Hi All.
I'm back. I haven't written anything in quite a while, but do have something new coming your way soon. I had written an open letter a while back, in response to some of the backlash to the TTC's, We Move You Campaign, featuriting artists of The National Ballet of Canada. I was asked to re post this last night, so decided to post it on my blog. I had received both positive and negative feedback, but am happy to say, that the positive far outweighed the negative. So...here it is.

An Open Letter to Jill Andrew and Body Confidence Canada

Dear Jill Andrew, my name is Stephen Findlay and I am a part of the Toronto theatre / dance community. It is a community I’m very proud to be a part of for many reasons. It is a hugely talented community that is diverse, inclusive, creative, and exciting.  In reading your response online regarding the TTC “We Move You” campaign, featuring five of the dancers of the National Ballet of Canada, I couldn’t help but feel both surprised and saddened, by your response to the efforts of both the TTC and The National Ballet of Canada, to promote both the arts and transit, in this great city.

By no means is this letter meant to undermine your cause or what you may have experienced personally. I think anyone who fat shames anybody is extremely ill informed, and unkind. I personally do not subscribe to this kind of behaviour, nor would I defend anybody who does. I myself am a member of the LGBTQ community, so I do know what it’s like to feel marginalized. I have never experienced racism, nor have I experienced fat shaming, but believe me when I tell you, I’ve experienced much prejudice, as well as bullying growing up, because of who I was, and because I studied dancing.

In reading your response, as well as watching news clips online, I felt the need to put to rest some misconceptions the general public may have about ballet dancers. One of which, that dancers are skinny. Dancers are in fact, lean, muscular athletes, who train very hard, from a very young age to do what they are able to do, and look the way they look. Believe me when I tell you, it is not about being skinny. The physical demands of a dancer are so very great, that very few are actually suitable for a career as a classical dancer. Some of the criteria includes natural turn out from the hip, feet and ankles that are supple, so that they may stretch beautifully. There needs to be a certain amount of natural flexibility present, short to medium length torso, long legs, and on, and on, and on.  It’s a long check list, that very few fulfill.  For the most part, serious training usually starts around the age of ten, and continues throughout their careers. Once a dancer is employed by a company, their average work week is six days a week, eight hours a day, with their day usually beginning with company class. So yes, a dancer may not be your everyday, average body type, but the dancers in question have trained many years to achieve what they have achieved both physically, and artistically, and I am not alone when I say I think they’re worth celebrating.

(One does wonder if we’d be having this conversation if this was a campaign featuring our countries Olympic Athletes, or one of our sports teams such as the Raptors or Blue Jays, all of whom are highly skilled athletes, whose bodies are also muscular and athletic.)

I also feel the need to point out, that we live in a country that needs to celebrate its artists more than we do. To be an artist in Canada presents so many challenges, that to not support campaigns such as this, I find, to be very disheartening. The National Ballet of Canada, founded in 1951, is one of the most revered ballet companies in the world. Their dancers are second to none, and are highly regarded on a world-wide scale. I would go as far to say that The National Ballet of Canada, is a shining jewel of the Canadian dance world. To not support them and their dancers, seems almost philistine.

We live in a time where we need to educate our audience in not only dance, but in all of the arts. Art is important on so many levels, and is an important part of what makes Toronto a world class city. I’d go even further and say that Canadian artists are an important part of our cultural identity, and it is high time that we all stand up and recognize that. I, for one, applaud the TTC for featuring these wonderful artists in their “We Move You” campaign, and would love to see more campaigns like this, featuring artists from many different mediums, irrespective of size, race, religion, or sexual orientation. Artists in Canada, need our support, not our disdain. After all, this is just one campaign. As pointed out by Stuart Green from the TTC, they’ve partnered with many diverse groups in past campaigns, and hopefully will continue to do so.

I’d be remiss not to mention, that talent and body size aside, dancers are still just everyday people, who experience everyday challenges, like everyone else. I’m sure your response to their participation in this campaign, hurt them deeply. Not to mention, the wonderful photographer who took these beautiful photos. Artists invest so much of themselves in what they do, that to be regarded in this manner, although not intentional, would make them feel undervalued as not only artists, but as everyday people. Yes, everyday people, who like myself, take the TTC.

Sincerely

Stephen Findlay-

So there you have it. When I first wrote this, I realized, that although backlash like this is not new, it occured to me that we as a society, have become so offended at so many things. Some things are extremely justified, and deserve our disdain, and some, although they may come from a good place, seem often misguided. Some of the things that offend me are poverty, animal abuse, homophobia, racism, it's quite a lengthy list. But when it comes to the arts and the artists, who bring so much joy to so many, I have nothing but admiration and respect for all that you are. So please keep creating. You do make a difference.

