I just have a question.
It’s SummerWorks in Toronto. I know it is SummerWorks in Toronto because my Facebook account is abuzz with all things SummerWorks emanating from what seems to be the Facebook page of everyone I know in Toronto. SummerWorks features forty-two plays by some of Canada’s finest artists. SummerWorks is at the cusp of the very alive, pulsating, raw, beating heart of the Canadian theatre. This is the SummerWorks mandate:
The SummerWorks Theatre Festival is committed to the following:
- To ensure a high standard of quality productions in a Festival that has elements, which intrigue, excite, attract and entertain an audience.
- To produce a juried Festival in which the participants feel supported by a strong technical, administrative and artistic team, and feel proud of the other high calibre work being produced alongside their own.
- To produce a Festival that provides an environment that cultivates and stimulates artistic growth, with the focus on artistic and professional development for both participants and our audience.
- To actively seek and support new and remounts of Canadian plays.
- To support the work and participation of the next generation of playwrights, directors and actors.
In its eighteenth year, SummerWorks is not some tiny, quirky, inconsequential festival hidden away in a graffiti-covered bathroom in the basement of Sneaky Dee’s. It is one of a proud theatrical core of artists in Toronto who are dedicated to fostering and creating dynamic, exciting, intriguing, poignant, artistic, professional, new work in this country and to thrust passion and love of the theatre with pride and exuberance into the next generation. It is working in conjunction with artists and technicians to create jobs for some of Canada’s most talented, creative and unique voices. SummerWorks and festivals like it, insure the theatre’s survival—what’s more, they DEMAND the theatre’s survival and its prosperity in these precarious times.
So, why is there no SummerWorks coverage in The Toronto Star?
One of the most recent posts in The Star featured an article about SummerWorks, but even from Halifax I can write a list of SummerWorks productions that seem interesting (and I have). Shouldn’t a theatre critic who gets paid to give you the coverage you deserve regarding the theatre scene in Toronto at least show lukewarm interest and go out and review these forty-two shows by some of Canada’s finest artists? Why does Richard Ouzounian refuse to do that? Why would he prefer to fly to London (England) and review Jude Law’s Hamlet, or Helen Mirren’s Phedre? What does that have to do with the citizens of Toronto? How many readers of The Star are going to London this week? How many could be going to SummerWorks? What is the subtle message he is sending his readers?
I’m sick of it.
I wouldn’t get so frustrated if Richard Ouzounian didn’t use his platform at The Star to bemoan the current state of theatre in Toronto, chastising our local actors for not being “Broadway” enough and giving excessive succulent adulation to anything American or British that comes within a hundred feet of his nose. He may praise individual artists, he may praise individual shows (as he should), but overall, the gist I hear from Ouzounian (over and over) is a strong, clear message that from his perspective, Canadian theatre is just not good enough.
How can he stand on his platform and chastise us, how can he foretell the failure for us all, how can he try to diminish Canadian talent, power and potential so that it will fit into the shadow of America—how can he know about Canadian Theatre--- when he dismisses something like SummerWorks as not being worthy of his time?
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53 comments:
Hear, hear!
Agreed.
great post. thank you.
I think this is a very ignorant and unfair commentary on Mr. Ouzounian who is a fierce champion of theatre in Toronto and elsewhere. He does have a responsibility to the readership of the Toronto Star, and like it or not, that readership cares more about Jude Law in the West End than SummerWorks. But if you are the journalist you claim to be, go check your facts and I challenge you to find any other print journalist who covers more Toronto theatre than Richard Ouzounian.
Hi Laura,
First of all, thank you for your comment. TWISI is dedicated to being a space where these types of debates can be voiced and everyone's opinion can be heard and respected.
That being said, I would appreciate if in the future you did not immediately jump to calling me "ignorant." I stand very strongly by my knowledge of Canadian theatre and Richard Ouzounian's place (past and present) in the world of Toronto's theatre community.
If you would like to post some links or examples of how you see Ouzounian championing Canadian theatre, that would be wonderful. Ouzounian does review theatre in Toronto (it's his job)-- but you cannot praise him simply by the quantity of Toronto reviews he writes, but I think he should be judged by the quality of how he champions Canadian theatre (theatre created by Canadians) within those reviews. But, if you can post some examples, I'd be interested in exploring your perspective with an open mind.
Your opinions will always be respected here, please show the same respect to those who disagree with you.
Thanks!
I think if the readers were informed about Summerworks and other amazing independent theatre being created in Toronto they might care. It seems like the readers are the ones who end up 'ignorant'. Laura, I think you're wildly mistaken when you suggest that no one covers more theatre than Ouzounion. Look at the weeklys, at the Globe! There are many who do it better with positivity, fascination and support. New York and London reviews should be in the travel section if you ask me.
Richard is irresponsible, and if you do your research you'll find he has a track record of dysfunction and out-sized failures as an artist. He's been seen fast asleep at plays and reviews them., he's texted cast members he knows back stage during performances to let them know what he thinks, and makes unprofessional casting suggestions in his colomn. It's a wild conflict of interest. The thing that I find solace in is knowing it's known across this country, everywhere I go from Vancouver to Halifax that Mr O, is toxic and damaging.
Amanda,
I did not immediately jump to calling you ignorant. I chose that word carefully, using the dictionary definition, and the word means “lacking knowledge” or “unaware” or “uninformed”. I did not intend to use the word in any kind of inflammatory manner, but merely to suggest that you do not have enough knowledge. In my opinion, you and Ron who commented below have an axe to grind with Mr. Ouzounian, for whatever reason, and are either ignoring or choosing not to see the reality. Ron, I am astounded that you would cite the Globe & Mail as a publication that covers more theatre than Richard Ouzounian does. I’m not talking about just SummerWorks (when he is on vacation / in Europe), but I’m talking about the body of work throughout the year. Go ahead and ask Kelly Nestruck at the Globe who covers more theatre - he will tell you that Mr. Ouzounian gets much more print / column space than he does, that Mr. Ouzounian writes more preview pieces than he does and reviews more shows than he does. As for the weekly’s, eye Magazine normally devotes AT MOST 1 ad-filled page a week for theatre, and Now Magazine’s various writers might take up two pages, whereas Mr. Ouzounian writes on average four or five columns a week.
