my support to the festival and help spread the word. In fact, anyone with a Twitter, Facebook or Instagram account can help support the arts by just letting people know about the festivals they attend and the theatre they see. I have no doubt this year’s festival will be a huge success and Michael’s plans to grow the festival beyond the ten-minute format to a celebration of all theatre formats is an exciting prospect for Candian playwrights. In the meantime, I want to acknowledge the creative talent working on my show and all the actors, directors, designers, stage managers, and volunteers that make this festival possible. Bravo!

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Cast and Director for Valentine’s Day

Dan Karpenchuk – Old Age and Treachery; The Other Side; Valentine’s Day: After spending a lifetime as a broadcast journalist in Canada and Europe, about fifteen years ago, Dan turned to his other great love, acting. His film credits include: MurdochMysteries, Taken, Forensic Factor, Mayday and Masterminds. His most recent theatre credits include; Oakes in The Prince of Naples at the Kingston Fringe Festival, Kris Kringle in Miracle on 34th Street at Upper Canada Playhouse in Morrisburg, Falstaff in the Merry Wives of Windsor the Humber River Shakespeare, Ivan in Drinking Alone at the Rose Theatre, Brampton, and Andrew Wyke in Sleuth also at the Rose. Dan’s Shakespeare credits include Othello, As You Like It, The Taming of the Shrew, A Midsummer Night’s Dream, Macbeth, Much Ado About Nothing, and All’s Well That Ends Well. Dan heads back to Morrisburg this winter for the Upper Canada Playhouse production of The Christmas Express which opens on November 30. Dan is thrilled and grateful to be a part of this year’s Newmarket National 10 Minute Play Festival.

Kyra Van Den Enden: Daphne of Evora; Late Romances; Valentine’s Day: Kyra Van Den Enden is a Ryerson University Theatre Performance graduate. She is thrilled that she will be continuing her theatre education at the Ecole Internationale De Theatre Jacques Lecoq this fall. Her Acting credits include: The Rover (Dir. Banuta Rubess, 2018); Jack and the Beanstalk (dir. Andrew Lewis Smith, 2017); Eurydice (dir. Robynne Harder, 2017); The Artful Widow (dir. Adam Paolozza, 2017). She also performed in several original works as a part of the 2018 New Voices Festival including two of her own works, DINGBAT DODO DOWN DISCO! which she co-created and directed with Veronica Hortiguela, and Now Presenting the Really Cool, and Totally Awesome Girl On Fire: ANALEISE. She couldn’t be happier to be performing in the Newmarket National 10 Minute Play Festival for a second year.

Ilya lyashyk – For the Love of Austen; Valentine’s Day: Born in Poltava, Ukraine, Ilya Marvin Ilyashyk, is an actor living in Toronto. He has recently graduated with a BFA-Acting degree from the University of Windsor. Previous credits: Pete- On the Rocks (Small But Mighty Productions), Earnest- The Anger in Earnest and Earnestine (OPIA), Nick- The Plausibility of Teleportation in an Oxygen Deprived Environment (Get-Go), Man- Best Before (Hamilton Frostbites Festival). At the University of Windsor: Bill- The Driver (self-written), Gerry- Dancing at Lughnasa, Fire chief – The Bald Soprano

Tiffany Deobald – Daphne of Evora; The Pipe Test; Valentine’s Day: Tiffany Deobald is an actor from North Battleford, Saskatchewan. She holds an advanced diploma from George Brown College’s Theatre Arts Program (2014). Theatre credits include: Sex&This (Aim for the Tangent), Much Ado About Nothing (Single Thread), The Tempest (Theatre Calgary) and The Mourning After the Night Before (Alumnae Theatre). Film credits include: A Walk in the Park (Aries 6), Outfield (York University), #R.I.P. (Eden Films), INCONTROL (Umbrella Collective Films), Cody Fitz (Umbrella Collective Films). Tiffany is very excited to be working with these new pieces in the Newmarket National 10 Minute Play Festival and she hopes you enjoy the shows!