Happy Holidays Everyone. Go out and see a ballet, listen to a concert, or go support support a small storefront theatre. I'm quite certain you'll be glad you did. I've done a lot of this, this past little while, and I'm all the better for it. I truly believe that when you contribute to the arts, you are in fact contributing to humanity.

Sincerely Stephen Scott Findlay-AKA -The Oldest Male Chorus Dancer in Toronto

Okay...So Now What?

So you did it, you landed that dream contract, and It was quite possibly everything and more than you could ever hope for. Or perhaps you just graduated from theatre school, in which you'd received accolades from all your teachers, friends and family, for all that you've accomplished. You've posted your photos on Facebook, and added twenty new people to your friend's list. Your recent tweet on your Twitter account reads #livingthedream #grateful #actorslife. Things just couldn't be any better because after all, you've made it, and you're ready to take on the world, except for one thing... what happens now? It was just last week, when you were living out your life on the stage, and, as abruptly as it started, it has now come to an end. All of a sudden many of your new friends are going their separate ways, you no longer have a daily routine to look forward to, the paycheque has stopped, and just like that, you're right back where you started. Welcome to the world of the theatre.
Now before we all decide to slit our wrists,... lets just stop and think about it for a minute. You've just accomplished something you've worked very hard towards, for many, many years. You met and worked with thoughtful, engaging artists, and were able to learn so much from them. You had many wonderful and new life experiences, that you'll be able to draw on for the rest of your life. So, why so blue? There's an old saying that reads "In this world, nothing can be said to be certain, except death and taxes." Well, I'd like to add to that, to read  "In this world, nothing can be said to be certain, except death, taxes, and every show you ever do, is going to close." (It was Benjamin Franklin who came up with the first part, I just added the new part,

Closing night of The Sound of Music

 to suit my needs.)

Having been in the business as long as I have, I have gone through my share of shows coming and going, and projects that have been very special to me, finishing. It's never easy, but, does become easier. Of course I can only speak from my experience, and my perspective as to what works for me. But the way I see it, if you're starting to feel like you're in a rut, you probably are. I remember quite vividly being finished on The Sound of Music. For the next month, everything I cooked had melted cheese on it. Now, most of it was delicious, and I was feeling pretty optimistic, but do remember thinking to myself "this has to stop."
Truth be told, I was always pretty good at recognizing if I was in a rut, and most recently, have come across many friends who are in fact feeling this way. Not all for the same reasons, but all to do with the business of theatre. There's no doubt that this business is a tough haul. At some point or another, no matter who you are, you're going to go through a tough period. There are very few actors in this country who work consistently, and, whether someone works or not, is due to so many circumstances, most of which are beyond our control, and quite often have nothing to do with talent.  Quite often, when a show closes, it's quite easy to be fearful that we may never work again, and when auditions are scarce, we start to panic. But really, why all the fuss?
Now you may be thinking that this is very easy for me to say because I work all the time. Actually, I don't work all the time. In fact, there have been many instances in my life where I haven't worked in months. I may work all summer, then not work again until the following summer or longer. Especially now that I'm older, I'm a very specific hire. The difference is, it seems like I work all the time, as I'm always working on my craft. People often say to me "you're always so busy." Truthfully, I'm busy because I need to be. Holidays aside, If I'm not busy, I'm not productive, and most likely am not growing as an artist. For me personally, I need to be fulfilled, and a big part of that, is doing whatever I need to do, to enable my growth as an artist.
Admittedly, I am lucky that I teach, as that always makes me feel a part of things, but for me, that is never enough. I have found over the years, that once a show closes, or project finishes, what works best for me, is to become a student again. I usually take a few days off, then am right back at it, taking whatever classes are within my reach and budget. If money is an issue, I have vocal classes recorded that I can practice. Most recently, I came across a free acting seminar with a teacher from L.A. and jumped on it. Fitness has always been a big part of my work, and quite honestly lifts my mood.  There was one point in my life where I had very little money to take class, but at my gym, they had a studio and a ballet barre that I was able to take advantage of. It wasn't ideal, but it was something. The point is, I don't sit around and get sad because it's over.   I'm thankful that it happened, and then I'm on to working towards whatever may be next.

Most recently, I met a struggling actor who had just moved here from Montreal. He was mid thirties, non union, and was in the midst of trying to establish himself in a new city. I asked him how he coped, with very little at his disposal. He told me that every week, he got together with a group of actors to do scene study and script readings, as none of them had the means to take class at the moment. Earlier this season I did a Confidential Musical Theatre Project, in which I worked with many talented actors. I remember one in particular who blew my mind with both her voice and energy. This actor was vivacious, interesting, and a major force to be reckoned with. I was stunned to find out that although she had been in the business a long time, her career was just starting to take off now. The point is, these people are sticking with it, and really, for someone like me, they are the ones, I draw on for inspiration.