Ron, I have not made any comment about him as an artist. His Dracula was one of the worst things I’ve ever seen. But that is irrelevant to this discussion, which stemmed from Amanda accusing him of diminishing Canadian talent and theatre, and of dismissing SummerWorks as not being worthy of his time, when the reality is that he is just physically away on vacation and did a preview piece before leaving. If he was in town, there is no question that he would have reviewed shows at SummerWorks as he has in the past. I don’t always agree with what he says, but he is entitled to his opinion, and I reiterate that there are few people more passionate about Canadian theatre than he is.
Wow. I agree 100% with Laura on this. If you go through the blog archives here, you will find a history of name dropping for Richard, (one can only assume to generate some sort of press..?) yet deleted are comments previously that said similar things to Laura's point...I recall reading such comments and then, miraculously, they were not only deleted, but then commenting disabled on this blog entirely. Amanda, would it not seem strange that so many people seem to have a similar perspective on your biases against certain individuals? Not to mention for, with your whole suckling at the tit of the Zentilli character. I can only imagine how long it takes before commenting is once again removed from this blog.
Thank you, Laura, for such an informed take on this. After reading your comments, I can only say that I am more impressed than ever by Mr. Ouzounian's journalism and commitment to Toronto theatre, and appreciate him making a point of giving SummerWorks some coverage, even though he was unable to review the shows themselves.
As a teenager living in the suburbs, I found my access to the Toronto theatre scene very limited. Fortunately, there were the reviews, interviews, and comment pieces by Mr. Ouzounian that made me feel more connected to the theatrical world. I think Mr. Ouzounian has done more for the theatre industry in Toronto than any other current journalist or blogger. He reaches a great number of readers and to say he uses his column simply as a platform to attack Toronto theatre while praising the New York and London theatre scenes is laughable.
Also, I appreciate Mr. Ouzounian holding Toronto theatre to a high standard and think it absurd to fault him for this. I appreciate his reviews and, quite frankly, I do not want to read effusive praise about every show that hits a Toronto stage as it very quickly starts to seem disingenuous.
"there are few people more passionate about Canadian theatre than he is"
Laura, I couldn't have said it better myself.
An addition to my previous post. I was thinking this over, and I realized that Mr. Ouzounian champions theatre in general, but does have a special focus on Canadian theatre. I enjoy reading his reviews from Broadway shows and Brampton shows alike.
However, if you are looking for articles where Mr. Ouzounian champions just Canadian theatre (though I appreciate his NYC tips), here is a small sampling of reviews from 2009 alone that show his commitment to promoting Canadian theatre:
- Interview with Bruce Dow: http://www.thestar.com/comment/columnists/article/650506 (championing a Canadian performer in a Canadian show)
- Article on Brampton theatre: http://www.thestar.com/comment/columnists/article/636022 (thank you for championing suburban theatre as well as the 'major players', Mr. Ouzounian! and if you'll read the end of this article, he promotes this as theatre worth traveling to attend. I'm sure the Rose Theatre appreciated this nod)
- Jersey Boys: http://www.thestar.com/comment/columnists/article/644544 (this is a definite endorsement of Toronto theatre over Broadway theatre)
- Prince Edward County theatre: http://www.thestar.com/comment/columnists/article/673553
- Interview with Amy Wallis: http://www.thestar.com/comment/columnists/article/626970
- Article making Stratford and Shaw more accessible to out-of-town patrons: http://www.thestar.com/comment/columnists/article/617104
I hope these samples will help, Amanda. I have focused solely on interviews and promotional pieces rather than reviews (yes, he does write some negative reviews, but there are a great many positive reviews to be found, too. Do you fault a film critic for liking some films and disliking others?).
Laura,
Seriously? Seriously?? You'd be hard pressed to find a Toronto theatre reviewer who sees LESS locally produced theatre than Ouzounian. Jon Kaplan of Now Magazine, Justin Haigh of the Theatre Review, Kelly Nestruck of the Globe and Mail... almost every print journalist in town who writes about theatre sees more theatre IN TORONTO.
You have a better chance of seeing a unicorn at a production at one of the mid sized venues (Theatre Passe Muraille, Factory, etc.), or at an independent company's show in Toronto, than of seeing Ouzounian.
If you look at his posts in the Star from the last few months ( http://www.thestar.com/comment/columnists/94638 ) , you'll see he's more interested in writing about chick flicks ("Being Julia"), and the actress that played Wonder Woman in the 70s, than he is in reviewing locally produced theatre; his last proper review of a non-touring show was "I, Claudia" on MAY 1ST, and that show, excellent though it was, was on its FOURTH remount in Toronto.
Ouzounian has been in the theatre game in Toronto long enough that he's an authority on the politics and the goings-on at the large companies (Soulpepper, Canstage, Mirvish, etc.), but it's been a long time since he's had any credibility with his coverage of up and coming theatre in Toronto. Where was he during the Fringe this summer? Both the Globe and National Post's theatre writers at least saw and reviewed a couple of Fringe plays. Had Ouzounian bothered, he might have seen "My Mother's Lesbian Jewish-Wiccan Wedding", which has just been announced as an addition to Mirvish's season in November.
I still chortle at the memory of reading his review of Rebecca Northan's "Blind Date", and his utter SHOCK that an improvisor could create something so engrossing and theatrically accomplished. Had he seen any of the quality improvised theatre in Toronto in the past decade ("Impromptu Splendor", "About an Hour", "Dreadwood", etc., etc.), he'd have had some sort of an idea of what to expect.
As Ron said, Toronto Star readers deserve a theatre reviewer who writes about the best theatre produced IN TORONTO, and that hasn't been Richard Ouzounian's M.O. for a VERY long time.
I think Richard Ouzounian is a theatre reviewer, rather than exclusively a Toronto theatre reviewer. He reviews more work internationally than most of his peers and I don't see why this is such a terrible thing. He does not neglect Canadian theatre; he still actively promotes it. If you feel that Toronto theatre audiences don't want to hear about Jude Law's take on Hamlet, then I'm afraid you may be out of the loop with regards to the readership of The Toronto Star.
As far as I can tell, the criticisms against Richard Ouzounian from this blog stem from (i) the fact he doesn't like every Canadian show he sees and (ii) the fact he reviews shows that are not Canadian. As Laura pointed out, the Canadian content of his reviews may have dwindled this summer but he has been away on vacation and prior to leaving wrote a piece to promote the upcoming SummerWorks. In looking over the list of articles Steve posted, it is clear that although few shows have been reviewed in the past few months, Canadian content IS still being promoted.
