So That Happened


16 days, five performances, hundreds of patrons, and thousands of postcards handed out. An invaluable experience to be sure, but where do we stand today?

It’s hard to truly define success when you’re producing for the first time at a festival like FringeNYC. We could look to the sold-out performances, or the glowing reviews that bordered on hyperbole (“Hewlett has written so tightly and Rosemary Andress directed with such lean conviction, this play seems to cover more ground than marathon-length works like August: Osage County or The Norman Chronicles.”). We could look to entire audiences moved to tears. We could certainly look to the representative of a major regional theatre company who approached us after our final performance, asked for a script, and pleaded with our playwright to stay in town for just a few more days.

But for us the defining moment came on an off-day in the first week of the festival. The guerilla-marketing we had devised called for the Canadian contingent of our creative team to wander the streets of New York, guitar and video camera in hand, to perform a song from our show for Fringe line-ups. On a whim, we decided to take to the underground, framing our talented Canucks in one of the quintessential New York City settings: the subway. It was there that we captured what our company is really about: emerging Canadian artists plying their craft in the toughest of markets. Building our following in the grass-roots. Cultivating our audience, one New Yorker at a time. It’s that image, of Ms. Hewlett and Mr. Stanton, playing and performing in the rawest of environments, that propels us forward and hopefully inspires others in Canada to do the same.

And with that, our sixth season has come to an end and our seventh starts…well, right now.

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