Local Performers Taking Centre Stage As Theatres Reopen
SAINT JOHN – Live theatres across North America were forced to shut down in March in light of the Covid-19 pandemic, but New Brunswick’s place in the Atlantic bubble has allowed theatres to begin welcoming audiences back with a focus on local talent.
“[Audiences] are just joyful to be experiencing live entertainment again,” said Angela Campbell, Executive Director of the Imperial Theatre in Saint John.
At the Imperial Theatre, there have been 11 shows since September with another 14 scheduled until the end of the year. In Fredericton, the Playhouse has had eight shows play with another eight scheduled.
“I think there’s lots of talent in Atlantic Canada so we don’t need to look too far to see great acts who want to perform,” said Tim Yerxa, Executive Director of the Fredericton Playhouse. “So, having the Atlantic bubble has been a benefit because we’ve been able to invite artists from Newfoundland and Nova Scotia, as well as New Brunswick.”
Pandemic restrictions have meant theatres need to reduce seating capacity, implement mask-wearing policies, and ensure patrons are safe but according to Campbell, theatres are up to the task.
“If anyone is considering attending a performance, please know all of the businesses that are operating are working so hard to make sure people are safe,” Campbell said.
Theatres across the province have launched initiatives focusing on local talent. In Saint John, the Incubator Project has given local artists the opportunity to use the facility, take advantage of the lighting grid and professional theatre workers to develop their artistic pursuits.
A similar project, InterMISSION, is run out of the Fredericton Playhouse featuring one residency in particular at the end of October – the original musical Sweet Dreams, developed by Broadway performers Tony LePage and Justin Matthew Sargent.
The workshopped musical opened for a few sold-out public performances at the Fredericton Playhouse.
“I think it’s a great expression of what we already know, which is that people love to see local artists on the stage and they like to see local artists be successful in their pursuit,” said Yerxa. “It shows a lot of pride in the community and a lot of community support for the arts.”
Performers excited by opportunities
As theatres continue to navigate the uncertainty, local talent is seeing the benefits of chance being back on stage and new opportunities that have risen amidst the pandemic, in contrast to other provinces where performing live theatre continues to be a distant reality.
“I left here to go to theatre school and thought I would have to leave New Brunswick,” said Caroline Bell, a performer working with the Atlantic Repertory Company in Saint John.
“Toronto’s the place to be for my career so that’s where I’m going. Then, fast-forward to after graduation and all of my work is here.”
As the pandemic began to spread in Ontario and her Toronto apartment lease came to an end, Bell decided to return home to New Brunswick in April.
In that time, she has performed in front of live audiences in two productions – one of which she wrote, directed, and starred in as part of the Fundy Fringe Festival in August titled “Swing.” The other, “The Turn of the Screw,” was performed by the Atlantic Repertory Company at the end of October.
“Being in New Brunswick has afforded me more opportunities than if I had stayed in Toronto and stuck it out,” she said.
“I love Toronto, but there’s opportunity here and not there and it would be silly not to stay in the place where it’s home and offers me many larger opportunities than I would ever have in Toronto. Do I want very small, rare opportunities there or do I want juicy, challenging roles here?”
Bell noted the stark difference between her peers across the country who are still unable to perform in front of live audiences.
“I’ve had people messaging me, ‘how are you doing live theatre?’ and ‘you’re doing live theatre?’ and I’m like ‘I know!’” said Bell.
Matt Hamilton-Snow, a Saint John-based theatre director, performer, and writer, has been working on a project titled “Doctor Faustus” as part of the Imperial Theatre’s Incubator Project.
“We’ve been so lucky to use the Imperial’s full lighting grid and use of production facilities,” said Hamilton-Snow. “This show wouldn’t have happened at all if it weren’t for the Incubator Project.”
While developing the project with 18 actors, Hamilton-Snow thought he would have to be creative when it eventually came time to perform it publicly. He considered other venues and ways of presenting the show when the Imperial Theatre offered him the space to perform for one night only.
“It was a surprise to be able to use the Imperial for the performance,” Hamilton-Snow said.
Bell says she’s hopeful for the future of theatre in New Brunswick as smaller theatre companies and companies such as Atlantic Repertory Company continues to grow.
“I’m happy and full of joy for an upcoming generation of artists who won’t feel like they have to leave home to create something beautiful for them and their voice will be heard,” Bell said. “I think we’re going in that direction. It makes me so happy.”
Broadcasted performances present alternative
As people slowly return to attending live theatre events, many theatre companies have used live-streaming as a way for theatregoers to enjoy the performance from home.
The Atlantic Repertory Company has taken the hybrid approach allowing a small audience inside the venue, while simultaneously broadcasting online.
“Some people don’t want to go out but they’d love to watch a theatrical movie,” said Bell. “It opens things up to a whole new realm of people who’d never consider watching theatre.”
Campbell says the Imperial Theatre is investing in digital technology to broadcast Imperial Theatre performances but is hesitant to consider it as a replacement for live theatre.
“I think that watching a performance from home is a very different experience from being in the room,” she said. “There’s this energy and electricity that flows. The energy of the audience will actually influence the performance of an artist on stage and the audience gives more, the artist will give more back.”
Yerxa says while it’s too early to see the long-term impacts of live-streaming theatre, he agrees live theatre cannot fully be captured through digital means.
“When you’re doing a live stream, it’s not the same thing,” he said. “You’re not in the same room so there’s absolutely a need for that and I’m not sure what the relationship between those two things is going to be in the end.”