It's also where you are.

 This is the long-overdue second in a series of posts about geography and its effect on artistic practise. See the first here.

At the risk of sounding cynical in this and my previous entry, let me acknowledge that some of the hardest working, most talented actors, writers and directors I've come across have been administrative assistants, retail sales people, systems administrators, copyrighters, soldiers, bakers, candle-stick makers. It remains, however, especially outside of Canada's cities, that these moonlighters feel compelled to be just that, in the interest of eking out a decent standard of living. "Artist" is not available as a primary self-identification in a rural environment.  The arts are always presented as pipe-dreams. There are few, if any, visible models for Theatre as a career path to follow.

Theatre, the arts, and entertainment as a whole are an industry that looks dramatically different on the outside than it does from the inside. I did not find other artists per se, in my rural area, so much as I found keenly enthusiastic, and often rather talented amateurs. Well meaning people who's inspiration could have come from their devotion to Glee.  People who come to the art, having seen it from the outside, and assume that they too will shine glamorously under the lights and pizazz if you let them. But, you know, since they run a car wash, work at the McCain factory, or manage the SuperStore, they're just doing this for fun, ok, so will only be here on Thursday for 3 hours. God, Nanette. Why do you have to take this so seriously?

Rejected from NTS (A hilarious story for another day) I headed to the closest University campus, fully convinced by the world around me of the foolishness of my desires, and enrolled in a BA programme in Fredericton, NB. Despite being a small town even by Canadian standards, Freddy Beach seemed to me at the time, to be The Big City(tm). And it was. There were bookstores, record shops (both corporate and independent) there were bars with live bands. There were concerts. There was the Playhouse. The Beaverbrook Gallery. An arts community. A whole new world of culture that I hadn't even considered tapping into simply because it's very existence, I'd been taught, was totally unrealistic. But it was real. And there I was.

It is often said that show business is all about who you know. This is true, in a lot of ways, but it's not nearly as important as where you are.

Ode to a Device

I've only known you for a week.

I hope never to know you, only to discover and be delighted forever at every touch, tap, purr, hum.

How could I have known the magnitude to which life would feel, if not complete, then more interesting, more active, further inspired than it had been previously, when the fancy of wanting a new plaything first crossed my mind. I hope the novelty never ends. If this is how you respond to thorough use, toy, I shall use you thoroughly. And so long as you serve me well, I swear, you will be mine.

I am in love with my iPhone. And frankly, am not prepared to entertain an ounce of shame for it.

It was a customer service rigamaroll the likes of which could only be worthy of revolutionary technology. I feel as though I'd been resisting this flint napping fad for 40,000 years. But it's ok, I've got it now, and I never have to worry about starving, or the glare of my enemies again.

I felt guilty for even wanted one, as has been the case prior to my acquisition of other must-have Apple products in the past. I may have masked this by broadcasting my intention to upgrade my handset loudly and publicly, croud sourcing for reviews, endlessly prosandconsing with the competition. We all know I wasn't fooling anybody.

I'm spooked. Excepting a long-forgotten blankie or Cabbage Patch Doll, I cannot say I've encountered or owned an object that elicits such a strong emotional reaction. I love it. It's the aquarium I could never afford. It's the garden homelessness prevents. It tells me what's in season. It keeps me level, compass pointed, and stops me fumbling in the dark.

I like them here Apples. I hope I never get over it.


- Posted using BlogPress from my iPhone

Location:Boulevard de Maisonneuve Ouest,Montreal,Canada

Creative, Management & Administration

PLAYWRIGHT & ARTISTIC CO-PRODUCER – From the Future, Montreal, QC

Producing original, thought provoking theatre for young audiences with a nerdy geek bent.

Brief job description of overall tasks and responsibilities:

• Development: Founding & managment of a theatre company kids today will grow up with, fostering their geeky pursuits into adulthood. From The Future provides thought-provoking Saturday morning theatre dealing with issues of history, science, and progress.

• Content & Direction: Responsible for the writing of full-length scripts for regular production at the Centaur Theatre’s Saturday Morning Children’s Series, as well as the casting & direction of actors.

• Aesthetic & Design: Created & implemented design ideas for sets, props and costumes for on-going production projects.

