This is going to e a bit scattered, but stay with me...
Summerworks in Toronto has taken the step of posting a couple of ads -one male- and one female-based- for their upcoming theatre festival. The ads -particularly the female, which features a cluster of “hot” female playwrights* thanking Claudia Dey for paving the way for “hot” female playwrights, and then engaging in a pillow fight, all scantily clad- have drawn the ire of many, primarily women, who find the whole thing offensive, a missed arrow aimed at the heart of 21st Century pseudo-feminism. There’s no question, frankly, that it is a missed arrow. It’s a poor attempt at satire. But whatever. The YouTube generation’s lack of understanding of feminism -or true struggle of any kind, for that matter- is an unworthy adversary.
On the Summerworks discussion page Hannah Moskovich responds to people calling the female ad humiliating by saying, essentially, that she’d have known if she was being humiliated, and she recounts some examples from her days as a server when she was outright humiliated by piggish male customers... A couple of years ago I saw an interview with Mickey Rooney in which he was asked as a final question if he’d do anything differently, and he responded without hesitation “I’d do Breakfast at Tiffany’s differently. Well, I wouldn’t do it at all.” (As a refresher: In Breakfast at Tiffany’s Mickey Rooney donned bad teeth, a blunt black wig and a kimono and ran around yelling at Audrey Hepburn in a “Chinese” accent.) “At the time I thought it was hysterically funny. I didn’t realize I was humiliating myself.” Humiliation is very often in the eye of the beholder, as one other poster on that page points out. And just because your intention is satire, that doesn’t mean the result is satirical. Sometimes it’s just humiliation. And, though I agree the examples of humiliation she provides were no doubt hurtful, soul crushing and immediate, it’s also true that humiliation sometimes takes time, and sometimes the humiliated is entirely oblivious.
The men’s ad is not provocative whatsoever. It’s not humiliating. There’s nothing offensive about it. There’s nothing challenging about it. It’s just bad. Assuming you know Michael Healey, there might be some initial humor in seeing him act foolish, but that goes away pretty quickly, or so I’d assume. (I don’t know him, save by reputation.) If you don’t know him what it is is just a bad YouTube skit.
One comment on the YouTube page for one for the ads says something along the lines of “Leave them alone, at least it’s better than most of what you see on YouTube.” Talk about damning with faint praise. But also, A) Aim higher; these are some of Canada’s top actors and writers in these ads and they should behave as such. And B) No, it’s not. It’s not better than most of what you see on YouTube. It’s equally as bad as most of what you see on YouTube.
There is a third ad, featuring just Summerworks Artistic Director Michael Rubenfeld singing a terrible song about Summerworks, apparently as a spoof of those terrible and terribly narcissistic songs that teens post on YouTube because they can... It’s whatever, an interesting if obvious idea, except Who the fuck is Michael Rubenfeld? I’ve met him a couple of times, I think, but seriously: The joke only works if the people watching it know you’re not actually one of those narcissistic kids. Most people don’t know that about Michael Rubenfeld. Most people don’t know anything about Michael Rubenfeld whatsoever, including his name, what he looks like, and his position with Summerworks. The ad is for his friends. The ad is for the people in the other two ads, and whoever else is in Michael Rubenfeld’s MyFive. The ad, as it turns out, is for the same people for whom those kids he’s parodying make their videos: Pals. I can’t tell if this is the most post-modern post-modernist piece of art ever created, or just the height of narcissism, though I suspect it’s not the former, unfortunately.
If you’re the Artistic Director of, well, anything, shouldn’t your advertising campaign be directed at those other than the already initiated?
Personally, I think this is the most offensive ad of the bunch.
There is a bolder statement to be made about these; one I’ve danced around a bit, but I guess I have to spell out, which is this:
THESE ADS ARE REPRESENTATIVE OF EVERYTHING THAT’S WRONG WITH THE TORONTO THEATRE SCENE.
It’s incestuous. It’s exclusionary. It’s a club. Artists in the scene don’t make theatre for audiences, they make it for other artists. Almost without exception the people who jumped to the defense of these ridiculous ads are people who know the “actors.” (“I know Claudia Dey, and I think this is hilarious.” “Hannah isn’t really like that at all, and that’s why it’s funny!”)