I remember quite vividly, reading one of the late Uta Hagen's books on acting, (for those of you who aren't familiar with who she is, she was a renowned, New York  actor and teacher), in which she expressed how taken a back she always was, when friend's of hers would say things like "You're such a wonderful actor, it's a shame you're not working." You see, in her mind, she was always working. If she wasn't doing a show at that given moment, she was always developing new exercises and trying new things, to enhance her craft. That was something that has always stuck with me.

So, schools out, your show closed...get over it, and get busy. By all means, allow yourself a little down time, but if you're starting to feel like you're in a rut, do something about it. Go to class, write, work on some music, challenge yourself and take something that's totally out of your comfort zone, and by all means if you're whining, stop, and take in to consideration the numerous actors who just wish, they had had, the same opportunities afforded to you. If you have the opportunity, travel. Although I'm a big advocate of working hard, seeing the world and experiencing different cultures, in my mind, is invaluable.

In Sitges, Spain. Travel is important!

Although this can be a tough time, this can also be an amazing time of self discovery. That in itself is exciting. So take advantage, enjoy the ride, bumps and all, it's what makes us human, keeps us humble, and makes us interesting.
And remember... Who cares if life doesn't turn out exactly as planned.  Sometimes, it's even better!

Stephen Scott Findlay
A.K.A. The Oldest Male Chorus Dancer, (who's now getting character roles because I work really hard), in Toronto

Life After Mary and Re Learning How to Juggle

Well..I'm back...and after a four month absence, I've finally sat down to write my first blog post of 2015. Now there are a couple reasons for my absence, one, I've been vacillating on what to write about next, and two, I've been busy. That's right, busy.
 I've been thinking a lot about being busy lately. There's definitely good busy, and then there's being so busy, that it can take away from life and it's enjoyment. I'm unsure why, but in this day and age, we seem to wear our busy schedules like a badge of honour. Think about it, often when asking someone how they are doing, more often than not, they'll ramble on about how they're juggling three jobs, a home life, and whatever extra curricular activity they may be pursuing at any given moment. They relay this information with great pride, almost as if they should be given a special award for the ability to maintain their busy lifestyle. Then we have the other end of the spectrum, you know, those times in our lives when we're not very busy at all. For some reason, we as a society have come to be embarrassed by this fact. I find that in the business of Art/Theatre/Entertainment, we become even more embarrassed by this  because usually being "not busy" means we are not working. I don't know about you, but in the past, I used to feel my self worth as an artist, was directly related to the jobs I was being cast in. It took me a long time to realize that not to be true. In fact, at times, being "not busy" means I have more time to train, connect with people I love, take on new and exciting projects, or, even being in a show.
Allow me to explain that last statement. I had an amazing season last year with Mary Poppins. I was able to perform in two different productions, in three wonderful theatres. There are many things I loved about last season...working with wonderful, giving artists, travelling and living in different places, being given the opportunity to perform multiple roles, the list is abundant and real. One of the things I loved most, is that once the show was up and running, my schedule was normal. That's right, normal. I had one job, a lot of leisure time, and I loved it. I was able to spend a lot of time at the gym, re-connecting with friends and family, and honestly, just enjoying my life. It was great!

As Northbrook in Mary Poppins backstage at The Capitol Theatre in Port Hope

Towards the end of the run in Port Hope, with not a lot of work lined up, I thought to myself, "I just want to be really busy." Well...I got my wish. The week before our run in Port Hope was about to finish, the only work I had lined up was teaching one class a week at Metro Movement, and I was nervous about not having enough work to sustain me. As luck would have it, Sheridan College found themselves in need of a jazz teacher, and once again I was hired. It was a relief. If nothing else, my mortgage was covered. Upon my arrival home, I also managed to book a lot of catering shifts, and from there, the ball just kept rolling. In October I started working part time at The Four Season's Centre for the Arts, (a job that I have become quite fond of), and although every situation is not ideal, I felt that indeed I had been looked after. Now, I have never been one to shy away from hard work, but my greatest challenge of late has been finding balance in my life. At present I'm juggling four jobs, to make up for one. Now don't get me wrong...I'm not complaining, I'm just re learning how to juggle. I've had to become more aware of what's important and what warrants my time the most. Many would think that spending time to write this blog may in fact be a waste of time for someone so busy. Well, on the contrary,  for me, I find it very rewarding. Just like I find going to a dance class or vocal class very rewarding. In my life , these are the things that are still important.

