My Quotidian Mornings

I start waking up in the hour before I plan to squirm out from under the covers and on to the cold floor, raising my head and glancing down at the clock radio every five or ten minutes.  As my head returns to the pillow I drift back into whatever dream I had left to do my time check.

The early morning hours are the most precious to me as the rest of the family sleeps, the furnace hums and the radio plays, quietly keeping me company courtesy of one of those Bose Wave units that I picked up on eBay.  In recent days, I've described this time as "my personal practice" when I go through my social media world followed by a comprehensive gleaning of the Fort McMurray Today, our local daily newspaper that I get digitally.

My younger son Ben is a lot like me, as I hear him yawn in the background - his bedroom is directly adjacent to my walk-in closet/home office - starting to get ready to wrap his body in a blanket and come into my space for his morning hug.  Soon, he'll be of a size and temperament where these early morning connections will become a thing of the past.  With that in mind, and the warmth that he provides when he crawls up on my knees and settles in, I look forward to this brief encounter and miss it desperately when it doesn't happen.

I usually don't make my coffee until after my first initial sweep through Twitter and Facebook, often waiting until I launch into writing a blog, an activity that requires sustained attention.  Coffee and attention go together in my quotidian life.

When I'm ready to dive into whatever creative pursuit I've decided on for the morning, I silently meander to the kitchen to boil water, clean out the Bodum from the day before, and add four tablespoons of whatever blend we have in the house.  We moved away from the traditional coffee maker about a year ago and I can't thank my wife enough for facilitating this leap.  Not only does the brew taste better, but using this method limits me to two cups, which is just right.

Coffee in hand - two packets of Splenda (no sugar anymore for this guy) with a splash of vanilla flavoured soy beverage - I settle back into my chair and begin.

The thoughts, ideas, words and phrases pour out effortlessly in the moments before the sun begins to stretch its arms up and over the horizon of the Clearwater River valley which I can partially see out the window and between a couple of houses in our downtown neighborhood.  This is my time, unencumbered, free-flowing.

Second cup of coffee - two packets of Splenda with a splash of vanilla flavoured soy beverage - I settle in for the final leg of my early morning literary dash.

I typically start at the beginning, with a title and an opening sentence, a vague sense of the arc and the conclusion lying murky in the fog.  I've learned that the story will write itself if I trust the process, the thread appearing out of nowhere to weave together the patches.  And like a thunderclap in a cloudless sky, an ending will reveal itself and I will make a rush to the finish.

A few more sips of coffee, a couple trips through the piece to check for spelling, grammar and punctuation, and I press publish, sending that day's writing into the world.  One final check of the finished product online, additional improvements and corrections made, I press update, as Ben slides into the room, his tiny blond head popping up over his soft green blanket wrapped tightly.  I spin my chair as he hops aboard to warm me up and officially kick off the next phase of my day.

Influence Shift

Two things happened in recent days that signal a significant influence shift here in Wood Buffalo.  First of all, local blogger Theresa Wells wrote an open letter to Premier Redford imploring her to do something about Highway 63 - the not-so-twinned highway of our discontent.  She did so after it was announced that a 7th person had died due to a horrific head-on collision on Friday, April 27 - a teenage girl who had been pulled out of the raging inferno.

Theresa had a personal interview with Premier Redford during the recent election campaign, and brilliantly used this reference point to draft a compelling narrative of why something has to be done.  The dying needs to stop.

Response was overwhelming, as the blog post struck an emotional nerve that penetrated all age groups, cultures, professions, and geographical borders.  I don't know the current count, but the number of page views eclipsed 20,000 some time ago, with 275 comments as of this morning.  In this case, the difference between these 20,000 page views and 20,000 theoretical readers of a traditional newspaper is that this group of people actually came to this page to read something, from opening word to closing period.  That rarely happens with traditional newspaper readership these days; most of us have become creatures of headlines and the first few sentences.

How did it catch fire so quickly?  Because it was timely, relevant, authentic, and compelling. Every single one of us were talking about what had happened and what we were feeling.  And when word spread that the McMurray Musings blog had posted an open letter to our provincial leader, we seized the two things we could do to help - we shared the link and added our comments. All of a sudden, this beautifully crafted letter was being passed from one social network to another at a rate that was 'astronomical' - to quote the word I used in my TEDx presentation to describe the number of readers that Theresa has reached in the year that she has been posting articles online.

Through the weekend, she became the unofficial spokesperson for a grassroots movement to get Highway 63 twinned once and for all, fielding media calls from across the province and country.  There was a rumour circulating that the blog post had landed on the desk of the Right Honourable Prime Minister Stephen Harper.  And there is no doubt in my mind that Premier Redford was fully attuned to what was happening, even though we have heard no public response from her as yet.

If that isn't an influence shift, I don't know what is.

But, it was as hundreds, if not thousands of us gathered around our computers to tune into the live streamed discussion about the Highway 63 issue at www.ymmpodcast.com, that this idea of influence shift really came into focus.  All day, through our social media channels, we shared the news that this live conversation was going to happen.