I don't see why his review of The Harder They Come (dated July 24th) should not count from your list, Steve -- it is playing in Canada, it is the North American premiere, and, I daresay, it is a show many Toronto and GTA-theatregoers are interested in hearing about. I think your limitations on what are 'acceptable' reviews are far too stringent.
Sarah,
The issue is not whether Richard's reviews are negative or positive; how can it be, when he hardly ever reviews locally produced theatre these days?
It's also not whether he is supportive of Canadian theatre, though you could certainly make a case that he has a very narrow preference for Broadway-style and classical productions, to the detriment of the quality theatre our city actually produces.
The issue is whether, as the pre-eminent theatre critic at Toronto's only reputable daily (we can all agree the Toronto Sun doesn't factor into this, I hope?), he devotes enough attention to Toronto theatre, and specifically, REVIEWING locally produced theatre. In this respect, Ouzounian has shown great neglect in recent years.
I would not level this critism to the same extent at the reviewers at the Globe and Mail and National Post; those publications, despite having local editions, are national in scope. But for the theatre head at the Toronto Star, there should be an expectation that theatre in Toronto (not imported into Toronto, as "The Harder They Come" is, or theatre unlikely ever to be seen by Toronto residents, as his vacation indulgings are) should be given greater (not exclusive) prominence over out of town theatre.
I don't think Ron, or any other Toronto theatre community memeber, is unreasonable in feeling bitter that the theatre section in the Star is far more likely to be filled with reviews of New York or London coverage, rather than reviews of this city's work. I think Ron's absolutely right:
"if the readers were informed about Summerworks and other amazing independent theatre being created in Toronto they might care... New York and London reviews belong in the Travel section if you ask me".
Radically well Said Steve. Thanks.
Wait wait - he's a theatre reviewer who writes for a Toronto daily, not a Toronto-exclusive theatre promoter. The fact that you feel he owes small-time theatre in Toronto anything is laughable, and just weeps "..why can't my small time show get noticed?" tears. If the city of Toronto overall had an issue with the pieces he writes about, don't you think it would be reflected in changed subject matter..? Few people care about the latest cabaret in some local basement pub compared to what's happening in NYC, and he writes what the majority want to read about. The bitterness and sense of entitlement shown here is hilarious.
Summerworks is rife with national theatre stars. It is NOT a basement Cabaret series. It is a festival of Toronto's freshest playwrights who's voices need to be heard, as they are the next generation responsible for keeping theatre alive.
Entitlement is not what I feel, but a hope that someone who professes to love the theatre and his city might take greater care in the cultivation of what's new.
Bitterness, yes. I know a lot of artists who have chosen to dedicate themselves to theatre feel this way. The situation is riddled with injustice on many levels.
As for the majority dictating things, I think that's sad. And I'm interested on how anyone might be on the pulse of what so many people want.
"If I would've asked the people what they wanted they would've said faster horses"
Henry Ford
Ron, the issue of SummerWorks has been addressed already -- Ouzounian was on vacation, he put out a piece to promote the festival with specific reference to some shows that he found appealing. I think this is fair. I don't see why he should be forbidden to travel or provide thoughts on international theatre. I appreciate a Toronto-based writer providing his thoughts on Broadway and West End shows. Or are you saying Amanda was out of line when she reviewed the Broadway productions of West Side Story and In the Heights on her Canadian theatre blog?
"if the readers were informed about Summerworks and other amazing independent theatre being created in Toronto they might care..."
If your problem is that the Toronto public are not made aware of the full theatre scene in Toronto, I think you should aim your attacks at the advertising and media contacts associated with any given show/company. It is not Mr. Ouzounian's job to promote shows. It is his job to write about theatre that his readers will find interesting. It is one thing to disagree with what he writes, it is an entirely different issue to attack him for it or criticize his professionalism/artistic merit. I am thankful for the scope he provides, from the small Ontario communities to the big Toronto productions to the West End.
I think Laura and Deana have hit the nail on the head already. Mr. Ouzounian does not write about Toronto theatre for the Toronto theatre community, he writes about theatre for the readers of the Toronto Star.
With such an obvious axe to grind, I can only guess you're Ron Pederson...still butthurt over the Little Shop writeup, hmm? I think it's also a safe bet that you, Steve, and the blog owner are in cahoots together, probably emailing back and forth your backpats and being sour together. So petty. :(
Thanks to everyone for providing me with so much reading material. I don't have the time to respond to it at the length it deserves at the moment, but I assure you that I will get back to you soon-- and look forward to checking out those links!
I do feel the need to respond to a few comments about "me" personally-- my primary objective with TWISI is to make people aware of all different sorts of facets of the theatre. I like stimulating debates and discussions. I like hearing other people's perspectives. That is why there is the option for comments here. I like giving you guys the opportunity to hash things out with each other (:)) If you like reading The Star and think Richard Ouzounian is a champion of the Canadian theatre-- that's great. Please, keep reading The Star-- maybe even send him an email (rouzounian@sympatico.ca). I bet he'd love to know that he has such great, ardent support out there! I see Richard Ouzounian in a different way. And I know I'm not alone. And I'm entitled to that. But, I won't force you to try to see him the same why I do. But I do want to make people aware of how his actions are perceived by me, because there are people who don't know Summerworks is going on right now... and if they knew it was going on, they might also have the same question I do. It's about awareness.
Also, please don't attack or disrespect the rights of your fellow commenters to have an opinion. If you must bash me, I can take it, but I don't want people to feel hesitant about commenting out of fear that others will tear them to shreads.
This isn't a 'draw a line in the sand' 'with us or against us' situation, it's just people having their own experiences, their own perceptions and their own values about the theatre and what they think is important for the readers of The Star. Let's try to keep personal attacks and namecalling to a minimum.
Respect. It's important.
Thanks! And I'll write more specifically later!
Amanda
PS- Deana, I just wanted to say regarding the old blog and you remembering the past comments, you're right. There was a time when I wasn't sure I was ready to open myself up to an Internet full of people who can be really cruel and really harsh and really negative.
But, as I wrote more and more politically I felt that it was unfair (both to my readers and to myself) to not have the opportunity of hearing the other side.