One of my greatest joys in this past four months was being cast in The Confidential Musical Theatre Project. (I know...as if I didn't have enough on my plate). The Confidential Musical Theatre Project is the Brain Child of Marion Abott Piccin and Rob Corbett. For those of you who don't know, the concept is this: Producers cast a show and send you the script and score. You learn the music and familiarize yourself with the part you've been cast in, but never rehearse with the other actors. Then on the night of the show, you meet the cast, (for the first time), an hour and a half before the show, and perform, script in hand on a bare bones stage, for an audience that does not know what show they're about to see. There's no safety net, you have no idea how the other actors are going to respond, and there's no going back... It's terrifying and invigorating at the same time. I can honestly tell you that I had never felt more alive and more present on stage than I had on that night. When I was first approached about doing this project, I jumped at the opportunity. I did not ask what the show was, or what part I'd been playing, I just said yes. I had heard about the companies past two shows, and my short background at Second City had made me very excited to work on a project of this nature. Imagine my surprise when I found out that I had been cast as the leading man. I was flattered, surprised, and kind of scared. This would be my first time doing a lead in a musical and there were sure to be expectations, and if I'm totally honest, judgement. I could just hear it..."Stephen Findlay, the dancer, doing a lead in a musical...how did that happen? Can he even sing?"  But once I got over myself, (realizing that the voices of judgement and fear were for the most part mine), as well as the initial shock and fear of the producers casting decision, I got to work...which didn't feel like work at all. I learnt the music, and dove in to the script to see if I could figure out who this person was. Not having the benefit of a director, I truly had to trust my gut on whatever choices I made, knowing that I'd never have the opportunity to re visit or re think these choices again. That's right, this was a one night only

The cast of Bells are Ringing where I played Jeff Moss for The Confidential Musical Theatre Project

opportunity. During my preparation for this project, one thing that had become more and more apparent as the night drew close, was that one of the best things I could do was just to be present in the moment, to listen, and to make sure I had my fellow cast members back...just in case any of  us should drop the ball, and you know what, we did. All of us, at one point, dropped the ball, and the audience loved it. We supported each other fully in the process and maintained the integrity of our story telling. It made me aware that although I was playing a lead, I was in fact, a member of a greater ensemble. I had realized that through this project I had been given a gift. I was able to step on that stage, sing beautifully written music, in a beautifully crafted show, with truly talented actors, for a sold out house. I even got to improvise a dance break in one of my numbers. What more could any actor ask for. It was truly an experience that I would not trade, and one that I recommend to any actor given the opportunity.

I saw this the other day on facebook and found it inspiring

Like everyone else who pursues an artistic life, I do question the choices I made and am continuing to make. Like everyone else, money, relationships, and lifestyle are important. At times I think that perhaps this may be the time to pursue something more secure and what most would consider to be a more normal existence. But really, normal is highly over rated and who wants to just exist. My reality is such that I want to live a life that is full and rich. I want to have cool life experiences and I want to continue to live with the enthusiasm of someone who is just starting out. Yes, there are bumps in the road, and no one gets through life unscathed. That's a given. But knowing that as a reality, makes the argument for living your life fully, and with passion, that much more important.
One of the things that has become very apparent in my life is that finding the time to train in my field, to continue to take risks, and to keep growing as an artist, is directly connected to my vitality and well being. Although I often must conscientiously set aside time to do this, it is time that is well spent. I find that for me personally, if I don't feel like I'm active in my artistic life, a part of me feels incomplete. So yes, I'm having to juggle and at times I do have a lot on my plate, but at the end of the day, I'm grateful for living a life that means something to me.
I encourage all of you to go out and do something that moves you. Take a risk, try something new, or simply do something you love for the shear joy of it. If you don't have the time, find it or...just learn how to juggle. I guarantee it will make that busy life we all seem to lead far less busy and
that much more rewarding.
Yours Truly Stephen Findlay
A.K.A. The Oldest Male Chorus Dancer, (who also sings and acts), in Toronto

Coming Full Circle and Dancing In My Fifties, Thank You Mary Poppins, It Was a Hell of a Ride

For a lot of you who have read my blog with any kind of consistency, you will have noticed that I have been absent from this medium for quite some time. There is a reason for that. You see I had a goal, and I wanted my next blog post to reflect my attaining that goal. Now for some who are close to me, I probably had told you this, but it was not a goal that I had announced to the world. My goal was simple, to be able to dance well, and hard, with a good command of technique that I had trained very hard to acquire, as a fifty year old. My preference was to be able to do this on stage, as well as the studio, and to be able to dance side by side, keeping up with any twenty something, or thirty something, that I happened to be sharing the space with. Well, I'm happy to say, I did it. I reached that goal and then some. Now this may sound like a vanity project, and in some ways it was. But on the other side of the coin, I've always had that competitive nature with myself, and had always felt that for as long as I'm going to dance, I'm going to do it to the very best of my abilities.

