Recently Richard Ouzounian took time out from NOT reviewing
plays written by Canadian writers, directed by Canadian directors, and starring
all-Canadian casts, in order to write two articles in praise of Aubrey Dan.
One of the articles -- “Why I’m
going to miss Aubrey Dan” showered him with glowing hyperbole. For instance, Ouzounian
wrote tearfully of Aubrey Dan’s struggle and his ideals --
“If I love him for one thing, it was that he had the
courage to bring Next to Normal
to town, even if the theatre was too big, the run was too short and everyone
knew it was going to lose money.”
And speaking of one of the openings of Jersey Boys, Ouzounian effectively deifies him:
“I like to think of that night as the high point of
Dan’s five years as a producer, a time of communal joy and possibility.”
So
who is this Aubrey Dan?
Frankly,
I don’t care much for Aubrey Dan and his so-called ‘achievements.’ I’m sorry if
Aubrey Dan is – to his closest friends and family -- a kind little man who
wears funny hats. I have nothing, personally, against the man. But what he certainly
represents to me is the sad decline of Canadian theatre.
Dancap
presented 19 productions between September 2007 and January 2012.
Wow.
Impressive, eh?
Not
when you understand a few other important details.
I will not miss Aubrey Dan because he
represents to me a celebration of death of Canadian theatre; he represents a
dance on our theatrical graves.
NONE
of the nineteen Dancap productions were Canadian productions. What is a Canadian
production – for those for whom it has been so long that they have forgotten?
It is a play written by, directed by, and produced by Canadians, starring
Canadian actors.
I will not miss Aubrey Dan for reminding us
that we are nothing but a bunch of dumb Canadian yokels, who can’t appreciate, understand,
or create art.
Most
of the Dancap productions were remounts of productions that were hits on
Broadway. When I first started doing theatre in the early 70s, Canadians had
very little possibility of seeing their own stories written and directed and
performed by Canadian actors, writers and directors. The theatre scene was
dominated by American second-rate musical touring productions at the Royal
Alexandra Theatre. The 1970s saw the rise of alternative theatres in Toronto –
Tarragon Theatre, Factory Theatre and Theatre Passe Muraille, all of which
celebrated Canadian work and talent. When Aubrey Dancap produced Next to Normal – much vaunted by Richard
Ouzounian, it was, for me, the ultimate slap in the face to our Canadian
theatre scene. Once again, in a kind of tragic return to 1970, we were being
asked to run (not walk) -- not only to see a remount of a Broadway hit -- but
one which starred second-rate (in this case not even Equity professional)
actors in a touring production aimed at dull local provincials who don’t know
better.
I will not miss Aubrey Dan for his
dedication to squashing radical thought and squelching originality.
Most
of the Dancap productions were either remounts of old or somewhat old chestnuts
(South Pacific, My Fair Lady, Miss Saigon,
Avenue Q, the 25th Annual Putnam County Spelling Bee) or
remounts of lousy or somewhat lousy recent Broadway shows (The Addams Family, Come Fly
Away, Happy Days, Memphis, Next to Normal, 3 Mo Divas, The
Toxic Avenger) juke box Broadway musicals (Green Day’s American Idiot, Jersey
Boys), nostalgic sing-alongs (Colm Wilkinson, Donny and Marie Live) or Canadian musicals that slavishly imitate
Broadway models (Anne of Green Gables,
The Drowsy Chaperone).
I will not Miss Aubrey Dan for focusing a
generation of young creators on producing silly, irrelevant work.
When
I think of The Drowsy Chaperone –
that’s when my eyes really well up with tears. I certainly enjoyed the show for
what it was (charming fluff, which ain’t easy to put together let me tell you).
But to have all that Canadian talent focused on NOT offending people, and on
‘making it to Broadway,’ well, I’m sorry to say it, but the success of that
show has gone a long way towards nurturing a generation of Canadian young
actors and writers whose only goal in life is to be a success SOMEWHERE ELSE in
plays THAT HAVE NOTHING TO SAY.
Do
you think I am being unfair to the cute little ‘chapeauphilic’ Aubrey?
In
case you haven’t had a chance to look around you lately (been watching too many
musicals and listening to your ipod?) the world is kinda falling apart. We need
writers and artists who think and create and challenge themselves and others.
Aubrey Dan represents, for me, all those who would rather fiddle and let Rome
burn.
And
Canadian culture, our culture, indeed all contemporary, indigenous, thoughtful,
challenging art was not built in a day.
But
in no time at all it will be gone.