• Promotion: Creating posters, programs, press-releases, booking & giving interviews.

• Event Planning: Booking space, equipment acquisition & assembly. Seeking & pursuing avenues for creating new audiences



PRODUCTION MANAGER & TECHNICAL DIRECTOR – Freelance 
Overseeing all technical aspects of various theatre productions in professional, independent, community & academic settings.
                 
Brief job description of overall tasks and responsibilities:

•   Human Resources Management: Responsible for the posting, interviewing and hiring of crew and cast members for production.

•   Design Coordination:  Facilitating production and design meetings and coordinating a cohesive design team for efficient and well-put together production.

•   Technical Consultation & Coordination:  Assessing technical requirements & seeking cost-efficient equipment and supplies, managing staff for the accomplishment of smooth set-ups and strikes, creating & enforcing budgets.

•   Lighting, Sound & Set Tech: Often participates in the actual set up and operation of lighting and sound equipment, as well as set construction.


ADMINISTRATIVE ASSISTANT & ASSISTANT MANAGER – Quebec Drama Federation/cshow Box Office Service, Montreal QC
A not-for-profit organization dedicated to the support of English Language Theatre in Quebec & providing a sliding-scale central box-office service for the Montreal artistic community
Brief job description of overall tasks and responsibilities:

•   General Office Duties: Maintaining office supplies stock, writing memos, faxing, photocopying, maintaining cleanliness standards.

•   Volunteer Coordination:  Training and managing a team of volunteer box-office & front-of-house staff.

•   Small Business Management:  Researching, opening and running a small box-office. Customer service, financial reporting, basic book-keeping.


JOURNALIST/PHOTOGRAPHER – The/La Cataracte Weekly Newspaper, Grand Falls, NB
A weekly bilingual local news publication
Brief job description of overall tasks and responsibilities:

•   Reporting: Writing articles on local newsworthy events & ideas, interviews.

•   Photographer:  Capturing eye-catching and poignant images of local newsworthy people and events.

•   Typesetting:  Preparing filler-material and advertising copy for publication.

Performance

Nanette Soucy

Height: 5’10”

Weight: 185lbs

Hair: Red

Eyes: Blue

Vocal: Mezzo Soprano

(4 0ctave range)

Special Skills

Fluent in French, English.

Trained Technician

(Lights & Set Carpentry)

Knitting 

Training

Concordia University Class of 2006

Baccalaureate in Fine Arts, Major in Theatre

University of New Brunswick
2005
Minor in Fine Arts, 
Specialization in Drama

Performance Experience

From The Future

Ian Handsomemanthing

     Play! (2008-09)

     Dir. Nanette Soucy

Hysteria/Buddies in Bad Times Theatre

Nurse Nanette (2007)

     The Clinic

     Dir. Moynan King 

Concordia University Theatre Department

Mistress Quickley (2005)

     King Henry IV Pt. 1

     Dir: Sarah Stanley

Notable Acts Summer Theatre Festival

Woman One (2004)

     Paratrooper

     Dir: Cordula Quint

Doris Langley (2003)

     Outstanding Balance

     Dir: Jordan Trethewe

University of New Brunswick Department of Drama

Witch (2003)

     Macbeth

Huld (2002)

     The Trial

Flavia (2001)

     Mad Forest

     Dir: Len Falkenstein

Curriculum Vitae

NANETTE SOUCY
 

Click here for contact information.
 

Fresh, Fun & Erudite Emerging Artist

Baccalaureate of Fine Arts (major in Theatre) ~ 75 w/min typing

Fluently bilingual (French & English) ~ Over 10 years performance experience ~ 5 years Liberal Arts studies

Ambitious · Goal-Oriented · Creative · Excellent Communicator

Strong Leadership & Teamwork skills · Outgoing & Energetic · Friendly & Personable

Quick-witted & Entertaining· Strong Troubleshooting & Problem Solving Skills· Cool Under Pressure

 

EDUCATION 

BACCALAUREATE OF FINE ARTS, MAJOR IN THEATRE

Concordia University, Montreal, Class of 2006.

Courses include: Acting, Visual Aspects of Performance, Voice & Speech, Directing, Set & Lighting Design, and Touring Theatre in Canada.