Citadel Theatre Step In Time with Keith Savage, Joseph, and Stephen Findlay

I feel extremely grateful that on my fiftieth birthday, I was able to dance and sing in a beautifully crafted production of Mary Poppins, along side of some of the most wonderful talent this country has to offer, at the Citadel Theatre in Edmonton Alberta. To a degree, I feel as if it was almost serendipitous to do so. You see, I got the bulk of my training in Edmonton. I have strong roots there as far as my ballet and jazz training goes, and in fact had my very first professional job there and and it was there, that Ihad started my teaching career. When I left, twenty five years previous, I had never done musical theatre. It felt great to be able to return and re connect with my past and with many of those who were responsible for helping me get to where I am today.

After our initial run in Edmonton, we moved to another wonderful theatre, Theatre Calgary. It was in Calgary, a place I had also lived for a short time, that I was able to spend a lot of time with my sister, and re connect with my brother. For reasons I will not go in to, my brother and I had been estranged for approximately twenty five years. That was the greatest gift of all, being able to re connect, and to have my brother see me on stage, for the very first time, as an adult.

When auditions first came up for this production, my only real hope was that if I was to get an audition, that they'd look at me for my ability, and what I could bring to the stage, not my age and the ever greying hair I've earned along the way. To be fair,  certain productions do warrant your typical twenty/thirty something chorus dancers, and many directors and choreographers in this business have a hard time wrapping their heads around a fifty year old dancer, mostly because there aren't a lot of us, especially in Canada.  Lucky for me, this was not the case. I had the good fortune to work with both a director, (Michael Shamata), and a choreographer, (Lisa Stevens), who were open, generous, and non judgemental when it came to age and what this production required. In fact, judging from our cast, I'd venture to say, that they welcomed the diversity. We were definitely an all ages, all sizes cast, and what that did was make the production that much more interesting. Trust me when I tell you, when we stepped on that stage for "Step In Time", (which is the big dance feature in act two), you just felt that something wonderful was about to happen...and it did.

Upon completion of this run, I then had the good fortune to be a member of another company of Mary Poppins in beautiful Port Hope. This was a very different experience from the previous company, but no less rewarding. In fact, the rewards for me personally were abundant. There's something very special about being able to perform in a very intimate space. Once again, our cast, crew and creative team was diverse, interesting, and generous to a fault. I felt especially fortunate as I was cast in a couple of small featured roles, for this production. I've always felt it an honour to dance in any ensemble, but being able to branch out these last two years, (first with Oliver and then with Mary Poppins), being given the opportunity to act in a few featured character roles,  has been a most welcome challenge. Coincidentally, Mary Poppins proved to be the most successful show for the Port Hope Festival Theatre in eleven years.

As Northbrook Port Hope Festival Theatre

I've been working in this industry now for thirty one years. In that time, I've heard it all...you're too wholesome, too fit, too pretty to be funny, you need to watch your weight, you're a wonderful dancer, you're not the choreographer's vision, you're pitchy, you have a beautiful voice, you dance with explosive energy, you're too old, you'll never be a ballet dancer because of your feet, (maybe consider getting them broken,but they may not heal well), you're a wonderful performer,
you're inspiring, and of course my all time favourite "I hope I dance as well as you do when I'm your age." That one always makes me smile. You see, there's no secret to what I do. Yes, I do have a certain amount of talent, but really, I just work very hard. Trust me when I tell you, dancing at this age, I need to not only keep working hard, but I must work smarter. I can't execute everything like I could when I was in my twenties and thirties, but I can still keep up with the best of them. That's because I've learnt to dance smart.
If you stay in this industry for as long as I have, there will be absolutes that you can definitely count on. Here are just a few of those things;
1-You will get injured
2-Your physicality will matter. Whether you're an ensemble dancer or character actor, it will come in to play.
4- Looks matter. So look after yourself.
3- People will form strong opinions of what your abilities are. If you want to change those opinions, that's you're responsibility.
5-You will have fantastic auditions and not book the job.
6- You will have horrible auditions, (they're usually never as bad as you perceive them to be), and you will book the job.
7-It's not all about your talent. Type does come in to play.
8-No matter how "right" you may feel you are for a role, there are twenty other people in that audition who feel the same way.
9-Casting is out of your control.
10- Being kind matters. Being known as a good company member can go a long way.
11- You will work with amazingly talented people. Learn everything you can from them.
12-You will work with difficult, unkind, whiny people. Do not get caught up in their drama. It will only bring you down.
13-Nepotism does exist in our business, so foster good, solid relationships.
14-You will be told you're too something... too old, young, wholesome, preppy, pretty, muscular, heavy, thin, tall, short, pitchy, loud, shy, obnoxious, aggressive, sexy...pick an adjective, any adjective...From this list alone, I've been told four of these things. Take the note, be honest with yourself as to whether it applies, and if need be, adjust.
15- You will work with wonderfully talented people, in beautifully crafted productions, that prove to be extremely artistically satisfying.
16-You will work in dinner theatre. Get over it. Once you let go of ego, you're going to have a blast.
17-You will work a "Joe Job", be it Starbucks, Lulu Lemon, catering, the list is endless. During this time, you'll be wishing you were back working in Dinner Theatre again.
18-Summer stock, much like summer camp, will be some of the best times you'll ever spend in the theatre.
19-Every time a contract finishes, you'll wonder if you'll ever work again.
20-You will question your chosen career, multiple times throughout your life.
21-You will meet some of the most interesting, generous, and brilliantly talented people, who are just everyday, working artists, like yourself.
I could go on, but I think if you've had the tenacity to read this far, you get the idea.