Dale Sheldrake: Director – For the Love of Austen; Hero; Pausing at the Fringe; Valentine’s Day: An ADR Supervisor in film and television for over 30 years, Dale works closely with incredible writers and actors on productions such as Vikings, The Tudors, The Borgias, Crash, Barney’s Version, Penny Dreadful, and The Handmaid’s Tale. He’s won several awards for his work and loves that theatre direction and ADR are such compatible aspects in entertainment, both building on the importance of performance, dialogue, storytelling and emotion. He is also a playwright, published poet, author, screenwriter, documentary filmmaker (Helldrivers, OLN 2007), singer and musician, and makes a mean Tex-Mex chili. Theatre directing credits: Of Mice and Men; Standing at The Edge of the Universe of Disunity; The Author; Crazy; Day Care; Brother, Brother (InspiraTO Theatre Festival); Tuesdays With Morrie (Theatre Aurora). Dale is thrilled and inspired to be part of the 2018 Newmarket National Play Festival. He thanks Michael Halfin for the wonderful opportunity, the marvellous crew and actors for their amazing energy, professionalism and talent, but most of all, his wife, Petra, for her love, patience and keeping the fire going at the Newmarket National 10 Minute Play Festival

Uncensored, Unexpected, Unforgettable Theatre: Calgary Fringe 2018 – Festival Director Michele Gallant

Posted on July 12, 2018July 15, 2023 by James Hutchison

Michele Gallant and Jane Mackinnon at the Calgary Fringe — Calgary Fringe Festival Board VP, Jane Mackinnon and Calgary
Fringe Festival Director and Producer Michele Gallant out promoting The Calgary Fringe Festival.

We’re only a few weeks away from the Uncensored, Unexpected, and Unforgettable Calgary Fringe and I’ve just finished making my list of want-to-see theatre. The Calgary Fringe has become part of the cultural fabric of the city and is a welcome addition to the theatre season providing Calgarians with the opportunity to see and experience local, national and international artists. I spoke with the current Festival Director and Producer of the Calgary Fringe Michele Gallant.

JAMES HUTCHISON

What is it about the Calgary Fringe that you personally love and keeps you motivated to do all the work and organizing required to present the festival every year?

MICHELE GALLANT

I love the fact that the fringe is all-inclusive, embracive, and that there’s no segregation. Everyone from all backgrounds of life can be involved and participate. All are welcome. I love that artists are free to choose what they want to perform, in what style, and on what topic. I love that patrons have a wide variety of acts to choose from, and how willing they are to take a chance on something new. I love the passion of our volunteers to support the arts and to have fun while doing it. I love that the artists support each other and that one hundred percent of the artist’s set ticket price goes directly back to the artist.

Calgary Fringe performers from 2014 - Rory Ledbetter, Penny Ashton, and Deanna Fleysher — Calgary Fringe Festival Artists, Rory Ledbetter from a Mind Full of Dopamine, Penny Ashton from Promise and Promiscuity: A New Musical by Jane Austin and Penny Ashton, and Deanna Fleysher from Butt Kapinski – Calgary Fringe Festival 2014 – Photograph James Hutchison

JAMES

These are tough times for the Calgary Arts Community. I know a number of Arts Organizations have struggled with funding and have had to adjust how they do business. How is the Fringe doing in these tough economic times and how have you had to respond to the downturn in the economy and what solutions have you been able to implement in order to continue the festival?

MICHELE

It has been a struggle for sure, and it’s meant being smarter and more creative about how we spend our money. We have a rainy day fund set up for situations just like this, but we know that can only go on for so long. We’re currently researching other business ventures and looking for models to help support and augment what we do by creating opportunities for reoccurring revenue streams while spreading the gospel of the fringe to outlying communities.

Of course, as a non-profit, any contributions and donations are always appreciated whether in kind or in cash. You can donate by visiting Canadahelps.org and searching for the Calgary Fringe Festival or donors can contact me directly by e-mail if they’d like to discuss making a donation. (michele@calgaryfringe.ca)

JAMES

The fringe festivals are great places for young artists to get a start. What advice would you give a young artist starting out about getting into the fringe festival circuit and maybe the Calgary Fringe specifically?

MICHELE

I don’t think it’s just a great place for young artists. I think it’s a great place for any artist of any age to get their start. The best advice I can give newbies is to plug themselves into the collective fringe hive minds via fringe festivals such as Calgary and others around the world. Talk with other fringe artists and don’t be afraid to ask questions about how they got started and what works or doesn’t work. Then plan a production and figure out a travel budget and start putting money towards that. Do some research and find out what funding is available to support what you do. Learn how to market and promote yourself. And apply to the Canadian Association of Fringe Festivals (CAFF) touring lottery in early fall. It’s a great way to apply to multiple fringe festivals all at once.

