by Cameryn Moore
I went to the Quebec Drama Federation spring showcase last Monday, partly to see what was on offer for the next few months, partly to flyer. In case you don’t remember from my previous columns, I love flyering people for my shows. It’s a thing. But it’s only really a thing for me, and only really a thing for Fringes. Because any other time of year, in any other theatre environment—even a showcase—you try to talk to someone and hand them a flyer, they look at you like you are trying to give them an expired coupon for canned gerbil meat.
I’m not saying this so that people will come see my shows, although I hope they do; I’m saying this so that my people will go see other people’s shows, too.
Taking flyers is just one part of showing that a person would even consider attending shows, other than the one that they’re there to support, and that openness is an important part of surviving as a performance community. If you don’t get out there to support everyone—by attending shows, reading the flyers and posting them up, tweeting and buzzing other people’s shows, word-of-mouthing, workshopping—you are working alone, and that is not healthy, long-term.
That’s true for almost everywhere else I’ve visited on tour; it certainly was true for Boston. Back in 2007 I tried to set up a showcase there, after I had experienced a couple of years at the Montreal Fringe and participated in the Fringe-for-All madness. The short-form requirements, the rowdiness and excitement… all of that made me super excited, made me think that it was a great idea for smaller companies. A few people expressed interest, not enough to get it going, and part of that reluctance—I’m going to go out on a limb here—is that companies were afraid of diluting their audience.
indiegogo for Phone Whore, the Movie
March 7-9: Hot Threesome (a one-woman festival of sex plays)
March 19: Three Different Paths to a First Draft (a workshop)
April 8-13: Release (world premiere of Ms Moore's new show)