This is what fifty looks like after doing Step In Time, eight times a week, for four months

Oddly enough, somehow, when I first heard of the Mary Poppins auditions for The Citadel/Theatre Calgary, I knew I was going to book it, even before I went in to the room. I just had this feeling that it was meant to be...that for reasons unknown to me then, I was supposed to go back and do these shows. It all makes perfect sense to me now, and this part of my career has most certainly come full circle. So...what's next, what's the next goal? I can honestly say, I'm not sure. I guess, for right now, to just keep going. Ten years ago I had retired from musical theatre, four years later I was back on stage with Mirvish Productions' The Sound of Music. From there I thought my natural progression was to dance captain and choreograph. Well, I have in fact done both those things, but have also continued to train and perform. If anyone would have told me twenty years ago that I'd be dancing at fifty, I would have said you were out of your mind, nuts, totally off your rocker. Yet here I am, in my fifty first year of life, not only dancing, but singing and acting as well. So for now, I guess my goal is to just keep going, to keep training, and to see what the next ten years brings my way. One thing that has changed for sure, is that every job I get offered, no matter how big or small, I am extremely grateful. This is a hard business, and given my age, and my particular strengths, I am a very specific hire, so I take no job for granted.

So I want to thank all of you...my teachers, students, colleagues, directors, choreographers, musical directors, agents, employers, and mentors, all of you have played a part in this very cool, interesting life I've been able to lead. To be totally honest, this was not the life I had planned for myself. At eighteen I was going to dance in Les Grand Ballet Canadien, and at twenty two, all I wanted to do was dance for Paula Abdul and Janet Jackson. Well, needless to say, those things didn't happen, but I've had many other very cool experiences. You know what they say, If you want to make God laugh, go ahead and plan your life. So who cares if life doesn't turn out as exactly as planned...sometimes, it's even better!
Yours Truly Stephen Findlay
A.K.A. The Oldest Male Chorus Dancer in Toronto

Debunking the myths that are "Old School"...It's Time to Set the Record Straight

I love young talent. I do. I find it inspiring to watch young artists at work regardless of what area they excel in. As someone who has adjudicated countless dance competitions, I also find it very exciting to watch young, up and coming choreographers present their work. I can say without hesitation that I've had the privilege of seeing some of the most awe inspiring work presented across this country by numerous choreographers, many of which that with any luck, we may all hear about in the future.

But as much as I'm inspired by young talent, I've found myself lately being fascinated with the great teachers, dancers, and choreographers of the past. The people if you will, who have paved the way for dancers today. We are so fortunate to have at our disposal, the internet and the avail of channels like you tube. They have provided me not only with entertainment, but knowledge of the past, and a glimpse in to the future. Most recently I have been fascinated by a set of interviews on YouTube with some of

A Chorus Line Finale

the original Fosse dancers. To hear them talk with such affection about what it was like to work with Fosse when he first started to choreograph for the Broadway stage is riveting. I've also had an affection for the musical A Chorus Line, (and respectively, the documentary titled Every Little Step, which follows the casting process for the Broadway revival),  ever since I was a young boy. It was the very first musical I had ever seen live, and I remember sitting in the Queen Elizabeth Theatre in Vancouver being awe struck with what was happening on the stage. That show was truly a game changer for me, and as far as I was concerned, I was going to become a dancer no matter what!