Calgary Fringe Artist Mark Ikeda — Festival Artist Mark Ikeda out promoting his festival show Sansei: The Storyteller – Calgary Fringe Festival 2014 – Photograph James Hutchison

JAMES

The Fringe festival couldn’t operate without its volunteers. What kind of volunteer opportunities are there for people who want to get involved with the Fringe?

MICHELE

There are so many and varied volunteer opportunities available. Everything from ushering to box office staff to concessions to Lounge monitor to fringe ambassadors to being on the Board of Directors or the Management Committee. If you have a specialized skill like marketing or legal services and you want to help support the fringe I’d love to hear from you. And we’re still currently looking for some volunteers to help out with this year’s fringe. You can find more information on our website.

JAMES

What advice to have to first-time fringers and what can they expect?

MICHELE

Expect the unexpected! Be open for anything. Leave no stone unturned! There’s something for everyone. The number one thing I consistently hear from patrons is how passionate the artists are about what they do and their shows. They may not always like what they see but that never deters patrons from seeing more shows, in my experience. You can expect to see some amazing shows, meet some great people, and feel good that the money you’re paying goes back into the artists’ pockets.

Calgary Fringe Artists Ian McFarlane, Ryan Reese, and Geneviève — Frivolous Fools, Ian McFarlane, Ryan Reese, and Geneviève Paré out promoting their show The Hudson Bay Epic – Calgary Fringe 2014 – Photograph by James Hutchison

It’s never easy to pick what you want to see and this year is no exception. I like to try and see a variety of shows, so I’ll build my list to include some mask or clown shows, dance if there is any, a monologue or two, musical storytelling and even a conventional one-act play if one is being presented. And then of course when you attend the festival you get a chance to meet some of the performers who are out and about promoting their own shows and sometimes that will be a deciding factor. It’s always a fun way to spend a day or two during the summer.

QUOTA Gets a London Production in the British Theatre Challenge

Posted on March 29, 2017November 15, 2024 by James Hutchison

Quota gets a London production and wins the Audience Choice Award as part of the British Theatre Challenge.

“All societies are based on codes of behaviour and when someone deviates from that code there has to be a way to handle the situation otherwise chaos would reign supreme, and we don’t want that now do we. We want everything nice and tidy. All the socks in the sock drawer and all the undies in the undie drawer.”

That’s a line from my play QUOTA. It’s what Dave Dixon gets told by Kathie, the Civic Census taker, after he gets flagged for corrective action.

QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography
QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography
QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography
QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography
QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography
QUOTA premiered at The British Theatre Challenge Act II in London England at the LOST Theatre. The production featured Anthony Acosta as Mr. Dixon, Stacey Norris as Kathie, and Alex Dowdin as Officer Carmichael. Photograph by Rah Petherbridge Art & Photography

I wrote QUOTA while I was doing a little research for another play about the internment camps that the Canadian government ran during World War One and World War Two.* It’s always bothered me that we were fighting dictatorships that put people in camps while we were doing the same thing. Of course our camps weren’t concentration camps but once you have a different set of laws and rules applied to one group in your society – how do you keep it from going to the extreme?

Maybe you keep it from going to the extreme by making sure the rule of law applies to everyone equally regardless of race, gender, religion, sexual orientation, or ethnicity.

Of course that’s only if you believe that everyone is equal. Not everyone believes this. And if you’ve seen Avenue Q you know that we’re all a little bit racist. We’re all human and we make assumptions and have distorted beliefs about people and sometimes we’re not even aware of our own prejudice. But that’s a lot different than laws being enforced by a government that are intended to limit the rights and freedoms of a particular group simply because of of that group’s differences.

But governments are not composed of robots. Governments and Prime Ministers and Presidents and Kings and Dictators are all people. And so I have to wonder what kind of people are they? Are they good leaders? I think not if they allow such laws to be passed and enforced.

But what makes a good leader? I think good leaders don’t seek power for themselves but instead seek to empower others. Bad leaders are afraid of diversity. They’re afraid of others having power. They see the cup as half full and they want what’s in the cup all for themselves. And while I know there are lots of different definitions of leadership I think great leaders enlarge the world they don’t limit it. They share.