Toddske, Theresa Wells, Ashley Laurenson and Steve Reeve sat around a kitchen table, talking into microphones connected to a small sound board, connected to the Internet, having an unfettered, unfiltered discussion about the hottest issue of the day.  Complete with multiple expletives, this is a discussion that could not have taken place on a traditional media channel.  There were no bosses hanging over their shoulders, no corporate entity watching over what they said or how they said it.  These were four people who empowered themselves, through technology and social networks, to have a conversation that needed to happen in the public realm.

How many of us dropped what we were doing to tune in?  How many of us had an overwhelming sense that it was a conversation not to be missed?

Through the power of you and you and you and you and you, we are seeing an influence shift that has shaken the core of how we get information, form opinions, share ideas, and vent our frustrations.

Farnsworth Chronicles, 18

Many members of the cast and crew invaded Boston Pizza after the opening night post-show reception for The Farnsworth Invention - a tradition that goes back as far as I can remember.  Apparently they closed it down, celebrating to the wee hours of the morning.  Epic stories of frivolity were being flung around the green room as we reconvened at 6 pm for the Saturday night performance.

These young and energized artists, full of vim and vigor, probably think I'm pretty boring: drinking water at the reception and getting to bed just after midnight.  Little do they know that I used to be them.

In 1986, I was involved in Newman Players at St. Thomas More (STM) College in Saskatoon, where late night cast parties were equally epic.  I rented a small home about two blocks from STM and it became the official gathering place for this disparate group of people.  We put the stereo volume up to 10 - the sounds of Paul Simon and The Troggs bellowed out of 222 Cumberland - and partied all night long, the pile of empty bottles of Extra Old Stock reached for the ceiling in the basement.

I remember waking up in the morning and finding bodies sprawled on the floor, flopped over furniture, wherever they could find an available space.  Empty bottles, cigarette butts, and empty pizza boxes lay littered about as the sun rose on what would have been a painful day for more than several of us.  Names like Red, Jonathan, Sean, Phil, Chris, Patricia, Cherie, Tom, Terry, Curtis, Marni, Brenda, Brad and so many others rattle through my brain as I recall those halcyon days.

In the role of semi-producer, I did shows like A Man For All Seasons, Plaza Suite, Twelfth Night and The Taming of the Shrew.  It was a time when many of us did whatever was required to get the show up: set design, construction, costumes, lighting, sound, direction, promotion, etc. Looking back, it was one of the most valuable experience in my life, and helped form the foundation for so many of the things that followed:  my radio career, interPLAY, Keyano College, Events Wood Buffalo, and ultimately, politics.

One of the great thrills of opening night for me was getting to meet some of the parents of the players.  I enjoyed a great conversation with Brodie's dad, whose comments about the performance were profound, insightful, and empowering.  It was nice to meet Humberley's parents, who must think it strange that I was cast as her husband, despite being long in the tooth.  Frances and Luke's dad, an Anglican Church priest, was delightful to speak to, elegant in his tuxedo for the prestigious evening.  It was also great to chat with A-Wall's mom and dad, and share some observations of how incredibly talented he is, as both an actor and musician.

Committing to a production process is truly a family affair.  There needs to be support and encouragement from home, otherwise the journey would be untenable.  So, to all the moms, dads, brothers, sisters, husbands and wives:  THANK YOU!

My TEDx Fort McMurray presentation

It was an experience that I'll never forget, from going through the audition process to feeling the backstage jitters in the hours leading up to "My Social Media Timeline" presentation at TEDx Fort McMurray on March 30, 2012.

I hope that you'll take the time to watch this and share your thoughts.

Special thanks to the volunteer team that put this amazing event together.  It was a very special day in Fort McMurray.

Farnsworth Chronicles, 17

The death toll from the horrific crash on Highway 63 was announced yesterday afternoon.  Six people were confirmed dead after a pick-up truck with three people attempted to pass on a double solid line going up a hill slamming into an oncoming truck with six people.  The ensuing blaze, shared on Twitter and beyond, captured the desperation of the situation - fire extinguishers lay scattered about as passersby tried to douse the flames.

This is what was on my mind as I headed to the theatre for the opening night performance of The Farnsworth Invention.  Based on the overwhelming response to this tragedy, I suspect that a lot of people were trying to wrap their brains around what had just happened and why.  Some were heading home from work; many were just starting their day and getting ready for the night shift.  Thousands took to social media to express their outrage, raw disgust and frustration.

Fellow blogger Theresa Wells wrote an open letter to Premier Redford (a blog post that has gone completely viral, inspiring almost 10,000 views and 100 comments at the time of the writing of this post).

I sat in my dressing room putting on my stage make-up, waiting for our call to go on deck and warm up.  I grabbed a pen and a scrap piece of paper.  The following words hit the page.

We can cry
We can rail


Scream for what might have been
Rage at what should have been


Lives are lost
The moment passed


Grieve grieve grieve
Feel for the fallen
And the lives left shaken


We can't go back
Make it all better


Do overs are figments
Of imagination, stuff of dreams


Each moment matters
Care for each and every one

Norm Sutton, a neighbor and friend, playing a multitude of roles in The Farnsworth Invention, is also a former emergency responder.  News of the incredible loss of life had hit him hard earlier in the day -horrific memories rushing back.