Most recently, when speaking with a colleague, she had told me that some of her students had told her that they weren't really that keen on jazz any more as it's "Old School." Now, being the solid, grounded teacher that she is, she informed them without hesitation, that what they are doing in class is relevant, no matter what the popular opinion of the day may be. To me, that says that that particular teacher is solid in their resolve to make sure her students get an all around dance education....something that at times, seems to have slipped by the wayside.

Yours truly as a young dancer/teacher teaching in the 80's

CRJ...An Unlikely Inspiration

If you would have told me a year ago that I would be writing the next sentence you are about to read, I would have told you that you were crazy, insane, totally off your rocker...

Well... here it is. The inspiration for this latest blog post is none other than pop songstress Carly Rae Jepsen, (who from here on in will be refered to as CRJ). That's right the one and only CRJ, who's song Call Me Maybe, made her an international pop sensation. Before I go on, let me preface what I'm about to write by telling you this; I don't know CRJ, nor do I have any real affection for her in any which way. Like most of you, I know her from her pop career, that is all.

Carly Rae Jepsen soon to be making her Broadway Debut

When I turned on my computer this morning, I of course went to my facebook page to see the latest postings and news of the day. Imagine my surprise when I read various posts that CRJ was to assume the role of Cinderella on Broadway.  Now my immediate reaction was not one of disdain, nor did I jump to any conclusions whatsoever. Rather, my first thought was "Great, another Canadian on Broadway!" Now it comes as no surprise that people from the musical theatre community were very split on this casting decision.  In fact, some were down right mad and insulted by it.  I do understand this, and in fact, used to get up in arms about many casting decisions myself.  People of the theatre train, and work very hard to do what we do, and feel protective of the art form. I get that, and respect that. Many felt that the role would be much better served by someone who is not from the pop music world, and that many aspiring ingenues had been short changed by this decision. Many people chimed in with "Thank God I saw Laura Osnes in the role", implying that they were certain that CRJ is undeserving and would not measure up. (Here's a little known fact that many don't realize...Tony nominated, Drama Desk Award winning actor Laura Osnes, first gained notoriety when she was plucked from a reality television series to play the role of Sandi in "Grease" on Broadway. That's right people, Laura Osnes is a product of stunt casting.  Does that make her any less talented...I don't think so).
 Now, if we are being totally honest, the musical theatre community has always been a judgemental one. It's also very easy to jump on the "I hate stunt casting" bandwagon  when it's not our millions of dollars that are being invested to produce these mega shows. However, if I were to put myself in the producers shoes, would I go with the unknown ingenue, who in all likelihood, will not sell tickets to a show whose box office is already suffering, or do I go with the sure thing, the mega star, who for better or for worse, will keep the show open, insuring employment for a whole company of actors, musicians, stage managers, and crew. If I were the "Money" behind the project, the answer would most certainly be the latter of the two choices. ( Coincidentally, CRJ graduated from a theatre school that has produced some pretty wonderful artists...that's right people, CRJ went to theatre school.)

Now, these feelings of resentment are certainly not exclusive to CRJ. In fact I remember not to long ago  that many people were very upset that Ann Hathaway had been cast as Fantine in the film version of Les Miserable. "How could they cast a film actor as Fantine, this clearly is a travesty, a sin of the highest magnitude, this is Les Miserable after all, the holy grail of musicals" When given a sneak peak of her singing "I Dreamed a Dream", many were outraged that she did not have the vocal chops of say a Louise Pitre or Patti Lupone. To be honest, I really loved how she interpreted the song for film. It was honest, raw, and heart wrenching. I'd much rather she make her own choices, than try to imitate and be something that she's not. Obviously, others felt the same, and she went on to win an Oscar. Now in the case of Les Miserables,  the cost of filming something like this far exceeds putting it up on the stage. Like it or not, of course they are going to go with a bankable star. (Or in the case of this musical, star's)

