by Gordon Pengilly
I’ll
be going into rehearsals soon for my play Tom
Form And The Speed Of Love which is being produced by New York’s Broad
Horizons Theatre Company for the Edmonton Fringe. I haven’t had a fringe show
for more than a decade, and though I’ve had several of them over the years I’ve
never been involved in any of the productions. As for this one, I’m deeply
involved.
My
relationship with Broad Horizons goes back to 2010 when they workshopped my
play Flesh & Ghost and showcased
it at the Manhattan Theatre Club which was pretty exciting. It was one of those
Who You Know situations. A close friend had become literary manager of Broad
Horizons and gave my play to A.D. Lewis Magruder to read. Their mission is to
develop and promote promising new scripts, and, while producing readings is at
the core of their work, they will occasionally do full productions too. Like so
many small theatres down there, they don’t mount seasons per se. They don’t
receive any grants so they spend a lot of time raising money from investors and
private donations toward the production of a single play which can take quite a
while. The idea behind the reading of Flesh
& Ghost was to attract a co-producer or some more development
opportunities. It was an invited audience of theatre professionals and while it
didn’t pan out, or hasn’t yet, it was still a great experience. Lots of good
feedback. Good feedback builds belief and without belief you’re sunk anyway.
Meanwhile,
I had this other play Tom Form And The Speed Of Love which I’d adapted
from my own radio drama that Bill Lane produced in Toronto back in 1996. We
workshopped the script ten years later at Factory Theatre and read it for Ken
Gass, particularly, hoping he’d take it on, which he didn’t, and the project
took a nap for another seven years. Actually, I’d pretty much given up on it
until Lewis asked me what else I had going on and I showed him the script.
Well, it just so happened he was coming to the Edmonton Fringe (this was two
years ago) to do some research for a piece he was writing on fringes and their
function in the development of new plays and we planned to meet there. After
two or three conversations, we decided to target Tom Form for the Edmonton Fringe as a step toward a New York
production in a year or two.
Producing
a play for the fringe, I’m finding, is rigorous and time-consuming, made even
harder by having a producer/director from out-of-town. We thought it essential
to hire someone from Calgary with some fringe experience to help us pull it
together and that became Jacqueline Russell (Evergreen, Urban Curvz) who’s been
great. Soon after that, I approached my old friend and collaborator Jan Randall
from Edmonton to compose the music for the show. This was followed by a
blizzard of emails, Skypes and conference calls between Calgary, New York and
Edmonton, then a workshop of the script in New York to get me going on a vital
rewrite. On that note, I can’t say their workshop process or dramaturgy is much
different than what we do in Canada: all the same questions are asked. If anything,
for us anyway, it seems more intense than most of the workshops I’ve had up
here because the stakes are so high. Every dollar and hour spent on the project
is very meaningful and crucial. As I write this, we’re in really good shape. We
have a great cast, designer, composer, stage manager, costumer and the script
is ready for rehearsals.
If
all goes as planned, it’ll be my third production in the Big Apple though this
one would be much different. My first one, Hardhats
And Stolen Hearts, a co-creation with Theatre Network, was at the tail-end of
a tour and the second one, The Work Play,
was part of a small one-act festival, neither of which I had anything to do
with and the risks were low. As a direct result of that production, The Work Play was made into a short film
which does say a lot for exposure down there, though. I don’t want to put a hex
on Tom Form (but here I go anyway) if
the play doesn’t do well at the fringe then this chance at a
New York production probably shrinks a lot as nobody will invest in a show that
doesn’t promise some returns. So I hope my play does well; I believe it will. After
all is said and done, hope is all you have. Lots of hope is akin to belief and
lots of belief is something like a promise. That’s my story and I’m sticking to
it. See you in Edmonton in August for our cool offering:
A scornful private detective decides to help a
strange woman recover her memory. When the trail leads him into his own dark
past he is forced to dig deep to let love back into his life while finding a
way to win the impossible day. A film noir post-apocalyptic hybrid with
original music and songs Tom Form And The
Speed Of Love navigates the street-life of two teenagers and asks us to
consider the existence of angels.
Playwright, Gordon Pengilly; producer/director,
Lewis Magruder; associate producer, Jacqueline Russell; composer,
Jan Randall; stage manager, Olivia Brooks; designer, Anton DeGroot; costume
designer, Shannyn Dowsett; featuring Brian Jensen, Natascha Girgis, Andy
Curtis, Cassidy Waring and Matt McKinney.
Tom Form and the Speed of Love performing at the EDMONTON FRINGE FESTIVAL. Dates and ticket information can be found here.
Watch the TRAILER!