Canadian Theatre History - Research Paper Example

Canadian Theatre History Years after the Second World War, a rise in immigration from European nations resulted to a flow of activities in the European multicultural theatre section. This is because, professional theatre artists were among the new immigrants, they brought with them new energy and talents that made the theatre industry in Canada flourish. The amateur theatre that was dominant in the early 20th century transformed to professional theatre after the war. Additionally, the industry grew rapidly because the government agreed to fund art and theatre work. The professional theatre after the war was not comparable to the professional theatre that existed in the 19th century. The new professional theatre accommodated national and international interest. The second half of the 20th century was dominated by non-imported professional English speaking theatre, and more significantly by an effort to define both national and regional idioms. This resulted to development of four categories of production activity: “Broadway style”, fully profitable theatre, developed primarily around musical extravaganzas; a diverse range of regional and festival theatres producing a mainstream combination of classics. “World hits and original work; a group of alternate theatres producing new and often contradicting plays; and radical fringe which drew on new writing and performing talent” (Filewod 152). Musical extravaganzas dominated the centre stage in the Canadian theatre work. America’s musicals were included in most theatre work. For instance, in Toronto American musical theatre was executed in tents by melody fair. Tyrone Guthrie used the concept of the tent for his Stratford festival in 1953. Musical comedy in Canada was introduced in 1950s, and its achievement was seen in “my fur lady” (1957-58) which made a lot of money through touring (McNicoll 23). Through the Canadian musical comedy the careers of MacDonald and Galt MacDermont were developed. Small fund theatres mainly in Montréal and Toronto developed some of the initial cabaret revues and original plays during the post war period. For instance, “up tempo” operated from 1956-1965 in Montréal whereas in Toronto “clap hands revue” was the most successful, and found its way to London between 1961 and 1963 (Rubin 11). National independence in the theatre world in Canada was assisted by major advancements in 1950s. Tom Patterson’s was the founder of the Stratford Shakespearean festival in 1953. This provided Canada with a great classical base that attained international identity, and provided a good background for the diverse professionals in theatre. Canadian actor’s equity was developed in 1955, even though it did not achieve independence from its parent union until 1976. Colingual Canadian theatre centre was formed in 1953, and closed in 1971 (Wright 150). In its years of operation, it gave Canada with a formal representation at the international theatre institute and executed a valuable networking function. The establishment of national theatre school in Montréal in 1960, led to the national expansion of theatre industry. The school was responsible for training students in diverse languages. The Canada council cultivated the significant regional theatre movement in Canada after 1957 under its leader Peter Dwyer. Incompletely subsidized, nonprofit stock companies were slowly developed in principal municipalities from coast to coast. Manitoba theatre centre became a regional model and was established through a merger of two amateur groups, and within four years, it gained full professionalism, thereby exhibiting the worth of government sponsorship of the arts (Filewod 153). In the 1960s, Canada’s nonprofit professional theatre got funds from diverse levels of the government, and from private sources, this made the subsidization levels to get to as high as 50%. Moreover, a huge amount of money was used in construction of theatre facilities. “Civic centers, opera houses and large multipurpose auditoriums” were raised, normally to assist celebrate diverse provincial anniversaries or Canada’s 1967 centenary (Wright 151). Unfortunately, a number of these huge playing spaces were not reliable for the new Canadian casts. Nonetheless, the period of ballet, and opera in hockey arenas were over and the new buildings revived the touring circuits for American plays, musicals and palladium type entertainments that had not succeeded from the 1920s. During the 1960s, both success and failure were seen in the theatre industry. For instance, Tom Patterson’s 1962, optimism for a Yukon festival in Dawson city ran only during the summer. In 1963, Montréal lost an adored roadhouse, Her majestys. Toronto on the other hand, rescued royal Alexandra from wreckers. Nevertheless, touring received a boost in the early 1960s, when Stratford fruitfully sent a number of Tyrone Guthrie’s Gilbert and Sullivan productions in London and new York and seized Shakespeare and Moliere to Chichester in 1964. A number of great works were produced in the early years. “The great hunger” (1960) was a huge success and