And I'd like to say how great I think it is that you're still reading the blog so frequently even though we obviously have different opinions on certain matters.
That makes me feel really great about the blog.
deana,
it is completely unfair of you to say anyone here is crying 'why can't my small time show get noticed' tears. great theatre is composed of great stories, not to be measured in small-time/big-time/canadian/broadway terms...they are written to open people's minds, entertain crowds, and help audiences feel less alone by watching a glimpse of the human heart. at least the theatre i am interested in creating/writing or seeing is.
this comes in many forms, for many different people. (for a personal example, big scale musical 'into the woods' got me through one of the hardest parts of my life, and the lesser known 'live! nude! animal!' by halifax playwright jackie torrens breaks my heart like no other.)
if ouzounian is a champion of the theatre, he will seek shows that really affect who he is as a person and not just (to quote deana) 'write what the majority want to read about.'
Hello! Yes! It's me me Ron Pederson. Never meant to hide. Rest assured, I am not in cahoots with anyone, and I ain't 'fraid of no Ghost.
Yes. It hurt to have a negative and mean review for Little Shop of Horrors. I was also given a bad review for Rocky Horror Show by what's his name. It hurt, not so much in my butt, Miss Shrores, but in my heart. But that was easily dismissed by the stark and utter contrasts 'of all other reviews and the fact that Ricahrds reviews of my work are the only two negative reviews I've ever gotten. I had moved to to Toronto to do those shows and it smarted to be written about like that. Yes!
That said, my passion and perhaps over zealous contempt for him arose out of his stupid inaccurate coverage of David Storch's time at Can-Stage, his dismissal of Ted Dykstra's contributions to amazing productions and Dick's countless harsh offenses about the work and reputations of artists I hold dear. Also hearing tales of the dysfunctional workings of his world and career leave me agog that such madness can find a place as a guide of any kind.
I let my passion overwhelm me when this subject arises, But I don't apologize. I think the Emperor has no clothes and I hardly think he's a sound beacon of taste and perspective. Many many artist feel this way , but are hard pressed to confront the luncy. I'd do it again.
I can't wait to read his reviews of my work in the future.
Ronald Ray Pederson
P.S Who the heck are you Deana? What's your investment?
I'm going to go on record here with my real name and everything. My name's Brad Fraser. I've been writing plays for thirty years that have been performed with some success around the world. I have read a great deal of theatrical criticism of my own and other work. I have no problem saying that Richard Ouzounian is, hands down, the worst writer of theatre I've ever encountered. His good reviews are as badly written and ill informed as his bad ones, his taste is at about the same level as a first year high school English student and his love of the shallow and mundane has made the TO theatre scene and the Toronto Star a laughing stock around the world. His position at the Toronto Star while attempting to find and promote his own work in TO is a conflict of interest that would never be tolerated in a real business and his rumoured perchance for falling asleep at shows as well as his widely whispered alcoholism make him an even bigger detriment. Anyone who would defend him lacks a working knowledge of the theatre and has no idea of what theatrical criticism is. He represents everything that is mediocre about the theatre and about this city and when he finally and deservedly leaves his post he will be immediately forgotten. Attacking Amanda for daring to criticism him after the vile shit he's written about so many is- well- stupid and claiming he's somehow loved by the rapidly diminishing Star readership is certainly not supported in any number related media reports I've ever read. If it weren't so important that someone respond honestly to the sophomoric quality of his work I would've stopped reading long ago. Happily, I've never read a review he's written of my work and I intend to keep it that way.
Amanda keep up the good work.
Brad again- also, I don't subscribe to the Toronto Star to read reviews of shows in NY, London or anywhere else. If I want reactions to those shows I can go online and get better information from superior writers at any time. Sending him to cover other theatre is a waste of time but I have to admit I do enjoy reading the reviews in TO more when he's gone.
Brad, I think you are out of line in mentioning his "widely whispered alcoholism" and his "rumoured perchance for falling asleep at shows." Since this is, according to your wording, all hearsay and rumour, it has no place being discussed by plebs here as factors that make him a bad critic. Shame on you.
"Happily, I've never read a review he's written of my work and I intend to keep it that way."
I thought the primary criticism here was that he was not paying enough attention to Canadians? Now you say you do want him to avoid your work. It is simply impossible for him to please you, unless he provides a positive review of every show in Toronto.
He recently wrote an interview with Thom Allison that aired right before his cabaret. I'm sure Mr. Allison appreciated this interview far more than a review. A review might have made people aware of Mr. Allison, but it would have been too late to provide a bump in ticket sales. If you are looking for the championing of Canadian theatre, I think you'll find that exposure trumps one person's publicly voiced thoughts.
Ron, I do not agree with everything Mr. Ouzounian writes, but I respect his right to say it. I personally thought you were wonderful in Little Shop (which was one of my favourite shows in Toronto that year) and I think you are a truly great addition to the Toronto theatre scene. Mr. Ouzounian has, over the years, raved about shows/performances I did not care for and bashed shows/performances I loved. He is a critic, his job is to have an opinion and provide this opinion to his readers. I simply don't understand the venom directed at him for writing his opinions.
Meg, I'm glad you enjoy Into The Woods and Live! Nude! Animal! I mentioned the coverage and promotion he provides to small productions above, I encourage you to read that over. I think Mr. Ouzounian meets your standards for a champion of theatre.
Amanda, of course you are entitled to your opinion. It would void my thoughts about Mr. Ouzounian's opinion if I felt you were not entitled to post your thoughts on his writing. However, as you have asked for people to treat you and each other with respect, I hope this will also apply to Brad and the inappropriate and downright slanderous gossip he has written about Mr. Ouzounian, who is not here to defend himself. I also appreciate that you have opened up dialogue here, Amanda, allowing Mr. Ouzounian's readers (such as myself, Laura, and Deana) to write in with their support. I hope we will not be criticized/insulted for enjoying Mr. Ouzounian's writing and for feeling that he is both a valuable asset to the theatre scene and a powerful advocate for Canadian theatre.
As I've said before, I have been reading Mr. Ouzounian's thoughts on theatre since I was a teenager. I have since gone on to acquire more than a "working knowledge of the theatre" and, to be frank, enjoy his writing more than any other theatre reviewer, past or present.
