In a funny way, the resurgence of Ottawa's theatre scene over the last dozen years can be traced back to Canada's most famous political assassination.
On April 7, 1868, Thomas D’Arcy McGee, a Father of Confederation and Member of Parliament, was shot in the head on Sparks Street, less than a year after Canada was born. The perpetrator was allegedly Patrick J. Whelan, who was hanged publicly at what's now a youth hostel—formerly Carleton County Gaol—on Nicholas Street.
That was Canada’s only assassination of a federal figure, and the whole episode continues to fascinate history buffs in the nation's capital. Among those who were captivated by the story was Pierre Brault, who created a one-man show about Whelan called “Blood on the Moon” with collaborators Judi Pearl and Jon Koensgen.
“Blood” debuted at the Ottawa Fringe Festival in June 1999 at Arts Court—right next door to the former jail where Whelan was hanged.
Nobody realized that “Blood” would become a legend of its own—even a catalyst for the growth of the Ottawa theatre scene. A smash hit at Fringe that year, “Blood” was picked up by the NAC’s then-Artistic Director Marti Maraden for a reprisal on Canada’s national stage.
Jon Alexander, who co-founded the OFF in 1997, says the success of “Blood” affected the entire theatre scene. “’Blood’ went a long way towards shaking up the established institutions in Ottawa, and making them aware of some of the great talent right under their noses,” he says.
In 1999, the theatre scene in Ottawa was relatively quiet. “Before we did ‘Blood on the Moon’, there weren’t a lot of companies,” says director John Koensgen.
Established companies with regular seasons included the Great Canadian Theatre Company, Ottawa Little Theatre and the NAC. Only a few independent theatre companies existed: the New Theatre of Ottawa (co-run by Koensgen), Odyssey Theatre and Company of Fools. Unlike their larger counterparts, these companies produced a single show a year. For Koensgen and New Theatre, that was due to scarce resources. The vacuum between professional and community theatre made it very difficult—if not impossible—for actors to land roles or advance their careers.
The success of “Blood” got many theatre artists thinking that the “pave-your-own-path” method was perhaps the best way to succeed in Ottawa. GCTC artistic director Lise-Ann Johnson describes “Blood” as “the little show that could.” Its growth from a humble Fringe show to a NAC production was “a huge leap,” she says.
“[‘Blood’] made people think: ‘maybe I could create something, maybe I could self-produce, maybe I can use the Fringe as not just an end in itself but as the means to create something that can have a longer life. Maybe we can tour,” says Johnson.
Nancy Kenny, who co-founded Evolution Theatre in 2005 with Christopher Bedford and Linda Bedford, says starting a company “came out of necessity.”
“There wasn’t really anything between graduating from university and being on a professional stage at the GCTC,” she says.
A spate of companies including Evolution, Third Wall, Vision Theatre and Gruppo Rubato cropped up in the early 2000s. The momentum was accompanied by the growth of the Fringe Festival and the development of new facility spaces.
A major milestone was the opening of the GCTC’s home at the Irving Greenberg Theatre Centre in West Wellington Village in 2007. Another was the creation of the Prix Rideau Awards, an entity that recognizes the best English and French professional theatre in Ottawa, which Johnson believes has united the theatre community.
“It creates dialogue. It provides public recognition and it helps people sell themselves and sell their shows,” she says.
There's reason to believe the momentum has somewhat slowed down in the past two years. Third Wall cancelled its 2011–2012 season due to financial restraints, but the company is keeping active with their “Empty Spaces” series of low-key chamber performances and readings. In 2010, the Gladstone Theatre was briefly put up for sale, also due to financial problems, but Plosive Productions and SevenThirty Productions stepped in to keep the theatre profitable with a full 2011–2012 season.
Those involved in the theatre community find it difficult to describe where their scene is headed.
“The Ottawa theatre community seems to be at its 'what's next?' stage,” says Ottawa theatre artist Jessica Ruano, who now lives in London, U.K. “Over the last decade, Ottawa has established itself as a place where artists want to live, work, and create theatre. More and more theatre practitioners are choosing to stay, to start their own companies here."
“What’s next?” is a broad question but it leads to specific, more-challenging ones, like: what does the Ottawa theatre scene need to keep succeeding?
Ruano believes maintaining momentum requires more original works: “We can spend less time simply defending our city and more time creating theatre that makes a difference," she says. "That means strong directors and playwrights and producers coming to the forefront. That means being critical of each other, insisting on the highest possible quality. That means looking outside your own community and to other genres for inspiration.”
Koensgen agrees, but says community support is also crucial. “One of the reasons ‘Blood’ made its breakthrough was because the NAC got behind it. We need more visionaries in the community,” he says.
One of the most promising developments in the theatre scene in the past year that demonstrates visionary support is the GCTC’s Undercurrents Festival. Its second season runs Feb. 7–19. Johnson hopes the festival will do for theatre artists what the NAC was able to do for “Blood.”
“I’m hoping people can feel like there’s a relatively easy way of taking another crack at their show and trying to get it on the road,” she says.
Undercurrents showcases original works that can be potentially purchased by theatre festivals outside of Ottawa. It provides production and dramaturgical support for three local and three national productions. This year’s lineup includes “Live From The Belly of a Whale” by Mi Casa Theatre, an award winner at Fringe 2011.
There may be bumps in the road ahead for Ottawa theatre artists, but projects like Undercurrents prove that the city still has talent to be nourished, and that the scene is sustainable. “There are lots brewing,” says Johnson.