You know one of the purposes of theatre and story is to provoke discussion. Discussion about politics, morality, relationships, love, religion, and power. And comedy allows us to shine a light on attitudes and behaviours in a way that drama doesn’t. That’s why I wrote QUOTA. I wanted to take a look at how individuals go from being a member of society to becoming an identified minority and having their rights violated.

So, I’m excited to announce that QUOTA gets a London production and is being produced by Sky Blue Theatre as part of The British Theatre Challenge – Act II. The British Theatre Challenge is an annual international playwriting contest run by the Sky Blue Theatre Company and this year, in addition to the ten winning plays produced in December 2016, an additional six plays will be produced on Friday April 7, 2017 at the Lost Theatre in London, England. If you happen to be in London check it out.

Quota by James Hutchison

QUOTA is the story of Dave Dixon who – while looking for a job on-line – is interrupted by the Metro City Census Taker. This is unlike any census Dixon has ever taken and when he’s asked whether or not he was spanked as a child he refuses to answer. That causes the Census taker to call for police back up and Dixon finds himself being targeted for corrective action because of his unemployment and the fact that he’s left handed. When a 2 kilo bag of white sugar is found on the premises and Dixon is facing jail time for trafficking he has to make a moral choice between naming names and protecting himself.

QUOTA gets a London Production

Guilty by Pete Barrett: Guilty takes Alice Golding one step through the looking glass into a bizarre courtroom scene, peopled by men, where she is tried for her many failures: her failure to get on with her own mother, her neglect of her children, her failure to find a job and contribute to the family budget, her failure to maintain her looks and figure and the consumption of an entire cheesecake in one go, thereby robbing her family of a Sunday treat and leaving them bereft. Of course, there can only be one sentence: life.

About Michael by Peter Anthony Fields: A first-year high school English teacher meets with the school’s administrators for what he believes is his mid-term job evaluation. However, as the meeting progresses, he soon discovers that the evaluation is actually an interrogation…

Threatened Panda Fights Back by Rex McGregor : As the World Wildlife Fund’s poster boy for endangered animals, Ling enjoys a comfortable life full of adulation and all the bamboo he can eat. But when a rival species challenges him for the role, he risks losing everything.

Mother’s Ruin by Michelle McCormick: As new parents, life for Esther and Tom has become a continuous cycle of miscommunication and long waits for invitations that never arrive. Then one simple question threatens to change everything. ‘Where’s the baby?’

The Waiting Room by Steve Shapiro: This is the place where you wait between lives. Barbara and Helmut arrive separately and must be assessed to see if they have fulfilled their pre-incarnation pledges, and while The Girl and Dinesh negotiate a better life next time. One of them is destined to make a mark in history.

Sky Blue Theatre strives to produce diverse and relevant works as well as being a hub of creativity and professional development for emerging artists. Lost Theatre is dedicated to promoting and developing young and emerging talent through regular productions, festivals, training, workshops and showcases in addition to year-round education and outreach activities.

***

* Internment in Canada – World War I & World War II

At the beginning of World War I, the Government of Canada enacted the War Measures Act which gave it the power to suspend and limit civil liberties as well as the right to incarcerate “enemy aliens”. Enemy Aliens were citizens of states at war with Canada and who were living in Canada during the war. The camps were operated from 1914 to 1920. Twenty-four camps housed 8,579 men which included 5,000 Ukrainians and 2009 Germans. The camps provided forced labour which was used to build infrastructure as well as some of Canada’s best-known landmarks such as Banff National Park.

During the Second World War 40 camps held an estimated 30,000 to 35,000 prisoners. This included Germans and Italians and after Pearl Harbor approximately 20,000 Japanese Canadians were taken from their homes on Canada’s West Coast without any charge or due process and placed in remote areas of eastern British Columbia. The Canadian Government stripped them of their property and pressured them to accept mass deportation after the war ended. Most of the Japanese Canadians that were placed in camps were Canadian Citizens.

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Interview with Michael Halfin Artistic Director of the Newmarket National 10 Minute Play Festival

Interview with Dale Sheldrake Newmarket National 10 Minute Play Festival

Cast and Director for Valentine’s Day

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