I thought of Norm. I thought of the friends and families of the fallen.  I thought of the fragility of human life as I recited this series of words and ideas in the comforting crucible of Keyano Theatre, warming up my voice for the performance ahead.

Despite the tragedy, and the ensuing news that a teenager who had been pulled from the burning wreck had subsequently died, the show had to go on.

In my heart, I silently pledged that this performance would be for those who had died, and for their families and friends burdened with unparalleled grief and loss.

We launched into the show, enjoying a warm and energizing opening night audience.  They laughed in all the right places and helped fuel a run of the show that was among our best.

I knew something had happened half way through the first act, as all the traffic patterns had changed backstage during the wedding proposal.  Michael Beamish, in the lead role of Philo Farnsworth, had collapsed in the middle of his scene - his injured knee giving out.  He kept going with his lines, picked himself up, and hobbled into his next position.  Just a few minutes later, when I was back in my spot on downstage left, his limp was barely perceptible.  The crisis had passed.

They wrapped up his knee during the intermission, his dressing room running over with concerned cast and crew members.

"Give the guy some room to breathe," implored the stage manager as she zoomed by giving us our 15 minute call.

While Mike picked himself up and got into position for the start of act two, I went out into the hall, though the lobby and into place for my entrance from the audience during the stock market scene.

"Go ahead, re-live the damn thing," Sarnoff says, as Farnsworth recounts that terrible day when the New York Stock Exchange devolved into chaos - October 29, 1929.

The pulse and intensity continued to build, eventually breaking as Farnsworth and I were left alone to close out the show with a scene that is as much about coming to terms with what had happened in the race to invent television as it is about the choices that were made along the way.

"We were meant to be explorers," said Sarnoff.

"Explorers...builders......and protectors."

It's that word 'protectors' that just kills me.  Did Sarnoff do enough, within his power to protect those who needed protecting: Farnsworth, his son Kenny who died of strep throat, and countless others? No.  And coming to terms with that truth is wrapped in the caves and crevices of that one cathartic word, as I stand in the light, exposed, vulnerable, pierced with emotion bubbling up from the story....and from life, and death.

The answer to the question of whether or not we've done enough to protect the 7 souls who died yesterday is pretty clear to the thousands who are rising up in anger, frustration, and desperation.  Absolutely not.  There needs to be a philosophical imperative embraced by this new government in Alberta to complete the twinning of this vilified piece of road that connects Fort McMurray to the rest of the province.  The time for using the mating habits of caribou, and myriad other barriers as excuses is over.

Farnsworth Chronicles, 16

There are a few more yawns this morning, as many late nights and full days are catching up with me.  Busy 8-hour days at the office have been followed by 5-hours at the theatre as we've been preparing for our first audience.

"Places for the top of the show," said the Assistant Stage Managers, flying by our dressing rooms, putting a carefully choreographed movement of 21 bodies in motion to various hidden spots on both levels of The Farnsworth Invention set.

Silent handshakes and whispers of "Good show!" were in abundance as Alan Roberts welcomed representatives from TELUS to the podium to announce their commitment of $250,000 to Keyano Theatre & Arts Centre.

I could just barely see and hear the proceedings from my starting position, just out of view of the audience and within a few steps of my spot on the upstage staircase where I would begin the opening speech of the show.

Cheque presentation photograph and speeches done, the scrim just upstage of the proscenium came down and Stage Manager (SM) Steph Link pulled the trigger on a sequential list of cue calls that began the "TV tales", as dubbed by the Fort McMurray Today on the cover of their April 27th edition.

The preview performance, which went remarkably well last night, is actually the last dress rehearsal, the audience being the final added element.  It was our first opportunity to find out where the laughs were going to land.  Up to that point, we had not had to deal with chortles so we just barreled forward.  The trick when dealing with laughter is to wait a beat or two so that the next line can be heard.

From the stage, it's hard to accurately guess how many souls are sitting out in the house, but there were enough to spike up the energy and intensity of the performance.  For me, it was the best run to date, with 95 percent of the lines intact, intentions clear and pacing correct.  As always, there is still room to grow, but I felt good about the performance that we delivered.

Some extra work that happened on two different scenes earlier in the evening, made a big difference, as Director Claude Giroux affected last minute adjustments in advance of officially handing the show over to the SM on opening night later today.  Tomorrow morning, Claude, Tiffany and 4-old month Madeleine - who has been an ebullient presence during this entire process - pile into their car, along with Violet, their gigantic dog, and begin their long drive back to West Vancouver.  Keyano Theatre, and our house - as they have been our guests these many weeks - will seem disconsolately empty for a time.  They are family, and seeing family leave is always difficult.

I am so proud of the work that has been done by every single member of the cast and crew.  It seems like yesterday when we sat around tables in the rehearsal hall doing our first read through of the script.  That was March 15th; I had just stepped off the plane after flying back from San Francisco.  Fast forward six weeks, and here we are at opening night, ready to share Aaron Sorkin's incredible play with our patrons.

I can't force you to come and see The Farnsworth Invention, but perhaps I can compel you.  Early reactions on Twitter and Facebook are effusive.  From Karen who declared it "a fantastic production...and a top notch performance" to Kiran who described it as "simply incredible", I am emboldened by the honest and positive reactions.