With all due respect, who cares what you think? You’re going to go to the shows already, supposedly, so who cares? If these ads had been made and sent through e-mail from person to person, then ha ha ha, nice work; but they weren’t. They were posted on the Summerworks website. If those involved weren’t so blind, they’d see the outcry about their crap for what it is: People who care about theatre, who care about Summerworks wanting those involved to pay it the respect it deserves. It’s not just a couple of whatever, fun videos, so what?The ads are representing something that people are passionate about, and they’re representing it exceptionally badly.
And what’s worse is they’re doing it in a way that basically says Theatre is about the artist, not the audience and not the art.
There’s no question that theatre is in trouble. Audiences are weak, and without audiences theatre is nothing; it can’t live.***
It’s attitudes like the one behind this campaign that keep audiences away.
Why are musicals -disdained by all serious theatre artists, the scourge of the theatre world- kicking our ass? Because they’re inclusive. They want audiences. They want to impress people, make people happy, make people sad. David Mirvish doesn’t care about impressing his friends, he wants to impress people he doesn’t know. The people who pony up and allow him to do what he does are people he doesn’t know. They’re buying the tickets.
People want to be included. The slogan for this campaign cold have been “Theatre artists: We’re smarter than you. We’re more clever than you. We’re better than you.”
________________________________
* Seriously, though: Where’s Kate Hewlett? Are you kidding me?
** The saddest part of the whole thing for me has to be when, after listening to so much praise for original hotness being heaped on Dey, the older Linda Griffiths says “Wait, what about me?” It’s just... A sad moment.
*** It’s sad to go to a show in Toronto. Afterwards everyone piles out of the theatre and gathers at the stage door to say hi to the writer / the director / actor, or more often than not some collection of people involved in the production, because the audience knows them all. The people in this show are the same people that came to support them at their show. And that’s fine, there needs to be support within the community, but if the support from the community is what’s keeping you afloat, if your audience is all actors and the writers and directors of things you’ve seen, than what’s the point?
Summerworks in Toronto has taken the step of posting a couple of ads -one male- and one female-based- for their upcoming theatre festival. The ads -particularly the female, which features a cluster of “hot” female playwrights* thanking Claudia Dey for paving the way for “hot” female playwrights, and then engaging in a pillow fight, all scantily clad- have drawn the ire of many, primarily women, who find the whole thing offensive, a missed arrow aimed at the heart of 21st Century pseudo-feminism. There’s no question, frankly, that it is a missed arrow. It’s a poor attempt at satire. But whatever. The YouTube generation’s lack of understanding of feminism -or true struggle of any kind, for that matter- is an unworthy adversary.
On the Summerworks discussion page Hannah Moskovich responds to people calling the female ad humiliating by saying, essentially, that she’d have known if she was being humiliated, and she recounts some examples from her days as a server when she was outright humiliated by piggish male customers... A couple of years ago I saw an interview with Mickey Rooney in which he was asked as a final question if he’d do anything differently, and he responded without hesitation “I’d do Breakfast at Tiffany’s differently. Well, I wouldn’t do it at all.” (As a refresher: In Breakfast at Tiffany’s Mickey Rooney donned bad teeth, a blunt black wig and a kimono and ran around yelling at Audrey Hepburn in a “Chinese” accent.) “At the time I thought it was hysterically funny. I didn’t realize I was humiliating myself.” Humiliation is very often in the eye of the beholder, as one other poster on that page points out. And just because your intention is satire, that doesn’t mean the result is satirical. Sometimes it’s just humiliation. And, though I agree the examples of humiliation she provides were no doubt hurtful, soul crushing and immediate, it’s also true that humiliation sometimes takes time, and sometimes the humiliated is entirely oblivious.
The men’s ad is not provocative whatsoever. It’s not humiliating. There’s nothing offensive about it. There’s nothing challenging about it. It’s just bad. Assuming you know Michael Healey, there might be some initial humor in seeing him act foolish, but that goes away pretty quickly, or so I’d assume. (I don’t know him, save by reputation.) If you don’t know him what it is is just a bad YouTube skit.
