Broadway North goes dark due to COVID-19

Live theatre has been one of the most popular forms of entertainment since the Golden Age of Greek drama. But in a time where people need optimism and escapism more than ever before, the industry has gone dark, thanks to the COVID-19 pandemic.

“Sadly, we see the unprecedented but necessary closure of Toronto’s theatres in the wake of the COVID-19 crisis,” said Executive Director for the Toronto Alliance for the Performing Arts (TAPA) and Dora Awards Producer, Jacoba Knaapen.

“We also know that Toronto’s arts community is resilient and resourceful,” Knaapen continued. “We look forward to again celebrating the extraordinary talents of our theatre, dance and opera artists when it is safe for us all to be together again.”

TAPA announced that in response to the COVID-19 pandemic, the 41st Annual Dora Mavor Moore Awards ceremony for the 2019-20 season will also be postponed to a future date. The Doras, normally falling at the end of June, celebrate excellence in Toronto’s performing arts sector for professional theatre, dance and opera.

So how are artists coping when they typically express themselves through extroverted exuberance? By sharing their talent and showing their support online.

March 27 is normally a day of theatrical celebration. World Theatre Day was created in 1962 to honour theatre communities around the globe. Its intent is to promote and protect cultural diversity and identity in communities throughout the world. 

But this year, with the COVID-19 pandemic keeping everyone in isolation, artists got creative online. One musical in particular really brought the feeling of worldwide unity to YouTube.

Come from Away is a Canadian musical written by Irene Sankoff and David Hein. It’s set in the week following the 9/11 attacks and tells the true story of what transpired when 38 planes were ordered to land unexpectedly in the small town of Gander, N.L.

The characters in the musical are based on real Gander residents as well as some of the 7,000 stranded travellers they housed and fed. The musical has been well-received by audiences and critics alike, as a reminder of the capacity for human kindness even the darkest of times and the triumph of humanity over hate.

Many professional performers who aren’t working are relying on the Actors’ Fund of Canada (AFC) for financial aid now more than ever.

“This is an unprecedented time for us all and self-employed artists are among those hardest hit financially with the magnitude of theatre closures and both production and event cancellations across Canada,” says Toronto Musical Concerts (TMC) Artistic Producer, Christopher Wilson.

TMC is just one of the many companies helping to raise money for the AFC, sharing daily mini-concerts and living room conversations live on its YouTube channel, ‘BIG GIRL & Friends’.

“Now more than ever, people in our artistic community are depending on The AFC’s vital services,” said Wilson. “It is Toronto Musical Concerts’ intention to create community, offer entertainment in the midst of social distancing, and inspire viewers to offer much needed support to The AFC.”

In the last 24 months, The AFC has distributed over $1.4 million in emergency financial aid to help entertainment professionals working in all aspects of film and television, music, theatre and dance. They believe by supporting the health and well-being of arts and entertainment professionals, the industry as a whole will benefit.

But YouTube channels like ‘Big Girl & Friends’ have also been able to find the humour in this dark situation. In Episode #6, TMC’s Associate Director, Ryan Kelly comedically re-writes the plot to the Broadway hit musical, Dear Evan Hansen, COVID-style: 

“So, it’s about a bottle of hand sanitizer named Evan and nobody wants to be his friend until Coronavirus,” laughs Kelly. “His parents don’t believe that he actually has antibacterial powers, and so they end up getting Coronavirus.”

Joking aside, the reality of self-isolation and loss of work isn’t all about living room concerts and upbeat social media posts.

Vancouver born professional actor and family man, Leon Willey, is extremely concerned about his recent loss of theatrical contracts and how he is going to provide for his family.

“I’m pretty good with money,” says Willey. “And I have a certain amount that I’ve sort of put aside to live on. But I mean, I can’t live three to four to five months like that. I have a daughter. I have a family.”

However, instead of living in constant stress, Willey says he’s trying to embrace the stay-at-home-dad experience.

“You know, I have a million-and-one of these things all throughout my home,” Willey says, showing off his six-year-old daughter’s collection of Lego sets on the floor. “And we play, we play and we play.”

Professional Canadian actors like Willey are protected by an umbrella union, the Canadian Actors’ Equity Association (CAEA). In a members-only, online meeting last week, the biggest question asked by industry professionals was: ‘How long will this last, and what does this mean for the future of Canadian theatre?’ 

Executive Director of CAEA, Arden Ryshpan says she doesn’t know the answer.

“I have no answer for that,” said Ryshpan. “Any of the physical distancing requirements that are currently in place could come off fairly soon, but might still be problematic for us in the theatres, specifically for the audience members who may or may not feel comfortable sitting right next to somebody that they do not know.”

Willy says getting through these difficult times is all about a “day-by-day” mentality.

“If there’s a way to find joy or enjoyment or excitement in little tiny things in enough times, it will add up to a pleasant day,” says Willey. “And so I can do that. And I especially try to do that for my daughter.” 

So when will the lights shine again on ‘Broadway North’? When will our artists and entertainers be able to get back to work and deliver us the stories we so desperately need to escape the reality of COVID-19?

The answer remains the same across the board in every industry: we don’t know.

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LISTEN BELOW to the full radio interview with Nadia Butler