I go back to my assertion that no other print journalist covers more Toronto theatre than Richard Ouzounian, which people seem to be questioning or doubting, especially Steve who makes a ridiculous assertion about Mr. Ouzounian’s presence at mid-sized venues. The reality is that Mr. Ouzounian covers almost every show in the Factory, Tarragon or Passe Muraille season, unless there is a conflict in which case Robert Crew or someone else might cover. The reality also is that Mr. Ouzounian is one of the staunchest supporters of the Toronto Fringe Festival. This year he was on personal leave from around mid-June till end of July. I can say that because I have looked at the Toronto Star’s “columnist archive” and look at his past columns for the past few months here: http://www.thestar.com/comment/columnists/94638. You will notice a gap where he wrote a piece on Bruce Dow (I trust I don’t have to tell anyone reading this who Mr. Dow is, or assure anyone of Mr. Dow’s citizenship or his incredible talent) on June 14, than really nothing until July 21. You will also notice that in the month of May (the first full month of this archive), he wrote 35 pieces. Between April 11 (when the archive begins) and April 30, he wrote 21 pieces in 20 days. Since he came back on July 21 until August 13 (22 days), he wrote 20 pieces. Certainly these pieces are not all about Toronto theatre, but a majority are, and more so during the regular theatre season (traditionally from September to May). Those are my facts. I look forward to anyone providing their own facts about any other print journalist covering Toronto theatre.
Thanks for the statistics, Laura.
Brad, I realize I misunderstood something you said. You wrote: "Happily, I've never read a review he's written of my work and I intend to keep it that way."
My apologies, I thought you were saying that he had not written a review of your show and not that you consciously avoid reading his reviews. May I inquire as to what it is you want of him, then? The complaints directed at Mr. Ouzounian have been morphing in this discussion as more people become involved. Amanda objects to the fact he does not write enough about Canadian theatre, Ron objects to the negativity in his tone, and you object to the fact you've heard rumours regarding his professionalism. I would appreciate it - as I'm sure Amanda would - if the hypocrisy and insults could be toned down so that we may have a reasonable discussion of this, without snide remarks about only "idiots" disagreeing with you and character-assassinations.
Personally, I'm just curious what "...that would never be tolerated in a real business and his rumoured perchance for falling alseep at shows as well as his..." is supposed to mean.
www.thefreedictionary.com/perchance
i'm curious about whether you ladies might be able to see a glimmer of plausiblity to any of the complaints raised regarding mr ouzounian? are you implying that he is a perfect example of journalism and the (at least) 75 years of combined experience in professional independent theatre who have raised issues with him here in this forum are just completely out to lunch?
Do you think this critic fulfills every duty required of him, even though he freely slams whole factions of the art form, knowing full well that his is the loudest horn and the venues he's decided to disdain have the absolute most going against them... no corporate sponsorship, small budgets doing what they do for a pure love of the art and passion for what they present... we are talking about literal blood, sweat and tears here.
aside from whatever we postulate his 'job' is- what about a little compassion? a little faith in the process... it's possible to encourage growth in the community without cowtowing to aesthetics you don't appreciate- there is clear merit in the toronto theatre scene that is not only being unaddressed, but is actually being smeared in the press.
It's possible to support a whole divergent scene and to do it with integrity and honesty... this is community minded behaviour and this is what seems to be lacking.
And, in my opionion THAT is Ouzounian's job- the job of anyone who embarks to attain the attention of the public. A dedication to humanity and growth.
but that, sadly, is arguable.
of course there is crap out there, but that falls to the side over time. natural selection.
it's those who have had the stamina to endure and continue putting out art that is outside the box, despite a less than hospitable establishment- that is what concerns me... these players who have continued to develop and still see their shows coming up without support... in an oddly consistent manner.
this looks like factionalism to me, and ouzounian has clearly behaved like a bully on more than one occasion...
and please, keeping in mind what it is a bully does- uses undo force to manipulate others to their agenda...
have you not seen a pattern to his writing?
do you deny there may be a slant?
Sherry-Lee, frankly, I'm having a difficult time with these complaints because there have been so many and each person puts a different variation on the preceding complaint making it difficult to understand what the actual problem is. I assume you are addressing Amanda's original issue and are asking, in short, if I think Mr. Ouzounian is having a positive or negative effect on Canadian theatre. I think his influence is positive.
Some people have said Ouzounian's readership is dwindling. If so, why should what he write matter if so few people are reading it? If people do not care about his work, why does it matter?
If you are saying that he does have a large readership and that he should be using his position to promote theatre, then I urge you to scroll up and read the above comments. Laura posted about how often Mr. Ouzounian writes (particularly compared to other Toronto critics) and I provided links that demonstrate how frequently he promotes individual Canadian performers and small theatre companies.
Of course there is a slant to his writing. This is like complaining that the writing in some papers appears more liberal or democratic than in others - it's the nature of the beast. He is a critic. I think many of you seem to object to the nature of a critic's job because it has affected you, a friend, or a colleague personally. I assume you do not feel so passionately about film critics?
Many people have given voice to their complaints now, but if I am to see plausibility in these arguments, I would appreciate someone addressing the issues brought up directly. Please demonstrate to me why Mr. Ouzounian is more vilified than, say, a film critic. I do not wish to make this personal - if he has offended you or a friend, I am sorry for that, but I hope you can understand that everyone is entitled to their opinion. Theatre is subjective and Ouzounian's readers are aware of this - what one person enjoys another may not. Also, why is he obliged to only review shows in the GTA, he was hired as a theatre reviewer to Toronto readers, not as a Toronto theatre reviewer. I applaud the balance he finds in predominantly reviewing shows in Ontario and sometimes throwing in reviews of international productions.
I'd like to ask that everyone take a deep breath and try not to take this quite so personally. If someone would like to make a concise list of their concerns with Mr. Ouzounian's Toronto Star articles, I would be pleased to then discuss these point by point and perhaps both sides can have their minds opened somewhat by a lively (but not rude) debate.
Sarah,
no offence taken, whatsoever.
You mentioned to Ron that that the 'Summerworks' issue had been dealt with already-- that Ouzounian was on vacation... if I were to choose a salient issue, that one might serve... why would Toronto's foremost theatre critic choose to take his vacation during one of the most interesting, innovative and cutting edge theatre festivals of the year...
