We were so lucky to get both Elliot and Janelle to perform at this event. Not only that, but we got them to perform TOGETHER, which, to those of us who have heard them, is almost too amazing. Elliot is an incredibly creative composer and a beautiful viola player (and as far as I’m concerned, he can play every instrument out there! Okay, maybe not, but he might as well). Janelle, on top of being a crazy cool martial artist, has one of the most powerful voices I have ever heard.

Brad and I were fortunate enough to work with both of them last Fall on SFU’s “Iphigenia at Aulis”, and what a pleasure it was. One of the best things about working on that production was hearing Elliot play the accordion in the green room as I ran through my pre-sets, not to mention hearing Janelle sing the songs that he composed for the show. Of course, Brad will always be Agamemnon in my mind, but I’ve already talked about his work.

If you want to know more about Elliot, I’ll just let you visit his site (http://www.elliotvaughan.com/Elliot.html), but if you ACTUALLY want to know more about either of these two, come to Sweets & Stories At the Giggle Dam on May 5th. I promise you it’ll be awesome!!!

We read a lot…and I mean A LOT, from dramaturges discussing their work, to journals about past productions, to multiple drafts of a script as it developed, to just about everything under the sun. It seemed necessary – nay, essential – to go out there and do the work instead of just reading about it. We each worked with artists of our choosing as student dramaturges and then talked about it in class.

My first experience was not what I was expecting. For class, we were required to draw up a contract with our collaborators, a process which, in my case, distanced me even further from them before we actually got started. I was also working in a non-text-based medium, which made the process especially abstract. A few weeks into the project, I started thinking “maybe this is not for me”. There is never any degree of certainty about the usefulness of your work; nothing is really under your control; and as much as you may want the piece to go in one direction, it’s not your show!

However, when Brad and I started talking about this new play that he wanted to write, I jumped at the chance to have another experience and maybe change my perspective on dramaturgy. For starters, there was no contract. Secondly, we already had a good idea of how to communicate. I did not have to mince words too much (thank God, because I hate that), and Brad did not take my words too seriously, and remained very open and willing to play with his writing. It felt like a pretty ideal scenario.

A simple question from me produced massive changes in the beginning, and slowly but surely, we started figuring out what served this piece more. As we went on, the changes became more and more minor, but we had the confidence of knowing that we had already tried taking the piece into a completely different direction.

Finding time to meet was not easy, so it was great that Brad and I had a class together. We were guaranteed at least a few minutes a week to talk about A Narrative Designed to Amuse, which was then called It’s About You… I always prefer face-to-face conversations, but given the circumstances, we had to resort to e-mails followed by shorter “so…what did you think?” chats.

It’s unfortunate that we’ve had to stop our process because of the timeline we’re up against. It has been very fun and interesting to see drastic – and minor – changes from draft to draft, the development and expansion of ideas, the lengthening and shortening of sections, only to find that we’ve almost come full circle. I have yet to read the “final” script, but based on a conversation that Brad and I had a few days ago (while walking through Nesters Market before class), it sounds like it has returned to the essence of the very first draft.

It almost seems pointless, then, to bother with typing up pages of notes, asking endless questions, and having repeated conversations about structure, characters, and language. But I am confident that the play’s evolution has taught both Brad and me something about the meaning of his initial ideas, and about writing in general. My hope now is that those ideas can be translated onto the stage. It’s an entirely different battle to make living, breathing beings use the words that were so carefully thought out on paper.

I am excited and nervous about seeing what A Narrative Designed to Amuse will become on stage. I can only imagine what our playwright feels, but hopefully, the shift from playwright to actor will let him give up some of the responsibility and trust that his director knows what the piece wants to be.

You should come check it out: May 5th at the Giggle Dam, along with two fabulous musicians preceding it (more on them soon).

We were lucky enough to get in, seeing as it was sold out AND there were already four people on the wait list! They have a charming studio on Powell Street with what must be the most interesting Feng Shui I’ve ever seen. Seriously, my first thought when I walked in was “ooooo I wonder how much it would cost to book this space!” The play itself, or maybe I should say “the series of mini plays”, was thoroughly enjoyable. I’m sorry that this is one of those “this-is-what-you-missed” type posts/articles; I really hate those, but I blame the friend who asked me to go with her on closing night. Anyway, I won’t turn this into a review. I just thought I’d spread the word.

I really wanted to stay and chat with Desmond Hussey (President), but alas, it was late; I had work the next morning; and I figured he probably had more pressing matters to attend to…like the strike – erm – cast party! I’m sure there will be a next time though. Now that I am Facebook/Twitter-ified, I will certainly be keeping an eye out for what these guys are doing. I can’t wait to go back. So, if you like what WE like, you’ll probably like these guys too.