also “hey, Rube” (1961) which were all produced by George Luscombe’s Toronto workshop productions. “Love and rebel” (1960) by Robertson Davies and “like father, like fun” (1966) by Eric Nicol did not succeed in New York. “Fortune and men’s eyes” of 1967 by John Herbert made to the Broadway jinx. The failure of crest theatre and the Canadian players in 1966, caused a huge blow to the theatre industry. However, a new organization, theatre Toronto made an interest for excellent status in 1968-69. The production of “Rolf Hochhuth’s soldiers” was a big success in New York and London, but the new formed company lasted only two seasons (Filewod 154). The Canadian theatre industry kept growing with the passing of years and a number of great developments were made. Nationalism, and new trends were incorporated in the theatre work and Canadians were well entertained by the theatre work. The use of international professionals and the need to make it big in the international world necessitated the use of creativity in writing and production of theatre work. The government obliged in assisting in the development of theatre industry. Companies needed government protection therefore; policies were established to ensure proper protection was in place. This was sparked by the importation of foreign directors for instance, Philips and Peter Coe. Local producers therefore had no option, but to seek proper protection from the government. Therefore, protection policies were established to ensure locals felt secure, and could depend on its government (McNicoll 24). In 1980, a dispute with regard to leadership ensued at Stratford endangering the existence of the renowned festival. The controversy as to whom to lead the cultural community was somehow ironic. The people who succeeded the leadership that is directors John Hirsch, John Neville and David William were considered Canadian citizens even though they were not born in Canada. The dispute was well settled in 1993, when a Canadian born leader, Jason Gascon and a Montrealer Richard Monette took leadership. This was made to fulfill nationalist standards at Stratford. The discrimination of international leaders led to some failures and slow development in theatre industry. The industry was seen to flourish once more when international acts were allowed to lead (McNicoll 27). In 1989 huge success were recorded in dinner theatre. The development of dinner theatre attracted more people and huge achievements were seen. The inclusion on nudity and eroticism brought a lot of money in the late 1980s. Even though, nudity and eroticism yielded a lot of money controversy arose. A number of production shows were shut down. Among the shows that were cancelled included; “sex tips for modern girls” that ran between 1985 and 1986. The “f-word furor” incorporating Charlottetown’s that ran between 1987 and 1988 was considered the most captivating and was cancelled too (Wright 152). Recession hit hard the theatre industry in Canada in late 1980s. A number of small and middle range companies were shut down and huge companies had to seek alternative ways to ensure they kept on operating. Government grants reduced considerably because of recession. A number of companies depended on tours to make money. The introduction of fringe theatre was considered a huge development. The fringe theatre incorporated a number of groups because it operated for a certain period of time. A number of directors and actors could gather to make a number of theatre works that could run for three to four months touring across the nation. Fringe theatre attracted a huge audience, because it incorporated the works of great works thus producing outstanding theatrical work (Rubin 34). Strengths in Canadian theatre were also seen through the establishment of major international theatre festivals. The international festivals allowed Canadian artist with a chance to see the best works from abroad and an opportunity to present their work in an international arena. Therefore, through the festivals, Canadian works achieved recognition globally as a result a number of artist-received awards for their great works abroad (Filewod 155). Canadian theatre industry has recorded a number of successes over the years and a lot is still to be done. Technological advancement and the existence of international acts with great talents and creativity have made theatre companies not to be satisfied with what they have but to seek more. This will ensure they remain relevant in the theatre industry. The incorporation of multicultural work in the theatre world has contributed in huge developments. Therefore, the industry is expected to grow bigger and better by using past successes, and failures. Work cited Filewod, Alan. History of the Theatre. Theatre Research in Canada. 23 (1), 152-155.2010. McNicoll, Susan. The Opening Act: Canadian Theatre History, 1945-1953. Vancouver: Ronsdale Press, 2012. Print. Rubin, Don. Canadian Theatre History: Selected Readings. Toronto: Playwrights Canada Press, 2006. Print. Wright, Kailin. Casting a Reflexive Light on Theatre. Canadian Literature. 2 (212), 150-152. 2012. Read More