To be fair- maybe it was his grandmother's birthday or something... why then not make sure there was adequate coverage and a presence in the paper while it was up? I did read from the beginning and a mention of the festival prior to it's start shouldn't be adequate. Why, for crying out loud, not throw in a review/preview/blurb every day of the event... something! Doesn't have to be huge or front page... It's weird and it seems a little stingy.
This to me would be the clearest and most immediately relevant indicator of his attitude toward an element of the Toronto theatre scene that is too broad to write off due to 'personal taste' and a critics right to his philosophical beliefs and aesthetic.
Hi Sherry-Lee,
Thanks for your thoughtful response. I see why this could be frustrating, but at the same time, I'm still not sure why Mr. Ouzounian is the whipping-boy here. You mentioned that the reasons for Mr. Ouzounian's departure are unknown - maybe there is no specific reason other than he wanted to take a vacation in the UK and enjoy the theatre in the West End. Still fair enough. It seems to me that your concern is not that Mr. Ouzounian is not covering SummerWorks, but that the Toronto Star is not going to be reviewing SummerWorks shows. Is this not primarily the fault of The Toronto Star rather than Mr. Ouzounian specifically? If you are cast in a show, is it your responsibility to personally find an understudy to cover your absences?
I see why the absence of Toronto's most well-known theatre critic during a Toronto theatre festival could be frustrating, but surely this aggression should be leveled at The Star and not become a series of personal attacks on the reviewer. I do not think this represents an indifference in attitude (or worse) towards SummerWorks as Mr. Ouzounian has been attending and reviewing SummerWorks shows for years. If he really wanted to snub the festival, I would think he would have stopped attending years ago or not write a piece about it before leaving.
I said that I would comment in more detail, but Sherry-Lee has said eloquently what I wanted to say, and I don't want to keep repeating things and "beating a dead horse" as they say.
Although, Sarah, I have to say, I am happy that Ouzounian's reviews provided you with a sense of connection to the theatre community during your teens. I'm sure you're not the only one with this experience. I know what it's like to be "beyond the loop", as I grew up in Halifax and relied on playbill.com for most of my theatre news.
I have checked out the links you sent me, and wanted to be a little more clear about what "championing Canadian theatre" means to me (this is the way i use "theatre champion" on the blog-- it doesn't mean that it's the only definition). I think a Canadian theatre champion is a person who helps Canadian theatre (theatre CREATED by Canadians- and especially theatre written by Canadians) grow and develop. The shows you mentioned were: Jersey Boys (DanCap, American show, Canadian cast), Anne of Green Gables (Mirvish/DanCap's production of the most well known, longest running musical in Canadian theatre history (but written by Canadians with a Canadian cast!) and Stratford and Shaw (by far the festivals that receive the most publicity and are the most well-known, respected and established in Canada). This is from Ouzounian's interview with Cimolino re: Stratford's economic situation at present, "We have the largest endowment fund in Canada and we were ready for the deficit we incurred last year. I don't want to sound cavalier, but we could survive several years like the one we've just been through."
It's great that these make it into The Star, but these are not the companies and projects that need additional fostering, nuturing or championing. These are all shows/festivals that would see audiences regardless of whether Ouzounian reviewed it or not.
In my opinion, someone who nutures and helps Canadian theatre to grow is someone who supports the theatre that is emerging from our country- our indigenous playwrights and collective creations, our artists and shows that are making their world premiere. Richard Ouzounian often misses these shows. I saw Pyassa (Dora Award winning) and Acting Upstage's Edges a year before Ouzounian saw them, because they weren't on his radar until after they had become success stories. There were also over 50 Cabarets this year in Toronto (a Cabaret-craze began in January 09) by a plethora of talented, established, professional performers. I'm glad Ouzounian mentioned Thom Allison's (he's one of the most well-known, well established of those performers whose Cabaret would have been close to capacity regardless-but still, kudos to Ouzounian for mentioning Cabaret, that's awesome)... but what about the other 49?
It's easy to jump on a bandwagon; but someone who I think is truly a champion takes risks and ventures out. Ouzounian doesn't have to like the show. Of course not. I just wish he would attend.
SummerWorks 2009. Fringe 2009. Luminato 2009. Of these three festivals, the one single show that Ouzounian reviewed was world-renown (albiet Canadian- so bravo to Richard for supporting him) Robert LePage's show Lipsynch.
Should I make excuses for why Ouzounian missed all three? This isn't an isolated incident. I find it frustrating. I think he's shortchanging his readers on theatre that is worthwhile, exciting, relevant and important.
Amanda, I see where you are coming from, but at the same time, I would encourage you to question why Ouzounian reviews the shows he does. He does not have the same freedom you have with your blog. I do not believe he is "short changing" his readers - I think the diversity of shows he covers is impressive, from small-town Ontario productions to major West End ventures. I believe it is this diversity that his readers find engaging.
I think everyone has different expectations for Mr. Ouzounian as a critic. You want him to be what you call a "Canadian theatre champion" -- I simply want him to be a "theatre champion." I am happy when I see the theatre industry thriving in Toronto, regardless of what country the show was written in. We are fundamentally different in what we expect him to do -- I expect him to review shows that are of interest to his readers, you want him to promote Canadian shows his readers are unfamiliar with.
For what it's worth, Mr. Ouzounian has today posted a four-star review of a Canadian company's production of a Canadian show about a Canadian pilot: http://www.thestar.com/comment/columnists/article/680437
Is there a specific quotient that is expected of Mr. Ouzounian? Even when he does review Canadian content, there is criticism that the show is too big and therefore not in need of support -- as I said, I don't think he is obliged to promote smaller productions or lesser-known shows (which he does, though evidently less frequently than you would like).
Mr. Ouzounian writes to satisfy his readers, not the theatre community. I think this is as it should be. Amanda, I know you disagree, so you have started your blog in order to promote and support theatre, particularly Canadian theatre.
I understand the difference, but I do not see where the vitriol directed at Mr. Ouzounian comes from. I think a different approach to theatre criticism is not only okay, but is welcome. The various attacks on Mr. Ouzounian seem disproportionate for what is fundamentally a difference of opinion. I am saddened to see that such attacks seem to stem from nothing more than a disagreement about where his professional obligations lie.