Voted Most Attitude of Graduating Class.

LIBERAL ARTS STUDIES 

University of New Brunswick, 1999-2004.

Courses include Media Studies, Cultural Anthropology, The Power of Images & Art Education, Psychology, Playwrighting, Technical Writing, English Literature, Political Science & Philosophy. Also completed a minor in Fine Arts with a specialization in Drama. (including seminars on Performance, Directing, Lighting Design & Realization, Sound Landscape Design & Realization, and Scene Carpentry.)

NEW BRUNSWICK YOUTH APPRENTICESHIP PROGRAM GRADUATE

                                 

New Brunswick Department of Education, 1999

Completed 3 year apprenticeship in the field of Journalism as cub-reporter and photographer at The/La Cataracte weekly newspaper, Grand-Falls, NB, in addition to workshops on business writing, interpersonal and leadership skills, basic management and workplace safety.

HIGH SCHOOL DIPLOMA WITH HONORS

John Caldwell School, Grand Falls, NB, class of 1999   

Voted Most Unique of Graduating Class

PROFESSIONAL EXPERIENCE

 Click the following links for details

 

-- Creative, Management & Administration

-- Technical, Production & Design

-- Performance

INTERESTS

In my spare time, I enjoy watching documentary film, maintaining a strong interest in history and archaeology, keeping up on current issues and events, communications and technology. I am an avid web surfer, and spend a lot of time investigating theatre, DIY, children’s literature, design, gender and sexuality, cooking and green living.

References available upon request.

Technical, Production & Design

Current & Past Productions & Projects

Marianopolis College

       Department of Humanities

Technical Director & Stage Manager

       I Have a Story to Tell (May 2010)

              Dir: Andrew Willmer

       The Curative Process (May 2009)

              Dir: Andrew Willmer

       Walking Shadows (May 2008)

              Dir: Larry Lamont

NotaBle Acts Summer Theatre Festival

       Bard in the Barracks

Stage Manager

       As You Like It (June 2008)

From The Future

       Montreal CEGEPs

Producer, Playwright, Director

       Play! (March 2009 Tour)

       Centaur Saturday Morning Children’s Series

Producer, Playwright, and Director

       Play! (March, December 2008)

       Dice (February 2007)

C’est Cheese Productions

Production Manager

       Saving Celine (August & September 2007)

       Dir: David Pellegrini

Shop & Technical Experience

Notable Acts Summer Theatre Festival

Stage Hand & Dresser

       A Midsummer Night’s Dream in Odell Park (June 2009)

Costume Mistress

       On & Off the Shelf (July 2009)

Technical Director

       The Nicest Place in England (July 2009)

Technical Director

       Summer Street Theatre (July 2009)

Visual Aids Electronics (2007 – 2008)

Audio Visual Technician   

       Maintenance Work

(Work includes setting up, operating & striking sound & video equipment for coroporate events at the Hyatt Regency Montreal)

Concordia University, DB Clarke Theatre (2004 - 2009)

     General Technician

Light, Sound & Set installation & strike

     Fly system operator

     Lighting board operator

     Maintenance work

(Work includes Theatre, Dance & Corporate events)

Lighting Technician & Carpenter

’04 to ’06 Academic Production Season

2006 St. Ambroise Montreal Fringe Festival

     Venue Technician, Mainline Theatre

Tableau D’Hôte Theatre Company (2006)

     Technical Director

            Productions: I Am Yours

                          Amigo’s Blue Guitar

2006 Loyola Theatre Festival

     Technical Director

University of New Brunswick, Memorial Hall (2004)

Technical Director, Carpenter & Lighting Technician

       Production: Loot

Design Experience

Marianopolis College

Set, Lighting, Sound & Props Design

       I Have a Story to Tell     (May 2010)

Set, Lighting, Sound & Props Design

       The Curative Process (May 2009)

Set, Lighting, Props & Costume Design

       Walking Shadows      (May 2008) 

 Notable Acts Summer Theatre Festival

Set, Props & Costume Design & Realization

       The Nicest Place in England       (June 2009)

Moonchild Productions

Lighting Designer

       When I Was Jesus     (June 2006)

       Dir: Patrick de Moss

Tableau D’Hôte Theatre Company

Assistant Lighting Designer

       I Am Yours    (May 2006)

       Amigo’s Blue Guitar (August 2006)

       Dir: Mike Payette   

Concordia University Theatre Department

Lighting Designer (2005-2006) 
       At The Crossroads

       Dir: Micheline Chevrier

Get in Touch

Net is highly mobile, and currently
in Montreal until May 18th,
in Ottawa from May 18th to 21st.
and in Toronto from May 22nd.

