SExT closed at the Toronto Fringe Festival to a sold-out house and a double encore final bow. Now Magazine gave us a -NNNN review and named us one of the best ensembles in this year's Toronto Fringe Festival. Not bad ... NOT BAD AT ALL!
But we are not done yet!
We are back at Summerworks for 4 final shows! Yes, this is the last time you will be able to see this production! We open in two weeks so mark your calendars:
SExT at Toronto Summerworks Festival
Location: Factory Theatre - Studio Space @ 125 Bathurst Street
Sun August 7th @ 12pm
Wed August 10th @ 7:45pm
Thur August 11th @ 9:15pm
Fri August 12th @ 6pm
Before this show debuted at the Toronto Fringe, SExT had a few semi-private shows for the youth at Flemingdon Park. The scene that resonated the most with audiences was one about domestic violence, performed and created by Mary Getachew, Saad Ilyas, and Michelle Nyamekye. After one of these performances, a young audience member approached a teacher about that scene in particular and asked for help. I’d like to think there were more who also did the same.
The scene was originally performed with the song "How To Save a Life" by The Fray, which Mary sang and Saad and Michelle danced to. I spent some time with Mary breaking down the song and was inspired by how much she had to say. She was clearly connected to the song and as we dissected every line, I grew to realize how personal the topic of Healthy Relationships was to her.
In preparation for Fringe and Summerworks, Shira asked me if I knew how to obtain the rights to certain music that was used in the show, particularly "How to Save a Life". I thought, why give ourselves the headache? Why don't I write a song for Mary to sing - it would be an original song for the show and it would reflect her reality.
I approached Mary with the idea. I had no idea if she even felt comfortable talking to me, a stranger, about this topic that was very personal to her. I asked if she wanted to meet and just chat so I could ask her questions about what she wanted to say. "Do you write?" I asked in an email. "I have a feeling you must. Poetry, thoughts, essays ... I'd love to read what you are willing to share with me."
She wrote back and told me that she did in fact write and that she would send me some of her thoughts over the next few days. That weekend I received a page of free-flowing ideas about what it took to realize what an unhealthy relationship was. She described it as standing with your back against the wall and staring at your partner, facing away from everything you know and love and having that space form the reality you both rely on. At the bottom of this was another page of beautiful lyrics that I read over and over again. Here I was, thinking that I would have to extract a few of her ideas and come up with something when there was a song inside of her this whole time. It was powerful. I sat down with my guitar, created a melody, and showed it to her the next day.
How Mary interprets the song is something you must witness. This is her song and I wrote it for her voice. If you’ve seen the show, I’m sure you know what I’m talking about. Until we can get Mary in a proper recording studio, here’s a version of it with me singing (click the play button on the image below). I recorded it in my parents’ closet while I was at home visiting in Vancouver. Who knew that’s the best place to record at home?
One of the reasons why I think SExT is important is because kids need to recognize what healthy relationships and healthy expression of sex are. When they understand this, they are able to recognize when they are in a dangerous situation and feel empowered enough to ask for help. What I learned about the process of making "Tunnel Vision" was that if you give a young person the opportunity to speak, she will surprise you and she will teach you. Young people are not scared to talk about sex. WE are. It is our fault when youth are misinformed about what their rights are because we were too afraid to talk. Their perspective is powerful. All we need to do is ask and listen.
There are 4 shows left of SExT at the Toronto Fringe, including one tonight! See "Tunnel Vision" performed live along with other incredible original scenes created by this talented cast.
TORONTO FRINGE FESTIVAL
Annex Theatre - 730 Bathurst Street
July 6th at 7:00 PM
July 7th at 9:15 PM
July 9th at 2:15 PM
July 10th at 5:45 PM
- Post by Elena Juatco - Actor & SExT Creative Facilitator
We are officially open at the Toronto Fringe Festival to a standing ovation and just when we thought the high couldn't get any better, we got 4 'N's from NOW Magazine! It was the first NNNN review from Michelle da Silva for the Fringe Festival and we are THRILLED:
Fearless and fun! ... A sketch about the race to fertilization narrated as The Hunger Games elicited some of the loudest laughs on opening night. - NNNN" - Michelle da Silva, NOW Toronto
Read the review here.