I'm sort fo half/half on this one. Yes Richard O. is great and reviews Tronto theatre according to his opinion. But I do agree with Amanda where she says "it's as if Canadian theatre isn't good enough". He tends to somehow descretly degrade Canadian theatre as if European or American theatre is better because it's American or European. He also seems to jump at any oportunity he has to review American and European theatre but not so much Canadian. Saying that, Richard reviews Canadian theatre based on his opion as any other person would, and tells us what HE thinks. It may not be how someone else feels but it is how he feels.
Also, I agree. I am also saddned to see that such debate has come from where his proffesional obligations lie, because when he reviews Torotno theatre he does it fairly and non-biastly so who really cares if he reviews American and European theatre more because he does a good job when he does do Tronto theatre.
thanks Sarah, I appreciate you acknowledging the frustration of those involved in SummerFest...
I'm not involved in the theatre- I buy tickets and I see shows... from my perspective, regarding this issue- it's not so much blood that is wanted as it is reform.
and... Ouzounian does hold a certain responsibility for the tone of the debate, as he is very outspoken and likes to stir things up... which makes for interesting writing as long as it leads to interesting insights...
but it is a simple law of rapport- in conversation, even in those as broad as this, we match tone-- it's actually a tool to help us relate...
Ouzounian can dish it out, and I am certain, he can/should be able to take it....
but we all have our underdogs and I'm sure your heart is in the right place...
I hope you make it out to some of the shows in question!!
Sherry-Lee, I do not recall Ouzounian gossiping about playwrights or actors in his reviews in the slanderous way he has been gossiped about here. This is what I have strongly objected to in this debate and, thankfully, it seems to have subsided.
I wouldn't label Mr. Ouzounian as an underdog - he is paid to go to the theatre and probably earns more than a fairly significant number of people engaged in this debate! I imagine he is quite satisfied with his position.
I understand you wanting reform and to promote the smaller Canadian productions, but I think you are looking in the wrong place for someone to lead this reform. Acting Up Stage is my favourite Toronto theatre company - they produce fantastic works (though, granted, they are by and large American shows, but the quality is impeccable). Their shows are reviewed in The Toronto Star. Yet I find that while they are heavily promoted within the theatre community, the majority of my friends outside of this community with a casual interest in theatre have never heard of them or their productions. Would it surprise you to learn that, despite Mr. Ouzounian reviewing A Man of No Importance last year, none of my friends who were not previously familiar with Acting Up Stage had heard of the show?
Placing a lack of awareness in Canadian theatre squarely on Mr. Ouzounian's shoulders simply doesn't make sense. There are a combination of factors that play into this and I encourage you to consider that critics are not the same thing as press agents.
i %100 agree with Sara. dont get your panties in a twist Amanda..............hes a theater reviewer not a political leader. perspective.
btw noone has said anyy=thing about canadian economy...........bigger cdn productions (like wwry and jersey boys) bring in way more money and keep more canadians working. so why shouldnt they get a lot of atteniton from the press since they are doing a really good service to the canadian people and the economy. if a canadain actor turned down a role in a smaller canadian show in favor of a bigger mrivish production that wasnt written by a canadian would you still be mad that the actor wasnt doing his or her part to support candian theater??????
oh ya... to ron from lsoh you were hot in that and even rocky horror.
Being an alcoholic or falling asleep at shows are indeed things that affect a reviewer's ability to do their job. Never having witnessed either of these myself I can only report them as rumours from reliable sources. They need to be discussed, particularly given the erratic and inconstant nature of his writing. I see nothing wrong with mentioning these things in my assesment of his work. Yet another potentail reason to question his ability at all. I stand by everything I said and I know I am well supported by many. Brad Fraser.
Brad,
What a joke - The National Inquirer also cites "..a reliable source" for their most recent cover story proclaiming "...Aliens Stole My Husband and Killed MJ!" You're obviously grasping at straws here, though we all know you and your whole shabby lot are ready to bend over for a 2 second blurb by RO about any of your recent fail ventures. You all have such big words from your shockingly high horses, but the truth is if you bumped into him at a show of you or your colleagues, it would be all smiles and gracious things to say. Fucking pathetic. Another reliable source you may wish to check into, Brad, is a Webster's dictionary. What a mess from a 'playwright'.
Wow anonymous you're a very brave person. Perhaps you'd like to put your real name out there. I'd actually checked in to see if Amanda would remove the rumours as I probably shouldn't've have entered them. However, I'm going to forget that. If I'm wrong and Mr Ouzounian has never fallen asleep or been drunk while he was working I'd definitely apologize. As for you theory about how I'd react if I ran into him, well I'd say the person who writes anonymously has very little room to talk.
Perhaps you're afraid to sign your name because you are Mr Ouzounian. Brad
check out this link
http://wwww.edmontonjournal.com/life/summer-guide/index.html
this will continue for the whole 10 days of the Fringe.
The Edmonton Fringe was a tiny event that barely made a blip. It's now considered one of the most vibrant and well attended fringes in THE WORLD.
In redneck, conservative Alberta.
How do you suppose that might have come about?
Advertising? Corporate sponsorship?
No, it's not the press' duty to promote shows.
It's the press' duty to make sure that the general population is given the opportunity to be made aware of ALL events that might pertain to them.
It exists (ostensibly) so that we avoid situations where only the ruling class/wealthy are able to disseminate information.
Had you heard?
I'm so passionate about this because it's not just Ouzounian ignoring some shows. I believe that he is ignoring some of the most important theatrical work being made in Canada.
Yup.
But who am I? Just a fan of theatre.
Of course it's arguable. Go to it!
It would force you to have to dig into the scene in question.
But how could you know that!?
You subscribe to Ouzounian! It's not your fault!
These are specific venues, playwrights & production companies that are consistently over looked. I'm sure Amanda would love to give you 10 shows to see in the next 6 months that are quality work & will not be mentioned anywhere in mainstream media.
Brad Fraser made an important point (not to mention several important plays & his lot could hardly be called ‘shabby’- it’s laughable & clearly shows your ignorance and contentiousness. Very telling how often the other side of this debate has resorted to viciousness and name calling. What the hell have these people, who have sacrificed to create art, often not knowing where next months income will come from, do to you? I’m disgusted.)
Anyway, Brad’s important point- the Canadian film & theatre reputation abroad. I’ve come across it all over the place- a certain attitude about this element of Canadian culture that usually conjures a weak smile, a nod and ‘aw, those Canadians are so cute’.
Guess what! Ouzounian, of all people in this WHOLE country is the best equipped to turn this around! YES!! How exciting, right?
