![]() officially identified as “The Aztec Theatre” on Google Maps.) (Plus, Bloom has been petitioning Google to get 1035 Gerrard St. Or that rehearsing in a movie theatre means lunch breaks are spent screening old episodes of The Simpsons. It doesn’t hurt that the proprietor of the space has given Cushman and Bloom free reign, even allowing them to paint the outside of the building a sunny Simpsons yellow. And if you choose the right space, and there’s resonance there, you can start to find a really cool harmony between the space and the play.” “I mean, a theatre space is exciting because it’s a black box of possibility, but here, in every nook and cranny there’s a different thing that’s going to help, that we can totally riff off of. “It’s just kind of an architectural gift,” Bloom says. Robert Cushman listens to Seth MacFarlane’s Music is Better than Words - and likes it.Rick Miller swaps the Simpsons and Shakespeare for Baby Boomers.“So it’s about, ‘What can we use? What can we reinvent?’ ” (For example, USB keys won’t have much use in a future without electricity, but string a few together and you’ve got yourself a necklace.)Īs with every other Outside the March production, the venue itself plays a huge role. “The vision is really about how things change in our minds and how we think about them, and how these characters take on these different meanings for us and what we take from that,” she says. “Those are the people that survive, the ones that improvise.”Ĭostume designer Lindsay Junkin is operating by a similar philosophy with her design. “It was a bit of taking a trip back in time, but also just coming up with what normal people might have around the house that they could make work for them,” he says. “It works because it’s a play about making the old new and the new old,” says Bloom.īlais agrees. Instead of a typical PA system, they’ve got old wind-up phonographs. Sam Shouldice’s sound design involves a lot of live foley sound effects, and Nicolas Blais’s lighting includes calcium carbide lanterns and scenes lit by flashlights held by members of the audience. In other words, there are no sound or lighting boards that plug into a wall. Burns: A Post-Electric Play they’ve set themselves yet another new challenge: to produce the play, set as it is in a near future without a power grid, without using any on-the-grid electricity. Outside the March has become a company about whom one wonders, “How can they possibly top the last one?” They’re well known in Toronto indie theatre circles for their ambitious, inventive productions, like 2013’s four-hour, multi-venue Passion Play, and last year’s Vitals, in which a residential house near Roncesvalles was transformed into the disturbed psyche of a troubled paramedic. Like ‘Boo-urns,’ there are things people say a lot that they don’t necessarily realize comes from The Simpsons.” HO “It’s funny and similar to Shakespeare, the way we use words and references from The Simpsons and sometimes we don’t even know that’s where they originated from. ![]() “I’d say permeated my psyche, my vocabulary, the way in which I talk and am and think about humour moreso than anything else,” Cushman says. Article contentĬushman and Bloom both grew up watching The Simpsons, and Washburn’s imagined future in which Matt Groening’s cartoon becomes the basis for an entire cultural landscape doesn’t seem so far-fetched to them. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.Endrizzi describes the survivors as a “The Walking Dead” kind of group - they're from different backgrounds, but they’ve been thrown together by extreme circumstances. The story takes place in a world without electricity, where the survivors are trying to get by after some unspecified disaster wipes out most of the planet. “I thought, ‘That sounds exciting,’” he says. Hays is a huge “Simpsons” fan who easily breaks into imitations of Krusty the Klown and other characters. That Season 5 episode of “The Simpsons” parodied the movie “Cape Fear” and featured a murderous Sideshow Bob stalking Bart Simpson. Burns.” The masks are part of a full-on musical theater production that recreates “Cape Feare,” complete with TV commercials and musical numbers by artists from Gilbert & Sullivan to Jay-Z. They cover the actors' faces from their noses up.Fort Lauderdale makeup artist Tim Hays, who designed the “fat suit” for Theatre Conspiracy’s “The Whale” last season, made the latex masks that appear in Act 3 of “Mr. But the masks still retain that famous Simpsons look, including round noses, big eyes and that distinctive overbite. Endrizzi wanted a steampunk flavor for the masks, so Hays gave them a metallic skin tone and, in some cases, industrial-like tubing.
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