It struck me, as I put up my feet on the coffee table, enjoying a rare frosty beverage after a very long day  and a more than satisfying performance that the last time I did a main stage show at Keyano Theatre in 2006, Facebook didn't exist.  In those days, if someone wanted to share a thought about the performance, they had to tell you in person, give you a phone call, or send you an email.  Now, kind words shared in social media land have the power to go viral, spreading the good word about the magic of the live theatre experience.  I think that's pretty cool.

Farnsworth Chronicles, 15

As the dust settled on the day after the Alberta general election, we moved into the first of two full-tech dress rehearsals for The Farnsworth Invention.  The last two elements that were added last night were make-up and hair.  For the most part, the show you would have seen yesterday - had you been sitting in the audience - would have been the show that will be seen when we have patrons in the seats tomorrow night.  Most of the preparation work is done; all this is left is some minor tweaking.

I found myself in the spotlight at the top of act two missing something - my cigar.  When you come to the show, you'll discover that prop is my constant companion through the entire piece.  In fact, up to that point, I hadn't done a singe scene without it propped between the index and middle fingers of my left hand.  Yelling at Farnsworth from the pool of light, I was at a loss as to what to do with my hands.

Moments later we were a foot deep in paper as the New York Stock Exchange erupted in chaos of the crash of 1929.  My mind was racing, trying to think ahead to potential scene transitions when I might be able to dash to my dressing room to snatch my stogie.

"Go to my dressing room and grab my cigar," I quietly said to one of the dressers backstage as I zoomed by backstage on my way to the second level of the set.

Back on stage, waiting in an unlit portion of the platform, I realized that I had a window of opportunity to make a run for it.  While the traders on the stock market floor scurried around as the market crashed, I dashed down the escape stairs, through the back hallway to the other side of the stage where the dresser was standing with my trusty cigar.

"Thank you so much," I said, grabbing my buddy, flying back down the hallway, up the escape stairs and back into my darkened office in plenty of time to catch my next cue.

During a show, shit happens.  Props get misplaced; moving furniture pieces hit things they are not supposed to; things get broken; actors go blank.  The beauty of live theatre is that anything can happen, and often does.  Our collective understanding of the show is so intense, that we are incredibly armed to deal with any missed line or mishap that comes along.  It happens instantly and instinctively - the speed of the brain whirring much faster than reality - often leaving those in the soft seats of Keyano Theatre completely unaware that anything untoward has occurred.

I could write a novella on the myriad things that have happened to me during theatre productions.  From having my Achilles tendon snap on closing night of Death of a Salesman (2000) to dropping multiple pages during an interPLAY performance of The Zoo Story (2009) to watching the head of a wooden mallet go flying into the audience back in high school, forcing me to kill Dracula by shoving the stake into his heart.  Some mistakes, missteps, and malfunctions are little; others are legendary.  Every single one of them add to the mystique of the live theatre experience.

Misty Oakes - who does a great job in the show playing a number of characters - is the marketing marvel responsible for promoting The Farnsworth Invention.

As ironic as it sounds, I want people to get out of their comfy chair, shut off the television and come and see the real deal, said Misty. Take a break from the tube and come and discover where it came from in the first place.  Live theatre - there is nothing better.

You'll notice that I've italicized Misty's thoughts, as I can't recall her exact words, only the intention of what she was trying to get across.  Your TV, DVD, PVR, Netflix, Apple TV, Xbox will always be there, in that coveted spot in your living room.  The Farnsworth Invention is only here for a limited time - 7 evening performances - and then it is gone, forever.  This production, in all of its coolness, is a once in a lifetime thing.  It'll never be seen like this again.  See it.

Preview Performance - Thursday, April 26 (includes a $250,000 cheque presentation from TELUS)
Opening Night - Friday, April 27 (with a post-show reception and party catered by the Sawridge)
Additional evening performances - April 28, May 2, 3, 4, 5
All shows curtain at 8 pm

Tickets are available at Keyano Box Office, by calling 780-791-4990, or online at www.keyano.ca/theatre.

On the brink

This is a strange day in Alberta.  For the first time in recent memory, we don't know what kind of government we're going to wake up to tomorrow.  I can't imagine what the political players in this drama are feeling as the hours tick by with under three hours left to vote.

I'm sure the leaders in the two parties vying for power are starting to feel butterflies, reviewing drafts of speeches they will ultimately deliver later this evening, either in victory or gracious defeat.  Based on myriad polls, the outcome of the vote is still very much up in the air - "too close to call," they say.

The countless hours of campaigning, knocking on thousands of doors, weathering public forums, debates and election rhetoric, all come down to the next couple of hours.  For some, long political careers hang in the balance. For others, dreams and aspirations of life in the legislature are within reach.

Apparently, the last time an Alberta election result was uncertain was in 1993, when new Conservative leader Ralph Klein fended off a surging red tide led by former Edmonton mayor Laurence Decore.  My memories of this contest are fleeting, as I was new to the province, programming a radio station in former Premier Don Getty's riding.  Back in those days, the threat of a change in government didn't have any direct impact on my life, as I was pretty focused on my broadcasting career.  Times have really changed in that regard.