He could start looking at some of the shows going on around him that are changing the medium, the mindset and the standards of not just theatre, but dance & performance art that are bubbling under the surface of the Toronto scene and converging…. And he could put it out there- perhaps even the stuff that he HATES! And get people talking about it. But maybe that doesn’t interest him.
Word spreads, and holy cow! There’s something interesting going on!
The reputation we have exists, to a great extent because of the homogenous, milky, unchallenging coverage that keeps being put to the forefront of, arguably, the most important newspaper in Canada. Ouzounian has a very important job! Really!! Please stop making excuses for him- he’s on vacation, it’s not his job, get the star to cover his absences- they are silly! Wanna be half assed about your job? go work for a fast food joint. Sara talked about his salary- I propose he’s not earning it.
Sarah’s right though, the Star does hold some responsibility here. They should have demanded better reporting or canned him, but that leads to a whole discussion about what the intent of the owners of mainstream media might be… a can of worms, to be sure.
His coverage gives very little to discuss- it’s safe, predictable & unremarkable in the grand scheme of things.
Theatre is not supposed to be TV- it is a medium that brings blood & a heartbeat to those involved & is meant to transmit tangible feelings from one set of humans to another. Whole political systems have been overturned due to seeds planted in the peoples’s theatre. It has been, time and again, the voice of the oppressed. It’s importance is made particularly clear when you take note of the fact that, in a fascist regime, one of the first things they do is shut down the liberal arts, theatre in particular, and replace it with productions that promote their doctrine.
(sound familiar?)
These guys are professionals. They know what effect art can have on people.
So, by all means, defend RO’s uninspired & self-centred coverage of theatre in Toronto. If you enjoy mediocrity and not being challenged you are in good company. Don’t get me wrong- he certainly covers some good shows- as Amanda said- it’s his JOB.
But he could do so, so, so much more.
It’s clear Ouzounian doesn’t want to venture beyond his own, comfortable domain. Sad. Ego wants to be acknowledged and triumph, but it only imprisons. An expansive and humble attitude allows one to be taught and to see truths that go far beyond our limited vision.
Ouzounian has the opportunity to breathe life into a whole city- nay- country.
Yes, one person- the right person- can do stuff like that.
It’s a shame.
sherry-lee,
Using big words doesn't necessarily make you intelligent, just resourceful.
"No, it's not the press' duty to promote shows.
It's the press' duty to make sure that the general population is given the opportunity to be made aware of ALL the events that might pertain to them..."
You're an idiot. What do you think promotion is? To your "point" - I just made a badass quiche last night, why wasn't the Toronto Star's retaurant critic there? My friends play softball on Wednesdays, where's my coverage in the Sports pullout?
This whole post is you heaping responsibility onto someone to deliver a million things for a million people. Just because your friend is in a show doesn't mean it's good, or fails because it doesn't get the nod from him - perhaps, maybe, it's just awful?
He is ONE person, who satisfies the vast majority, as noted by his tenure and readership. If people wanted to read about more local theatre, do you honestly think The Star wouldn't say "Hey, RO, we're getting a lot of requests for details on the most recent Ari Weinberg romp, could you get on that?" if people actually gave a damn? They don't. Those which are genuinely great will do great things whether one man says it is or not, the rest will be blogged about here.
deana, go have a nice hot bath.
= )
and, dear sweet, misunderstood deana!
how did you ever get so adorable?
sorry, sweetheart, but a week of a ton of plays taking place all through toronto that includes critically acclaimed people doesn't compare to your quiche, no matter how bad it was.
that is considered an event that effects thousands of people, not just the players.
if you think what I am proposing that Ouzounian is capable of is impossible... please take a moment to read this... and trust me, there are more...
http://www.washingtonpost.com/wp-dyn/content/article/2008/11/19/AR2008111903994.html
If you don't think Ouzounian is capable of that, then FINALLY, we agree on something!
will you be my new best friend? you are SO funny!
No matter how bad my quiche is, it doesn't compare to Toronto theatre..? You realize that paints a portrait of 'how bad' Toronto theatre is..?
Regarding RO, you are simply missing the point - he has no obligation to anyone to write anything, and him still having his job means he's doing right by the majority.
Sherry-Lee Heschel-Wisor, your music is terrible. I understand your no-fame plight now. Keep on chasing those rainbows!
Aw, I love this so much... from the article above...
"Although best known for his coverage of theater, Mr. Barnes's cultural reach extended to television. He wrote in 1969 that the populist medium "is the first truly democratic culture, the first culture available to everyone and entirely governed by what the people want. The most terrifying thing is what people do want." "
and here we are, years later, with fear factor and temptation island and oh, the list goes on...
aw, well it's been fun, but it seems what needed to be said has been said. All that's left is hurling vitriol and tired, unsupported/unsupportable arguments...
Thanks so much, Amanda, it's a great blog. I can't wait to see what happens in Toronto over the next few years... it's exciting!!
And Deana, I'll miss you, but whenever I miss you too much, I'll rent a Chucky movie...
hugs!
(gotta go play my show! can you believe they pay me to do this?! and to fly me around the world to do it? I am one lucky duck- must be my personality...).
Final tally of Summerworks reviews in print:
Now Magazine: 42 plays reviewed
Eye Weekly: 10 plays reviewed in print (21 online)
Globe and Mail: 3 plays reviewed
National Post: 3 plays reviewed
Toronto Star: Zilch, Zip, Nada, Nothing.
Ouzounian's posted 9 articles since the festival started, including 3 on Stratford, 2 on Soulpepper (including a review of the "Billy Bishop Goes to War" opening on Wednesday night, so we know he's back in town, on the beat, and reviewing shows), 2 profiles of American (or based in America) performers, 1 on Shaw, and one about a Nora Ephron chick flick. Oh, and that one preview piece, that paled in comparison to the coverage in the Globe, for example.
this is a lovely debate. i have really enjoyed the drama. thank you amanda for sparking this.
it seems to me that the end result is, if we as theatre goers/creators/artists/whatevers would like more coverage of small/independent/whatever theatre in the toronto star, then perhaps we should write in to the editor and express our desires as toronto star readers.
thanks for the fun read,
mark.
p.s. ron, sorry about your butt.
Thanks Mark. Wonderful Ideas! Wonderful. Plus! You really know how to make a butt feel better.
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