Feel free to contact for rates and availability,
interest, friendliness, and general human
interaction via any of the following channels:

Twitter: @MissQuickley
Facebook: Nanette Soucy
E-mail: net [.] soucy [at] gmail.com

Bio

Travelling constantly between Toronto and the East coast, by way of Montreal, Net 's been a prolific scribbler, seeker and scripter of people and their stories for as long as she can remember.

Experienced in all aspects of Theatre, from the page to the stage and all the dirty techie work in between, she is both available and eager to do whatever it is you're freaking out about your show not getting enough of.

Experienced in Production & Stage Management, with a bent for Lighting, Set & Props design & realization, Net is a graduate of Concordia University's Theatre Department and founder of From The Future, a theatre company dedicated to the pursuit of Geekery and encouragement and promotion of critical thinking, history, science, progress and critical thinking.

"I think some theatre people need to do a little reading, a little thinking, and little reflection and self-examination. Read some good feminist books, and some good book about racism while you're at it. Think about power, think about bias, think about how choices are made within our society and whether you just want to go along with it or resist it. And once you've read, and thought, and reflected, and examined yourself -- THEN SHARE."           

-- Scott Walters, Divine Fury, on his blog, Theatre Ideas

"We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life."  

-- Augusto Boal, World Theatre Day 2009

Out of the Woods.

When Tableau D'Hote Theatre's Mat Perron found himself in rural Kansas earlier this year, he wondered what it must be like for people from rural communities upon the realization that opportunities for creating, collaborating and inspiring change in one's community are limited. What must it be like, he mused, to know that one pretty much has to abandon hope of contributing to one's home community if one wants to pursue one's passions, and is it even possible to leave, create, and return with something to give back. It's taken me a long time to respond, because I have a lot to say. This'll be the first in a series of posts on geography.

I grew up in rural New Brunswick. Growing into being an artist was, I imagine, simultaneously like getting a calling to the priesthood, and the realization one might have that one is gay. There was no choice in the matter, only the obligation to my "true self" and sense of sanctity to pursue life as it presented my self to me. Whether or not I could do what my heart desired, or be who I was in my hometown was besides the point. Whether one wants to pursue the glamourous life of bohemian artistry or simply become an accountant, one has to leave rural areas to get an education or any real training.

Being an artist in a rural area is alienating. Much like being isolated in a place built around a hole in the ground, in the middle of a potato field, in the middle of the woods. I was besought both by the alienation of being a weird kid, and of my weird aspirations, not to mention the fact that those very aspirations were the stuff that the most unlikely of dreams are made of. There were 3 possible reactions I would get as a teenager when I'd tell the adults in my life that I planned on a career in the arts. They were:

• "You know, you're going to have to leave town for that."
  
• "Go. You've got real potential. Get out of here, never come back, we'll see you on the TV."
• "Pfffffft. Yeah, right."

Not a lot of encouragement, and a very clear sense that I simply didn't belong where I was. Could I contribute to my community? How? It never seemed as though my community had much to contribute to me, beyond encouragement both explicit and implied, that I ought to GTFO.

I was in a place where companies would stop for their school tours occasionally, but there were no theatres. No live music venues. No gallery. No audiences. Not even a bookstore. One ambitious pipe-dreaming teenager cannot alone ignite these fundamental cultural aspects in a vacuum. In a rural, farming & forestry town, the general education level tends to be low, and exposure to culture comes via Wal-Mart and American television. The definition of reality is conservative and the view can be narrow.

My guidance counsellor didn't have half a clue about what direction to point me in, "Well, you'll have to try NTS, that's all there is. Have you considered Saint Thomas or UNB?" Read: We don't pay a lot of mind to fancy-pants artsy stuff 'round these parts. We've got fields to till and lumber to mill, thank you very much. Please consider doing something useful.