I work in the public sector and serve in local government, both of which are hugely connected to the provincial government.  What happens tonight, regardless of who lands in the winner's circle, is going to have a direct impact on almost everything I do.  So, the butterflies being felt by the leaders and their contingent of candidates, I'm feeling too.

No matter the political stripe, I have tremendous respect and admiration for every single person whose name is on a ballot today.  There are going to be a lot more losers than winners when the dust settles on this one.  When you run into those who don't make the cut in the coming days and weeks, take a moment to thank them for their courage and contribution to the province.  They have been an integral part of democracy's resurgence in Alberta in this historic election.  Every single one will need a kind word, a pat on the back, and sincere encouragement as they carry on with their lives.

The winners, on the other hand, will feel jubilation on a scale they probably haven't experienced previously.  The intense feelings of achievement will have been well earned, and they will deserve our heartfelt congratulations, no matter the party.  The job for which they have applied will begin in earnest as the sun rises in Alberta on April 24th.

We are on the brink of something, the shape of which is yet to be determined.  Hang on for a wild ride as the polls close at 8 pm.

Farnsworth Chronicles, 14

Cue to cue for The Farnsworth Invention stretched into a third day as the production is proving to be a technical challenge on a scale seldom seen on the Keyano Theatre stage.

"Remember, you guys have been living with this show for a long time," said Claude Giroux, director of the last play in the Keyano Theatre TELUS Drama Series.

"To the technical team, this is all pretty new."

They are doing an incredible job of picking up the rhythm, energy and nuance of this fascinating play written by the talented (and revered) Aaron Sorkin.  By the time we did a full dress last night, the lighting and sound operators, the stage manager, the assistant stage managers, dressers, and fly crew were humming.

Despite the enormous number of hours on stage - probably close to 20 since I left work on Friday - I was feeling energized as we moved from cue to cue into an actual full-energy, full-intention run.  It is during this period when things really coalesce and I find it absolutely intoxicating.

That is not to say that everything went perfectly.  I missed one important line, misspoke a couple of others, and was slightly late making an entrance after a quick change went askew.  One actor screamed in frustration backstage as a series of unfortunate events led to an unsuccessful and critical costume change.  Another player winced in pain as a piece of furniture being moved in the dark made contact with an area of his body that is particularly vulnerable.

We will continue to work through missed cues, scene changes not quite on mark, and quick costume changes that are the stuff of miracles.

At the end of the day, when this show previews on Thursday, the audience will enjoying an outstanding production, born out of thousands of hours of effort, talent and dedication.

As I stood in my spot, delivering my closing monologue, I felt the play move from my head to my heart. It was a powerful moment that I won't soon forget.

With Humberly Gonzalez who plays Mrs. Sarnoff

On this Alberta election day we are dark, which is to say we are not called for any rehearsals or performances.  Tomorrow night we go the distance with full costumes and make-up in preparation for the media call which happens on Wednesday night.  This is getting very real very quickly.

Meeting Dame Judy

There are times when you meet famous people that it merely produces a ripple in your life - a close encounter, a surprising bumping of shoulders in a mall, or a friendly hello at an autograph signing.  I've had a few of these over the years, ranging from bringing actor Dennis Quaid his breakfast to hosting actress Natasha Henstridge in my living room, as she was going out on a date with one of my roommates.  In both of those cases, and many more, while they provided great fodder for storytelling, they did not change my life or alter its course.

For actor David Oulton, a Westwood Community High School grad, his minutes with greatness in England created a wave that took him to Hollywood, into the world of film-making and most recently on to the Keyano Theatre stage in our production of The Farnsworth Invention.

"My uncle and I were walking through Yorkminister, and out of nowhere I saw this little lady pass by," he recalled in an interview we recorded in my dressing room backstage at Keyano Theatre. "That's Judy Dench," he said. "So I just walked up and introduced myself."

David shared that he'd been thinking about going into acting.  She asked his age and said that "now would be a good time to go and look into doing some school, and doing a course through the summer."

"The best way to get started, is get started young and you'll know if you like it or not," she suggested.

He went back, did some research and the New York Film Academy popped up, with locations around the world.  And despite the rigorous application process, he threw caution to the wind and did everything required to potentially get a spot.  Several months later, he got the great news that he was in, and would be heading to Universal Studios in Los Angeles for this once in a lifetime experience.

Hastily munching on his wrap as our one hour lunch break was rapidly coming to an end, David took me down to L.A., sketching out the 4-week experience and some of the opportunities it presented to him.

Paired up with a couple of fellow Albertans and a guy from San Francisco (appropriate considering the S.F. connections abundant in The Farnsworth Invention), he launched into the program, gathering an incredible array of information from capable teachers who were also active in the film industry.  Over those exciting days, he auditioned for a number of short films and ended up in eight of them, six of which he was the lead.

They had all-access passes to the Universal Studios back-lot, the sprawling location of multiple outdoor sets and environments ranging from old Mexico to downtown New York City, complete with towering facades and replica streets.  In fact, some of the scenes they shot on the back-lot were on a set recently abandoned by the crew of On Stranger Tides, the latest Pirates of the Caribbean mega hit.

As an alum of the New York Film Academy, David has stayed in touch with a variety of people and has had several opportunities to return to L.A for a variety of things including a taping of the Jay Leno show which led to a role as an extra in an episode of Hannah Montana.