1) We have a fundraiser coming up on MAY 5th in Port Coquitlam, so mark it on your calendars!! It’s going to be a jolly good time with music, singing, theatre, prizes, and (of course) booze. What could be better?!

2) I DID do some writing recently for the Vancouver Observer, so I’ll just share that with whoever reads this. http://www.vancouverobserver.com/culture/theatre/2011/03/10/inside-rogers-arena-cirque-du-soleil-company-prepares-quidams-dazzling On the other hand, if you don’t want to read the article , the short version of it is: “go see Quidam because Cirque is awesome!”

That’s all I have for now!

"I realized that I am, in fact, quite an angry person, deeply dissatisfied with the way things are."

So, the next question in my mind is: what makes theatre a helpful outlet for this anger? Is it a helpful outlet? Speaking from experience, stage managers usually have too many things to do to even think about their own emotions. It is not their job to be emotional; if it was, they would be on stage. If anything, sometimes theatre can be more of a source of anger than an outlet! Stage managers work countless hours to keep a production on track, do what they can to make everyone involved happy, and ensure that the director’s vision is respected and maintained. At the end of the night, everyone goes home, or to a bar, while the stage manager puts away the chairs and tables that he/she set up before anyone even arrived, turns the lights off, locks up the space, and goes to type up a report about what happened in the day. Involved as they are in the creation of a show, they are usually only witnesses – caring observers – watching from behind a glass window in a sound proof room.

This probably sounds pretty depressing. Why would any creative person want such a job? Well, there can be something profoundly gratifying about the final result. One show that I recently worked on made me feel extreme degrees of both resentment and satisfaction. I went from actually doubting that this career path is even worth it (something I thought was impossible for me to ever think) to realizing how amazing it really can be. True, I do not want to calculate how much I got paid (or rather, should have gotten paid) for the hours I invested, but that is beside the point. When I got to see audiences respond to the show, and leave the theatre feeling somehow inspired, everything I had done up to that point immediately became worthwhile.

Anyway, I suppose a kind of energy conversion happened at some point. Frustration, annoyance, doubt, regret, all kind of rolled up together and somehow turned into a sold-out show that people loved, which obviously made us all very happy. It is true that the sweet can only exist with a bit of sourness. So, to go back to the original question, what does theatre do for angry people? Basically, it allows us to use the sourness and make some sour candy for everyone to enjoy!

…and now, I need to go get something sweet…

Sorry to get your hopes up but this is not about all of that juicy discussion fodder.

Critical thinking can be easily blindsided by sightless passion.

What it is about is the internal dialogue that pitter-patters around in my grey matter while I am looking for something that forces me to sink my passion into it. I’ve been lucky in that there has never been a shortage of creative meat to fuel my addiction to storytelling. I’m hunting right now… hunting for my next directorial “fix.”

I, like many theatre doers who love to direct, always have a list of five to ten scripts I dream of making tangible; Works that I love, that inspire me, that rev my engine because I know that they will make a statement…

I firmly believe that passion, above all else, is the key ingredient any director should have when they decide to make theatre magic. There may have been a time when I thought passion was the ONLY ingredient needed and that with passion, you could fuel even the impossible. I have since grown up to realize, after both assisting in management of both “community” and “professional” that passion alone is an irresponsible motivator.

Unfortunately, I have also had the magnificent opportunity to see a lot of work driven by passion alone, with zero consideration of other essential factors. I have left many theatre works that left me with only one thing to say…

“Nice set.”

Which we all know is thespian code for, “I wanted to stab myself in the eyes.” Harsh? Yes… True? Absolutely.

Anyone who produces and directs theatre is somewhat motivated by the pride in presenting something great to an audience. Anyone that tells you they are in it only for the art is either working for McDonalds, waiting for their big break or they are lying. Art and expression and everything else we are in it for are absolutely valid, but all of us are also in it for the stroking our ego gets when something wonderful hits the stage.

A positive audience reaction comes from the great storytelling. Great story telling happens when we produce professional and quality work. Sustaining a career in theatre, even a part time one, relies on building a reputation for good work.

If you have some ownership of the company that will eventually produce your “passion” than there are quite a few very pragmatic considerations to account for when doing good work. If you plan on pitching your creative outlet to a company, it is likely MORE important to have the answers to these questions before tearing off to the greenroom to plan the eventual cast party.