We have 6 shows left at the Fringe Festival - come see us at the Annex Theatre!
SExT opens in two more days at the Toronto Fringe Festival! And just to whet your appetite, here's a brand new trailer! If you are curious as to what the "10 steps to putting a condom on" are, come see our show at the Annex Theatre and Beyoncé will give you the low down! Happy Fringe-ing everyone!
*Special thanks to Jacqueline Andrade for creating this awesome video!
Can we get a "HELL YA!" to all the female directors, writers and creators at this year's Fringe Festival?!
Thank you to Alysa Pires, Polynomials, and Derrick Chua for counting the 81 shows at this year's Fringe Festival written, created, directed, and choreographed by over 138 women!
Why is it important that we keep track of this? Last year the Globe and Mail cited under 35% of women in key creative roles in Canadian theatre with only 22% of female playwrights with productions in the previous season. Women account for less than 25% of Canada's produced playwrights even thought they form half the membership of Playwrights Guild of Canada.
And while the female voice is under-represented, women still form the majority of theatre-school graduates, support workers and audience members. Women are not the ones in control of their stories.
This is why the #FringeFemmeTO list is important. And I am proud to say that "SExT" is ON THAT LIST!
Here's a run down of the women with key creative and production titles in our show:
Our cast of 13 has 8 women of which 7 are also of a visible minority. The cast has also created this show with Shira Taylor, meaning these women are also writers and choreographers.
I've been directed by two women in my theatre career. I am actively looking for more women to work with because I can tell the difference when there is no female voice in the rehearsal hall. I have been shut down in rehearsals for "thinking about it too much" when I asked a question and then reassured with "the purpose of your character is to serve [male character's name here]'s storyline." I've read scripts that have offended me as a woman, particularly as a woman belonging to a visible minority. I've also experienced sexual harassment at work because a male director wanted me to understand "who this woman is". There was not a single woman on the creative team when this happened and nobody else made a complaint except me. I felt alone and quite frankly, powerless.
WE NEED MORE FEMALE DIRECTORS. WRITERS. CREATORS. It is my goal to prioritize all the shows on the #FemmeTO list ... it should be yours too! So take a look at the list below (as compiled by Derrick Chua) and Happy Fringe-ing!
A Bitter Shrew (late addition, replaces Soul’s Retrograde on p. 21). By Gillian English
A Good Death (p. 18). By Shelley Hobbs
A Lover Improper (p. 62). By Arianne Shaffer
A Thousand Kindnesses (p. 18). By Rachel Jury
All KIDding Aside (p. 18). By Christel Bartelse
Alpha Delta 86 (p. 50). By Kiva Murphy and Filipa Mendes
Angels & Aliens (p. 60). Co-written by Sydney Hayduk
Asiansploitation: Be More Pacific (p. 58). Co-written by Tiffany Kwan, Ellie Posadas
Birthday Cake (p. 62). By Sarah Marchand
Bright Lights (p. 14). By Kat Sandler
Cam Baby (p. 66). By Jessica Moss
Candy & Shelley Go to the Desert (p. 52). By Paula Cizmar
Common Ground (p. 54). By Susan Magerman and Michelle Brightman
Curious Contagious (p. 66). By Chloe Ziner and Jessica Gabriel
Damn Tank (p. 66). Co-written by Maaor Ziv
Dance Animal: Toronto (p. 14). With monologues by Robin Henderson, Kat Letwin, Allison Price, Carol Zoccoli. Created and choreographed by Robin Henderson.