On one trip down to attend an Oscar party, David was waiting in the Edmonton airport casually watching a movie on his laptop when his mom struck up a conversation with a fellow who had sat down next to her.  David finally chimed into the fact that this fellow was not just your average friendly stranger; it turned out to be Corbin Bernson, and another brush with fame that would go from random to really cool in a big hurry.

The former star of L.A. Law was on his way to shoot an episode of Castle, but suggested to David that he join him in Provost, Alberta for the shooting of his film Barlowe Mann (now in post-production).

"He said I could join him on the set, shadow him, and really learn what happens on a movie set," said David.

He spent 22 days on the set, being very careful to remain in the background at the strict instructions of the production people.

"The were very clear that you never look at the director, you never do this and you never do that," he said.  "All of a sudden Corbin says for me to come over, take his chair, and learn what you should be looking for in the monitor."

David laughed as he shared that portion of the experience, obviously struck by the generous nature of his host and the people who have popped into his life following that brief conversation with Dame Judy Dench back across the pond.

What's next for this talented young performer who is playing multiple roles in The Farnsworth Invention, including that of influential investor and President of Crocker First National Bank, William Crocker?

"I'm heading to Vancouver in August to attend Capilano University to get my Bachelor's degree in Communications," he shared.  "I also have signed with an agent and hope to do some acting on the side while on the west coast."

"What's the dream?" I asked.

"I'd love to act."

I got the sense that Mr. Oulton is both a dreamer and a realist.  He has identified and pursued a passion , yet has chosen a learning path that will provide him myriad opportunities and solid career choices.  Articulate, smart, respectful, resilient, resourceful and bold, he has many of the attributes that are required to achieve great things in life.

I'd like to think that one small kindness offered by a superstar stranger in England or a television star in an airport had a little to do with it.  Small acts of kindness can change a life.  Remember that the next time a young person asks for your attention.  You don't need to be famous to make an impact.

Farnsworth Chronicles, 13

Behind the scenes, the production has been dubbed "Farnsworth, the Musical".  Musical productions, by their very nature are incredibly complex, with myriad technical elements having to come together with precise timing and intensity.  As we plunged into the first day of cue to cue in the crucible of Keyano Theatre for our production of Aaron Sorkin's The Farnsworth Invention, it became abundantly clear that the production team was dealing with a level of complexity not often associated with dramas.

The cue to cue rehearsal(s) consists of fully costumed actors on the stage going through the show while the stage manager (SM), lighting, sound and set designers integrate all the technical elements.  During this process, the players get our only chance to eavesdrop on what the SM says in her microphone to put everything in motion.  Normally she is at the back of the house, unseen and unheard by those of us waiting to for our cues backstage. We get our marching orders from the assistant stage managers, Rhiannon and Marlena, positioned on stage left and right.  The long set of instructions she utters to prepare the light and sound operators for an upcoming sequence would be indiscernible to most people.

As I stood there, in Sarnoff's spot on downstage left looking out at the theatre that this community is so blessed to have, I reflected on the confluence of technical skill and equipment that has had to happen to make The Farnsworth Invention possible.  An inspired director, moving lights, comprehensive fly gallery, world-class theatre designers, professional stage manager, beautiful projections and so much more come together through a process that extends over many months to create a theatrical experience that is truly unique.

The cast is incredibly patient through this arduous process, waiting in various spots, on stage and off, for the stage manager and her team to work through the next sequence of cues, their timings and levels.  In a way, this is the part in the process where the focus shifts from the actors to the production team; we are merely another element in their intricate mix of things they need to move about the stage and through the story with utter precision and consistency.

Last night, as the hours were getting long, I lost all sense of time. Standing in my spot, doing small chunks of lines as we slowly trudged through act one, I began to succumb to my circadian rhythm which has been programmed over time to get me soundly asleep no later than 10:30 pm most nights.  At one point, my brain completely shut down in its exhaustion, leaving me clueless as to what line came next.  Standing up there in my spotlight, the stage manager and director trying to feed me the lines, I felt like a deer in the headlights: shocked, confused, and definitely dazed.  I felt bad, to be honest, a little helpless.

I made it through that rough spot, took a deep breath and moved forward, as we all do in theatre when times get tough.  A deep sleep, a hearty breakfast, and a healthy lunch prepared for later, I am ready to embrace Day #2 of cue to cue and another vital step in the process of delivering a world-class theatre experience to our Fort McMurray audience.  The show previews on Thursday and opens on Friday.

Farnsworth Chronicles, 12

As we've been working on The Farnsworth Invention in the rehearsal hall, with the outline of the set taped out on the floor, Keyano Theatre Company crew members have been hard at work on deck (and above deck) getting everything ready for our first time on-stage which happened last night.  The technical director (TD, Nick Beach) pours over schedules that include light hangs and focusing, floor painting, set installation, and the hanging of multiple set pieces on to pipes that fly way up in the air beyond the sight lines of the audience with the absolute mission to have everything ready to accept the actors on the appointed night.