Let’s face it; budget is the number one consideration of any eventual production. I lust for plays that allow me to tell a story on a set that can pack into the trunk of a Chevy Cavalier. I get hot for plays that leave the storytelling to the talent and not the carpenters. The less cash required to sink into the piece, the more professional and reputable your production will be. Royalties, props, costumes, payroll, venue rentals, advertising… are all considerations that, without respect, will break a project before it is even cast. The last show I directed did not spend a single dime on advertising and sold out over 80% of its performances. I knew that was a likely hood before I even pitched it.

Even if you are not technically aware of lighting, sound and special effects, you need to KNOW that it is within your means or the company’s means to do well. Recently, we looked at performing a Canadian piece that would require us to make it rain on stage… when I finally figured out how to make it happen, it became obvious that the cost was prohibitive.

Requirements such as movement and dance are also factors that will be involved in selecting the right show. I have seen work where the company cut necessary dance because they did not have the experience to make it work well. Cutting something the author created to tell the story due to lack of skill is a sign that the company wasn’t ready to do the show. This is also true for singing. If you don’t have the chops, find a non-musical.

Likely the consideration most noticeable when it is overlooked is; does your group have the talent? And I don’t only refer to acting. Do you as a Director have the experience? I once saw a production of Glengarry Glen Ross at a major adjudicated theatre festival. Mamet’s Pulitzer Prize winning play deserves the respect of experienced actors and a Director that “gets” it. If you have to add a non speaking roll to help move the action along in a play of this calibre, go back to Neil Simon.

I choose plays that build bridges. It’s definitely a factor that Third Degree Theatre has adopted at its core. I select something that tackles an issue at the human level; that, thru storytelling, brings members of the audience to a place of mutual identification. This brings me to subject matter. It has to not only be something worth showcasing to you; it has to be relevant to the company. These days, branding is everything and part of developing a reputation is being consistent in the work undertaken.

The Beetles said once that “all you need is love.” In the world of directing, as I said earlier, love (read passion) is the most important thing a director needs to have for the script he/she chooses. Passion needs to be respected and given every opportunity to spread to the audience. Exercising some critical thinking in areas often in the blindside of creativity can only nurturing that passion.

...Mark Lundholm committed drastic acts in his life, he delivers the positive message well and leaves us nothing but enlightened enjoyment! Wiens is most impressive ...

Katie Reitsma of www.katieloves.com came out to “Addicted” and wrote a review. In addition to writing for Katie Loves, Katie is a Columnist for Beyond Robson (www.beyondrobson.com) and a contributor for Helium (www.helium.com/users/297169/show_articles). In the past she has been Editor-In-Chief of Art Of Influence e-magazine and a freelance writer for Global Agents For Change (www.globalafc.org/catalyst) and other literary sources. She regularly reviews theatre produced bt Arts Club, Presentation House and Playhouse Theatre Company.

After seing “Addicted”, she wrote, ”Richard Wiens plays the role of Mark in this production wonderfully and without bounds. Having embodied a role that could be so controversially received, as Mark Lundholm committed drastic acts in his life, he delivers the positive message well and leaves us nothing but enlightened enjoyment! Wiens is most impressive with his ability to rotate inner voices and deliver a passionate monologue for 90 minutes. His every movement reflects that of the personality he was portraying (as we know there were many for Lundholm)…” READ THE REST OF KATIE’S REVIEW HERE!

Thank you to everyone who came to see “Addicted, a comedy of substance”!

Only 5 seats short of a second sold out night, here is what people are saying after the show…

Jenny S. said, “Just saw Addicted, a comedy of substance, and it was fan-freakin’-tastic!!! Everyone should check it out, it was a brilliant, hilarious, tragic & honest performance. I never really understood addiction before…”

Jenny continued to say in another post, “…you’d enjoy an evening of brilliant local theater, and should buy a ticket or two to see “Addicted – a comedy of substance”, by Mark Lundholm. Directed by Aaron Davis, performed by Richard Wiens. A Third Degree Theater production.”

Danny M. wrote, “watched theatre for the first time today. A play called Addicted about a guys life in addiction and recovery. I think now I am addicted to theatre because it was bloody wicked! I’ve never felt so normal to be an addict in recovery. And it was the FUNNIEST thing I have seen in years!”

"...only 2 things to say.......AMAZING!!.....and GO SEE IT!!!!"

Amber B. Saw the second performance and writes, “went and saw “Addicted” last night…only 2 things to say…….AMAZING!!…..and GO SEE IT!!!! you really dont wanna miss this show!!!!”

Stan J. posted, “is scarred for life, in a really good way, after watching the play Addicted tonight. Boys don’t cry? Well I cried tonight! Everyone needs to see this!”