Dario et la Diablesse: A Caribbean Musical (p. 24). Written by Sasky Louison
Daughters of Feminists (p. 74). Created / songs by Barbara Johnston, Suzy Wilde, Anika Johnson, Nancy White
Denmarked (p. 50). Adapted by Carina Gaspar
Downtown Jay (p. 11). By Joan Jamieson
Eraser (p. 74). Co-written by Christol Bryan, Deanna Galati, Victoria Gubiani
Everything Else Is Sold Out (p. 54). Co-written by Claire Farmer, Jessica Greco, Shannon Lahaie
Evolution / Mr. Truth (p. 26). Evolution choreographed by Angela Blumberg. Mr. Truth written by Lauren Gillis and Alaine Hutton
Exterminating Angel (p. 24). Choreographed by Alysa Pires
Falling Awake (p. 18). Co-written by Nayana Fielkov
False Start (p. 52). By Nicole Hrgetic
Far Away (p. 60). By Caryl Churchill, choreographed by Patricia Allison
For the Record (p. 72). By Shari Hollett
Fractals (p. 62). By Krista White
Game 7 (p. 58). Co-written by Magdalena BB
Getting Odd (p. 68). By Holly Wyder and Allison Harris
God of Carnage (p. 55). By Yasmina Reza
Happiness™ (p. 61). Co-written by Madeleine Boyes-Manseau
How May I Mate You? (p. 61). By Jenna Naulls, Kelsey Wilkinson and Kelsey Johnston
I Want to Be (p. 11). Book by Alex Karolyi. Music & Lyrics co-written by Lisa Sonshine
In Gods We Trust (p. 24). Co-written by Satinder Besrai, Kerri Salata, with further material co-written by Diane Baker Mason
(in)decision (p. 26). Co-written by Tamlynn Bryson
lza the Brave (p. 11). Co-written by Amaka Umeh, Jada Rifkin, Micaela Comeau, Maiza Dubhé, Samantha Chaulk, Sarah Marchand
Knots (p. 67). Co-written by Lucy Meanwell
Life After (p. 61). By Britta Johnson
Like a Fly in Amber (p. 15). By Karen Kelm
Little Fires (p. 67). Choreographed by Karíssa Fyrrar, Lucy Rupert
Little Pricks (p. 54). By Denise Norman
Lyricas Presents: Creature Slaying... (p. 55). Co-written by Elisha DiFabio
Man & Son: Ladies First (p. 55). By Felicity Penman and Carolyn Williamson
#MannequinGirl: The Musical (p. 50). By Eliza Blue Musselwhite in collaboration with Alyssa Minichillo
My silly yum! (p. 11). By Alexandra Montagnese and Gabriela Petrov
Perk up, pianist! (p. 20). By Sarah Hagen
Persephone (p. 55). Co-collectively created by Claren Grosz, Jacklyn Francis, Laura Hayes, Sydney Herauf, Keshia Palm, Sheree Spencer
Pirates Don't Babysit! (p. 12). By Barb Scheffler
Plays In Cates (p. 73). Co-written by Alex Karolyi, Sheila Toller
Promise and Promiscuity: A New Musical (p. 26). By Jane Austen and Penny Ashton
Rated R (p. 26). Choreographed by Aria Evans
Saor (Free) (p. 19). By Carlyn Rhamey
#scarecrow (p. 59). By Chantel McDonald
Scenes from Plays I Never Wrote (p. 61). By Greta Papageorgiu
Self-Exile p. 21). By Nisha Coleman
SExT (p. 51). Created by Shira Taylor
Shecky's Yoga Sequel (p. 72). Co-written by Shana Sandler
Silk Bath (p. 15). Co-written by Bessie Chang, Gloria Mok
Songbuster ·An Improvised Musical (p. 27). Co-created by Stephanie Malek, Ashley Comeau, Tricia Black, Alexandra Hurley
That Joyce Girl (p. 67). By Kate Cattell-Daniels
The End (p. 51). By Miriam Drysdale
The Fence (p. 27). By Anika Johnson, Barbara Johnston, Suzy Wilde, choreographed by Honey Frid, Danielle Devereaux
The Funky Punckies (p. 12). By Stavria Thalassi & Katarina Lazic
The Stage Manager's Guide to Dating Assholes (p. 15). By Scarlett Larry
The Unending - 3 short plays (p. 73). Co-written by Julie Tepperman
To Jane With Love (p. 25). By Deon Denton
Tonight's Cancelled (p. 51). Co-written by Stacey McGunnigle
True Blue (late addition, replaces Mieux Vaut Mourir Heureux on page 59). Co-created / improvised by Amy Matysio, Aurora Browne, Paloma Nuñez, Shanda Bezic, Jocelyn Geddie
(un)boxed (p. 51). Created by Jannine Saarinen, featuring the work of Jen Hum, Lisa Quaning, Jamee Valin
Waiting For Waiting For Godot (p. 25). Co-written by Molly McGregor
Wasteland (p. 27). Co-written by Kaitlin Morrow