We begin our time in the main theatre with the requisite safety speech delivered by the TD.  In some ways this is very similar to the mandatory performance we get every time we step into an airplane.  The fundamental difference is that the safety speech in the theatre is somewhat sacred and inspires complete attention.  The gathered thespians hear about the intricacies of the set and its potential hazards, evacuation procedures in the event of an emergency, and several other critical pieces of direction.

Just before setting off on a stop and start work through, we are taken on a walking tour of the two story set that include two staircases that move about the stage.

"It is absolutely critical that when these stairs get set in place that this button gets pressed," said the stage manager, Steph Link, warning of the dangers of what an unsecured set of stairs would do if someone stepped on them unawares.  It would pretty much go zooming across the stage, potentially sending the person at the top flying to the stage floor 8 or 9 feet below.  The technology is incredible.  One press of a button and the massive stair unit gets locked into place.  One more press instantly makes it able to be moved effortlessly.

Last night was all about getting familiar with the nuances of the set and how to move ourselves and furniture from place to place in the time required to be ready for our next cue line.  All of a sudden, this ensemble cast of 21 was dealing with new obstructions, traffic lanes and myriad curtains - legs (narrow black drapes that sit parallel to the front of the stage) and Germans  (narrow black drapes that sit perpendicular to the front of the stage), both masking the limited amount of space in the wings.

With Rhiannon, assistant stage manager, on stage at the end of a long day

We made it through act one and took a paperless stab (you'll find out what this means when you see the show) at the stock market scene at the top of act two before calling it a night at the stroke of 11 pm.  It made for a long day, but it is easy to see the path that we are on as we hit cue-to-cue (more on that in a couple of days) on Friday and Saturday before moving into the dress rehearsal phase in anticipation of the preview performance on Thursday of next week, incredibly only one week away.

Future Voters

Councillor Phil Meagher and I spent an hour with several grade six classes at Dr. Clark School yesterday fielding questions about local government.  These young people, maybe 30 in total, were interested in a broad range of things, from how much we got paid to what was the hardest decision we ever had to make.

I thought I would stump them with the question about whether or not Fort McMurray is a city.  Boy, was I wrong on that one; they knew for a certainty that we are an urban centre in a specialized municipality.  The teacher sat in the back of the room, smiling like a Cheshire cat, proud that that particular lesson had sunk in.  I'll never forget the argument I had with my lovely wife over that question.  She was pretty insistent that we were a city.

It struck me that they were very interested in the "why".  Why did you run for council?  Why did you choose to be a leader?  Why do you think that being on council is fun?  Why questions are awesome because they demand a meaningful response.  I'm wondering if the electorate is asking enough "why" questions in the current provincial election campaign?

"What" questions are in abundance.  What are you going to do about this?  What are you going to do about that?  And, ultimately, what are you going to do for us?

Think about the rich answers you might get to these simple "why" questions. Why would you do this?  Why would you do that?  Why should I vote for you? Why?

All the policy stuff is important, as the voters need to know what that party is going to do, but let's not forget to ask about why.

Over the years, I've heard more than one politician suggest that an election campaign is like an extended job interview.  I'd love to watch candidates respond to some of the classics that you would hear when getting grilled by an interview panel.

Why have you applied for this job and how does it fit in with your career plan?

Give us an example of when you had a conflict in the workplace?  What happened?  What did you do to resolve the situation?  What, if anything, would you do differently?

What excites you the most about this opportunity?  What scares you the most?

What does integrity mean to you and what role does it play in the workplace?

If we were to ask your friends to identify your greatest strength and greatest weakness, what would they tell us?

My personal favourite:  When you pick up a copy of National Geographic, what are the stories that draw your attention the most.

I love that last one because it doesn't have anything to do with anything, yet always reveals a little something about the interviewee.  It reminds me of the casting director that asked me to leave the room and come back in again.

Why are you asking me to do this? I was thinking to myself as I grabbed that door handle, left the space, paused for a second, then came back in.  Did I do that right?  Did I just blow it?

At the end of the day, after all the party politics have been set aside, we are hiring someone for a job.  We are selecting an individual to represent us in a governing body that will make decisions that will impact our family, friends, and community.  The only difference is that the interview panel is a lot larger.

The kids at Dr. Clark got it right.  They were less interested in asking about potholes and taxation, and more keen to find out about us, and the "why" of why we were standing in front of them as municipal councillors, leaders.  I think we can take a lesson or two from these future voters as we prepare to offer someone a job on April 23rd.

Farnsworth Chronicles, 11

We slammed through the play this afternoon, using a sparse collection of chairs, makeshift tables, and a whole bunch of scrap paper for the stock market scene that begins act two.  Many of the actual furniture pieces were being painted by set designer Jennifer Goodman, recently arrived from Stratford, Ontario where she works as a designer's assistant with that community's famous Shakespeare Festival.  In the original schedule we were supposed to be dark today, but airline issues forced some last minute changes, which required some flexibility on the part of the ensemble in having to make due with whatever could be found to facilitate the run through.

Norm and Krysta

Just days away from our move from the rehearsal hall to the main stage, the 21-member cast did a costume parade, showing off an impressive collection of suits, dresses, overcoats, and hats to the director.  Tiffany Bishop, the costume designer, had spent much of the previous day putting the finishing touches on this impressive volume of clothes and accessories.  I'm one of the lucky ones, with only one minor costume change, but many of my colleagues in the show will be flying in and out of multiple outfits in the muted-blue environs of the wings.

