BI G E V E N T
years 30
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Written by Joshua Dalledonne
After 30 years of developing their undeniable brand of performance theatre, the One Yellow Rabbit resident ensemble has learned a thing – or three – about creating essential theatre. So, eight weeks into my new gig as their Associate Producer, I sat down with co-artistic directors Michael Green and Blake Brooker in an attempt to summarize the hard won lessons of Wild Theatre for a new generation of theatre punks, like me. Figure out what you want to do. Figure out your context. When the Rabbits hit the streets in 1982, Calgary was a cultural dustbowl. Yet, this troupe of theatre punks, Denise Clarke, Richard McDowell, Andy Curtis, Blake Brooker and Michael Green, saw the opportunity and let their roots take hold. “In those days, we walked around Calgary like it was already the city we wanted it to be,” says Michael. And in doing so, they collected a team of artists who combined their individual sensibilities through art and, “together came up with a unified vision that none of us could have had on our own – we could be more ambitious in a way that was unique to ourselves,” continues Michael. Blake adds that the vision was rooted in DIY and Punk culture, and wasn’t without context. They looked to their local community and found a small cadre with the likes of Decidedly Jazz Danceworks and the artist-run Off Centre Centre amongst
lessons in wild theatre
others: “Visiting artists who would come to the city were hugely influential to us – Laurie Anderson, Brian Eno, the Matchbox Purveyors. There was a lot of energy and none of us knew how to play guitars, but we all wanted to do shit.” And they did – over 80 productions and countless cabarets and pop-up performances, not to mention the annual Summer Lab Intensive and the wildly successful High Performance Rodeo; I asked Blake when they knew they had hit on something. Be less precious. Become more valuable. “In our earlier days we studied with some adherence to the Eugenio Barba model, and his theatre in Denmark, a guru-based theatre. He came to see a play of ours and he watched with his arms crossed, didn’t say a word, then walked out – that made us uncomfortable. After that, I kept this saying: ‘Be less precious. Become more valuable.’” From that point, the Rabbits have operated with an open door rehearsal policy where the best idea wins – regardless of where it comes from. “You can’t depend upon inspiration and luck. More often, it is the irrevocable cry of the deadline that requires some type of system,” says Blake. And in developing, utilizing, and continuing to hone their system for creation, taught to countless Labbits at the annual OYR Summerlab Intensive, they create works that leap into the virtuosic.
You have responsibilities no one will tell you about. Thirty years on, the Rabbits’ vision and style continues to evolve, and Michael notes that, “we haven’t changed courses, but the course has narrowed.” Their early DIY mentality has been focused into three pillars: creation, outreach and presentation. Mentorship is now, more than ever, at the forefront as they’re being referred to as “an elder entity,” an odd role in a country without that type of tradition. “When you’re an elder you have different responsibilities and you have to learn what they are,” adds Michael. Their appreciation for this new role is evident as they work to expand the Summer Lab into a full school, and their critical eye is as sharp as ever. The next production Munich Now, a scathing examination of media absurdity performed with virtuosic ability, is set to premiere at the 28th High Performance Rodeo; and although their punk roots are in full view, they are indeed grateful. Blake admits, “I’m older now, and I realize I have had good fortune – I feel lucky more than anything else.” It’s odd for me to see the original theatre punks so gracious, and perhaps that’s the fourth lesson of Wild Theatre: the ability to do this work is a gift… but we won’t know, because they aren’t done yet.
Munich Now premieres at the 2014 High Performance Rodeo.
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stephen winter 2014