One comment on the YouTube page for one for the ads says something along the lines of “Leave them alone, at least it’s better than most of what you see on YouTube.” Talk about damning with faint praise. But also, A) Aim higher; these are some of Canada’s top actors and writers in these ads and they should behave as such. And B) No, it’s not. It’s not better than most of what you see on YouTube. It’s equally as bad as most of what you see on YouTube.
There is a third ad, featuring just Summerworks Artistic Director Michael Rubenfeld singing a terrible song about Summerworks, apparently as a spoof of those terrible and terribly narcissistic songs that teens post on YouTube because they can... It’s whatever, an interesting if obvious idea, except Who the fuck is Michael Rubenfeld? I’ve met him a couple of times, I think, but seriously: The joke only works if the people watching it know you’re not actually one of those narcissistic kids. Most people don’t know that about Michael Rubenfeld. Most people don’t know anything about Michael Rubenfeld whatsoever, including his name, what he looks like, and his position with Summerworks. The ad is for his friends. The ad is for the people in the other two ads, and whoever else is in Michael Rubenfeld’s MyFive. The ad, as it turns out, is for the same people for whom those kids he’s parodying make their videos: Pals. I can’t tell if this is the most post-modern post-modernist piece of art ever created, or just the height of narcissism, though I suspect it’s not the former, unfortunately.
If you’re the Artistic Director of, well, anything, shouldn’t your advertising campaign be directed at those other than the already initiated?
Personally, I think this is the most offensive ad of the bunch.
There is a bolder statement to be made about these; one I’ve danced around a bit, but I guess I have to spell out, which is this:
THESE ADS ARE REPRESENTATIVE OF EVERYTHING THAT’S WRONG WITH THE TORONTO THEATRE SCENE.
It’s incestuous. It’s exclusionary. It’s a club. Artists in the scene don’t make theatre for audiences, they make it for other artists. Almost without exception the people who jumped to the defense of these ridiculous ads are people who know the “actors.” (“I know Claudia Dey, and I think this is hilarious.” “Hannah isn’t really like that at all, and that’s why it’s funny!”)
With all due respect, who cares what you think? You’re going to go to the shows already, supposedly, so who cares? If these ads had been made and sent through e-mail from person to person, then ha ha ha, nice work; but they weren’t. They were posted on the Summerworks website. If those involved weren’t so blind, they’d see the outcry about their crap for what it is: People who care about theatre, who care about Summerworks wanting those involved to pay it the respect it deserves. It’s not just a couple of whatever, fun videos, so what?The ads are representing something that people are passionate about, and they’re representing it exceptionally badly.
And what’s worse is they’re doing it in a way that basically says Theatre is about the artist, not the audience and not the art.
There’s no question that theatre is in trouble. Audiences are weak, and without audiences theatre is nothing; it can’t live.***
It’s attitudes like the one behind this campaign that keep audiences away.
Why are musicals -disdained by all serious theatre artists, the scourge of the theatre world- kicking our ass? Because they’re inclusive. They want audiences. They want to impress people, make people happy, make people sad. David Mirvish doesn’t care about impressing his friends, he wants to impress people he doesn’t know. The people who pony up and allow him to do what he does are people he doesn’t know. They’re buying the tickets.
People want to be included. The slogan for this campaign cold have been “Theatre artists: We’re smarter than you. We’re more clever than you. We’re better than you.”
________________________________
* Seriously, though: Where’s Kate Hewlett? Are you kidding me?
** The saddest part of the whole thing for me has to be when, after listening to so much praise for original hotness being heaped on Dey, the older Linda Griffiths says “Wait, what about me?” It’s just... A sad moment.
*** It’s sad to go to a show in Toronto. Afterwards everyone piles out of the theatre and gathers at the stage door to say hi to the writer / the director / actor, or more often than not some collection of people involved in the production, because the audience knows them all. The people in this show are the same people that came to support them at their show. And that’s fine, there needs to be support within the community, but if the support from the community is what’s keeping you afloat, if your audience is all actors and the writers and directors of things you’ve seen, than what’s the point?
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