Ann Hathaway as Fantine in the film version of Les Miserable

Most recently, people became down right incensed because Carrie Underwood was to assume the role of Maria from The Sound of Music, for a live television taping. Now collectively, most felt the project was a failure artistically and that she did not do justice to the role made famous by Julie Andrews. But the fact remains, that from a network stand point, this was a huge success, and whether you like it or not, it's a win for theatre as well. Given the fact that her fan base is huge, she managed to introduce countless people to musical theatre who may now pay money to see a live performance.
  Speaking of The Sound of Music, most all of you know, I was in a huge production here in Toronto, who's leading lady was a product of a reality television show. What most of you probably don't know is that because of this reality show, the pre sales for The Sound of Music surpassed those of The Lion King. Now you tell me, when putting up a show that has a start up cost of eleven million dollars, why would you not go this route. It should be noted that many in the theatre community expressed major doubt whether the winner of "How Do You Solve a Problem Like Maria" had the tools to carry a show of this magnitude and some seemed down right hopeful that she would fail.  Well...she hit it out of the park, won a Dora, and continues to work to this day.
It's time we stop pretending that stunt casting is a new phenomenom.  Maybe in the form of reality television casting it's new, but if we are being truthful, it's been around for as long as I can remember. For example, Donny Osmond in Joseph, Paul Stanley from Kiss as the Phantom, Diane Carroll as Norma Desmond in Sunset Boulevard...The list is endless, and it's because of stars such as this, many of these shows stayed open for far longer than they would have otherwise. Make no mistake, the people coming to Joseph were there to see Donny Osmond first, and Joseph a distant second. He was the reason the show ran as long as it did, made the money it did, and employed many, many people for a very long time. Even when talking of medium sized dinner theatre, stunt casting has been the norm for a very long time. Look at Stage West for example, they built that company on bringing in sitcom actors from the seventies on, to star in their productions. It was a gimmick and it worked. To this day I maintain that "Bell Bottom Fever starring Billy Huffsey from Fame" was by far,  the worst shows as far as the book was concerned, that I ever did. But the music and dancing were great, the audience loved it, and it employed me for six months.
Instead of jumping on the "I can't believe they cast CRJ as Cinderella" band wagon, maybe we can give her the benefit of the doubt that maybe, just maybe, she might do a great job, bring in a new audience to see live theatre, who otherwise might not have any interest, and more than likely keep a wonderful show open that employs many people, for a few months longer. (I believe at present Cinderella's box office is at fifty three percent.) Not to mention she's Canadian! That alone deserves our support.
 It seems to me, that there also seems to be a bit of a double standard going on. I truly believe, that if the tables were turned and "one of our own" from the theatre were to become a huge pop sensation, I can say with much confidence that we'd all have no problem in celebrating that success. When a star of the theatre crosses over in to film or television we seem to take great collective pride in that accomplishment, and rightfully so. So why is it, that we become so territorial when it comes to the reverse? Not just with pop stars, but with film actors too. Have we become that insecure that we are unable to welcome a fellow artist from another area, in to our world. It's my understanding that the writers of "Book of Mormon" were the recipients of the same cold shoulder when they were making their first foray in to the Broadway scene...and we all know how that story goes.

Denis O'Hare
Tony Award Winning actor who's also enjoyed major success in film and television. Also, one of the kindest, most humble, generous actors I ever had the pleasure of working with.

In general, I think that as an artistic community, we need to start supporting our colleagues be it actors, directors, choreographers, designers, whomever, and perhaps
start being just a little more generous when it comes to judgement of work that has yet to be realized. As I said, I too have been guilty of this type of judgement, mostly in my younger days, and sometimes I felt my suspicions were correct. But more often than not, in witnessing the end product, I was proven wrong. Now when I feel that casting may be questionable, I always give the benefit of the doubt and instead become curious of a vision that differs from my own.
Up to this point, the artists I've been referencing in this post are obviously very famous. But we tend to be like this with the not so famous, every day working artist also. We need to stop assuming that just because someone was maybe a dancer first, that there is no concievable way that this person could ever direct a straight play, or that just because someone was a musical theatre actor first, there is no chance that this person could ever become a classical actor, or that someone who is amazing on film couldn't possibly be stage worthy. It's wrong and just limits us as a whole. Let's face it, we already have too many people deciding what we can or can't do. It seems to me that when we do it to each other, we are creating an even greater travesty when it comes to artistic growth and the business of theatre.
So how about this, whether you agree or disagree, why not throw some support your colleague's way. Instead of being judgemental, become curious. Instead of being resentful, become supportive. If something doesn't resonate with you, be open enough to discover why it does with others.  In the long run it will just make our community stronger, more united, and dare I say make all of us more successful both as artists and human beings. One of the most inspiring artists I've ever come across is Multi Media Artist, Phil Hansen. He has a wonderful Ted Talk entitled "Embrace The Shake" in which he states "We first need to be limited, in order to become limitless." What a wonderful philosophy! I encourage all of you to go to youtube and watch his Ted Talk.  He's gifted, generous, and awe inspiring.

Remember this...nobody gets through life unscathed, everyone is fighting a battle, and when it comes to art and artists, there's room for everybody.

Sincerely Yours Stephen Scott Findlay
A.K.A. The Oldest Male Chorus Dancer in Toronto

                                                                                     Stephen Findlay