Pat said, “Just saw addicted at Second Storey Theatre, the play was riveting, powerful, crazy and really, REALLY funny! I cried with laughter and then compassion. The discussion time with the Actor and Director after was almost as powerful as the play. I was touched and… just, wow!”

Victoria L. Simply said, “Brilliant! Kudos to all.”

Sandy wrote, “loved the show Addicted tonight! Oh my god, you need to go it was so great! What are ya? NEW?!”

The reviews have this way of humbling me. Never have I had such a fantastic response from a show I have participated in! You in the audience are the reason we do this stuff! There are still some tickets left for Saturday, May 29. You can get them at the door but let us know you’re comming with a message on facebook or an email to thirddegreetheatre@hotmail.com

If you plan on waiting for next weekend, tickets are VERY limited, so make sure you see it and come TONIGHT!

Here are some facebook posts immediately folloing last nights sold out performance…

Joyce G. said, “Just saw “Addicted–a comedy of substance” tonight at Second Story! It was amazing!! Please go see this play. You’ll laugh, cry and relate!”

And in another post Joyce Writes, “Just saw this show tonight and if you don’t have tickets…get them!!! Richard was amazing in this one man show. It was funny, thought provoking, sad and very well done. Kudos to Richard and those who helped bring it to Second Story.”

Nathan K. posted, “Addicted at second storey theatre is a hard hitting, visceral and raw tale, of ones battle with assorted addictions. Very real. I strongly recommend.”

April S. posted, “It was AWESOME! Thanks so much Aaron. You guys did a great job.”

Stephanie M. posted this with the link to the event page for Addicted, “just got in from watching THE play of the YEAR!!! GO NOW!!!!”

Karly H. wrote, “Just got home from ADDICTED!…. SO GOOD! everyone should watch this show!!! www.thirddegreetheatre.ca for tickets! its at Second Story Theatre in poco!!!”

And Jeff L. said, “just got back from watching quite possibly the best play I have ever seen…Addicted. It was a one man performance at the Second Story Theatre on Shaughnessy in Poco. If you have time Friday or Saturday…go see it!!!”

Thank you everyone, for the magnificent reception of our show! There are still some tickets left for Friday, May 28 and Saturday, May 29. You can get them at the door but let us know you’re comming with a message on facebook or an email to thirddegreetheatre@hotmail.com

I have learned so much from this process. The bonds I have built with my fellow cast and crew will live with me forever. I have experienced so much personal healing, love and friendship through the journey of making this story ready for the stage. I believe it is the purpose of theatre to do these things. Theatre is an art like nothing else; it allows us to share our soul and truth in moments of raw vulnerability without a safety net or protective equipment. Theatre has the power to change lives in one instant while simply entertaining in the next. Shakespeare had it right, “all the world is a stage and all the men and women merely players.” Theatre is life.

None of it is possible without the audience… Without you there would be no point in telling the story. You are the alpha and omega of our work and for that I extend my deepest gratitude.

Shakespeare had it right, "All the world is a stage and all the men and woman merely players."

I must thank Richard for his unwavering dedication to be on the spot and torn apart every single rehearsal for more than 10 hours each week. The process of a regular stage play has moments of challenge, in a one-man-show, challenge is a monumental understatement. The degree of vulnerability and risk you demonstrate on stage every second of this journey garners my utmost respect and admiration. I am so very proud of you.

I thank Diana for her dynamic ability to support me in my Directorial process that I am sure often resembles a convention of ADD sufferers. No one has ever quite harnessed the talent to “click” with me in the creative process like she does. Without your ability to be everything that I lack, I would have been lost.

Thanks to Brad for bringing me and this show on board with Third Degree Theatre. The mandate to attract new and seasoned audience to theatre and impact them with art has been the perfect stage for “Addicted”. I love this company and hope that we continue to affect our audiences in these ways for years to come. Your professionalism, support and talent for producing will be the cogs that make Third Degree Theatre everything it can be.

And finally, thank you to Mark Lundholm for not only living the life has been able to touch so many but for courageously telling your story with honesty and sincerity. Thank you for trusting us to carry your message to our community and use your words to connect addicts like us with “healthy” people in the hopes of reminding us simply that we are ALL human. You continue to be a hero to me.

Addicted: A Comedy of Substance
Written by Mark Lundholm
Directed by Aaron S. Davis
Performed by Richard Wiens

May 27, 28, 29, June 4 and 5
Second Storey Theatre
#201-2550 Shaughnessy Street, Port Coquitlam, BC
Doors @ 7:30pm Curtain @ 8:00pm
Tickets $15/$10 advance or $20/15 at the door
Get advance tickets at www.thirddegreetheatre.ca