Water Wonders (p. 75). By Cheryl McNamara
We Are XX (p. 63). By Rafia Salam, Anne Vo and Samay Arcentales
What?! You're A Medium?! (p. 53). By Carolyn Molnar
Wild/Society (p. 15). By Mika Laulainen
Wireless Connection (p. 25). Choreographed by Amy Adams, Kylie Thompson
Women (p. 51). By Chiara Atik
YellowZoned (p. 63). By Alia Ettienne
"Ze". queer as f*ck! (p. 21). By Michelle Lunicke
- Post by Elena Juatco - Actor & Creative Facilitator
Wow. A mini-version of SExT was just performed at Marc Garneau Collegiate Institute (MGCI) today (in light of Sexual Assault Awareness Week), and ya, pre-show nerves are natural and they’re nothing a good breathing exercise won’t cut through, but today? Today was something else. I don’t know where to begin to explain how important, re-inspiring and just plain successful today was. So here it goes:
We are a collective who are taking the stories and opinions and truths of our community and putting it out for the world to see, as we have intermittently these past two years. We advocate and essentially stand for our community, and much more: our peers. We do what we do because, ultimately, we want the information and messages we convey to be digestible. To be welcomed into schools, like ours.
For many of us in the cast, MGCI was at some point (for some still is) a stomping ground; it’s our high school. For others still, the neighbouring surroundings are home. One thing’s for certain: it’s a lot of familiar faces and people I’ve definitely crossed paths with (even just shoulder-checked in my rush to class).
So when you’re faced with putting on a show for the very people you are representing AND ALSO trying to reach your message to? Well, that puts a different kind of nerves in you. Will they like it? Will they laugh? Will they get us? Are we readable? Have we been doing our peers justice? On a personal level, my anxiety was through the roof. And yet, when I entered that library, and saw those familiar faces, I was nothing less than ready: ready to see our new cast members dip their feet into our well-acquainted waters, and ready to show my pseudo-home what I’d been doing for the last two years with this project.
As an original-and-ongoing cast member, I can’t explain to you how moving and exciting it was to see our recently-inducted cast not just shine, but become family in the oh-my-goodness-we-did-it high that comes after every show. But I wasn’t just stoked at their incredible performance; I was blown away by our reception. There were easily 50+ students and faculty present, and every single one of them were engaged and in the moment with us (our talk-back even consisted of healthy, heated debate around consent). All of our cultural markers resonated even deeper, and that rush of community came flooding back in a wash of nostalgia and just gratitude.
On top of that: Shira had chosen MGCI to be the home-base for her PhD, and for the first time, she was able to show her work’s worth within school walls; we, the former and current students and humans of the community, were able to show what the arts can do when combined with passion and a will to teach.
There’s something to be said about coming full circle, and, though I still can’t put words to it, I can safely say we did just that today.
Fringe and Summerworks? Get ready for us. This ball’s still rolling and we’ve just picked up some fresh steam.
Follow us @SExTEdShow / #SExTEd
- Post by Mary Getachew, SExT Cast Member & Assistant Social Media Coordinator
Welcome to the SExT blog!
This is where we share our insights and stories about sex, healthy relationships, and getting our show from the rehearsal hall to opening night. Contributors include SExT collaborators and cast members.
We want YOU to contribute!
Have a great idea for a blog post? We want to hear from you! Email us here!