The only thing for me to do in Grand Falls was leave.

And there I was.

Gone.

So, like, what the hell? (Intro IV of...)

Where did I come from? What am I doing here? What do I want?

I was born in a snowstorm in Moncton NB as the closing credits to the last episode of M*A*S*H rolled across the screen. The long and sorted tale of the circumstances surrounding my birth is far and away the most interesting, beloved and influential story I have to tell. But that's for another post.

Basic bodily functions and attitudinal traits notwithstanding, theatre's been the only thing in my life I've done consistently. I was in plays all through elementary school, and wrote, directed, and starred in my first one when I was in grade 5. I played in, directed, and was the lighting tech in the drama club all through high school. Having been rejected by the National Theatre School as one tends to do at 18, I followed my friends to Fredericton and spent 5 years or so at UNB, switching majors between English Litt, Anthropology, Media, Creative Writing, and Psychology, all the while completing a minor in Fine Arts and Drama.

While at UNB I did a lot of performing, a lot of writing, a lot of tech, and a whole lot of failing English class. It became abundantly clear that if I was ever going to finish school, it would have to be in theatre, because it was the only thing that inspired me to actually work. My written thesis project for my Minor was a study of Canadian theatre schools. I auditioned everywhere, and wrote about my experience. I got an A, and into 3 of 4 schools, and set off to get my BFA in Theatre at Concordia, in Montreal, with plans on switching into the Performance specialization and Hell bent on becoming an actor after having spent my last year wearing cranky pants as a TD in the shop.

I'm sure I speak for many when I say that the first few months of Theatre school feel like complete, unadulterated bull. I got bored, and decided that the smart thing to do would be to get a job in the department. I applied, I think, for a box office position. The school PM took one look at my CV, saw that I'd TD'd, sent me to the scene shop, and the rest is history.

I've been doing pretty much everything ever since. What do I mean by everything? Well. Let me give you an idea what my past 2 gigs were like.

I spent the summer at NotaBle Acts Summer Theatre Festival in Fredericton, where in about 8 weeks, I was a stage hand on an outdoor Shakespeare site-specific production of A Midsummer Night's Dream, I TD'd designed and built sets, props and costumes for one show, designed and managed wardrobe for another, Costumed, built props for, and coordinated a 7-show outdoor event, and babysat 3 children under the age of 2.

I spent the spring guest lecturing at Marianopolis College in Montreal, where I converted a basketball court into a black box, Stage-managed, designed and teched lights, sound and set, and got dozen jittery 17 year olds CEGEP kids through their first ever production, and made cappuccinos in the mall for minimum wage.

Through all this kind of craziness, I'd also been writing, directing, designing, building and producing shoestring, socially-conscious geeky kid's theatre with my best friend. And what free time I do have, I spend reading theatre blogs, thinking hard about how to make all this pay the bills, and wanting to learn to use technology better to make sure theatre doesn't die when the baby-boomers do.

I moved to Toronto a month and a half ago. When I was done at NBActs, I had no projects in Montreal to return to other than my Second Cup job, so I decided it was time. What those who are prone to pronouncing on such things say, is that in order to make it in Theatre in Montreal, you have to move to Toronto. Hello, Toronto. I still have a short list of people I work with in Montreal who are dear, and so part of the plan is to divide time between two cities, and see where the world will take me.

A bit of advice I get a lot from the old guard is that I need to focus. I need to find my niche. I think this is bad advice. I think that I have my niche. It happens to be doing everything.

Intro (III of...)

Hello!
And welcome.

This is blog two of two, in the Great Exercise in Prolificity(tm). Here, I plan to talk about theatre, theatre, theatre, audience building, risk taking, design, power tools, set building, props collecting, lighting fixtures, beams, teams, production, process, progress, reading, writing, 'rithmetic, creativity, politics, policy, poverty, dayjobs, dumbjobs, nutjobs, DIY, and self-sufficiency. This is my place to wax poetic on the arts, the world, the news, my work and the things that inform it; the work of others, and what makes it important. This is a place to spur debate, spew pitches, bemoan hitches, and try as best we can to contribute to our culture, rather than to the problems we face in trying to build it.

Yes.

Yes, I am.