Mr. Beamish plays Mr. Farnsworth

In a process that began with a concerted effort on my part to put faces to names, everyone now seems very familiar.  Over the last few weeks, I've come to discover a richness of character and a bevy of surprises in this ensemble.  Among us are talented piano players, a computer geek who built his first system while still in single digits, a film actor who has worked with Corbin Bernsen, multiple dancers, and former Alberta farm kid who is doing a stunning job playing the Idaho farm boy that is the play's namesake.

James, Amanda and David

Apart from the natural camaraderie that develops as we're rehearsing, one of the bonding activities that has been a lot of fun is the hackey sack  that we play on breaks.  What begins as a party of two, quickly grows as the circle widens and more join in.  Some are great players, with incredible moves, while others of us are less skilled, and just happy to be accepted for our limited abilities.  There is nothing more exciting or fun than when we end up with a long rally, as that little footbag flies hither and thither.

Elaine Bevans plays Pem Farnsworth

I had a good run today.  It felt right from beginning to end, as my voice returned to full strength after last week's cold.  I was also able to successfully integrate notes from Claude into the run that took it up a notch.  Now is the time for nuance and digging deeper and deeper into the relationships, intentions, motivations, fears and foibles that will deliver what Mr. Sorkin intended.

Having some fun with Misty and Mike

Dressing rooms have been assigned and a week from now we will have completed what promises to be a daunting cue to cue.  This production is populated with hundreds of individual actions, both technical and manual, that need to be timed just perfectly to achieve the desired result.

I've often described great theatre productions as being many hearts beating as one.  It's nice to be one of the hearts for a change, an honour.

Return to Ideal

Since we returned from Mexico back in February, I've seen a slow, incremental increase in my weight.  I wasn't concerned as I was still hovering around the 180 mark, a comfortable spot to be as it allows just the right amount of body fat to keep my hands from feeling frigid.  That said, I think I still shock people when offering my frosty fingers for a hearty handshake.

For the record, and for purely therapeutic value, let me confess that I was at 184 lbs this morning.  And even though I indulged in a Claude Giroux prepared feast last night, that only accounts for a portion of my modest corpulence.

Thankfully, I have a stash of Ideal Protein vanilla pudding, my breakfast choice this morning and my inevitable choice for lunch today, along with a couple of cups of raw veggies.  I'm bound and determined to avoid sugars, fats, and the myriad list of banned foods in the first phase of the program...at least for a day or two.  I want to dip below 180 lbs before I return to my normal eating patterns.

I started changing my eating ways back at the end of August and truly, apart from regular sweet-tooth indulgences, I've kept up a steady intake of fresh vegetables and healthy choices.  My alcohol intake over the past eight months has been scant, as has my forays into forbidden snack foods.  I have become somewhat obsessed with Atkins protein bars and my nightly dish of yogurt, raisins, nuts and flax seed.

My transformed wardrobe still fits, which has given me solace as I've watched the numbers get larger on my weight scale.  The tailored pants and shirts, along with the suit jackets that dropped from size 44 to size 40 still work, something for which I am deeply grateful.

So, as we launch into the final two weeks of preparations for The Farnsworth Invention, I am going to dive from indulgence to diligence and see what happens.  I'm also going to resurrect my unfinished bottles of vitamins and supplements, items that become too easily forgotten displaced to the upper environs of the the fridge top.  Wish me luck.

Farnsworth Chronicles, 10

We open The Farnsworth Invention in two weeks.  Yikes!  I can't believe it's almost here.  Returning to rehearsals after a long Easter break, the rehearsal hall runneth over with props, furniture and racks of 1920s-era suits, overcoats and hats.

Playing around during a rehearsal break

I have my particular spot - "the old man chair" as I like to call it - on stage left where I park my jacket and personal accouterments.  I'm slowly being swallowed by the increasing volume of stuff as we near that moment when we move from the rehearsal space into the performance space. When you have a period show with lots of actors and multiple scene changes, it's inevitable that you need lots of bits and pieces to bring it together.  Thank God for the Stage Manager (Steph) and the ASMs (Rhiannon and Marlena) who magically manage it all.

Costume Designer Tiffany Bishop has spent months searching used clothing shops, gathering the immense (and diverse) number of suits required to dress this large collection of fellas.  She also is in the process of building many of the period dresses required for the lovely ladies who are breathing life into this incredible Aaron Sorkin script.  Being behind the scenes of a major production for the first time in 6 years has renewed my appreciation for the gargantuan amount of work that goes into producing the final product.

I had worked through the script a number of times on our long drive to and from Saskatchewan.  Dylan was on book in the back seat, feeding me the lines of Jim Harbord, Water Gifford, Philo Farnsworth, and even Lizette Sarnoff.  After cruising through the play at warp speed a number of times, I went back to the script to ensure that was I was saying what is written.  I discovered a number of spots where I had taken some creative license, capturing the intention of the author but missing the mark on the language that is actually in the text.  I'm re-learning how difficult it is to break a habit once it's in place.

Doing the entire show for the first time in a week, I felt a little "choppy" as I readily shared during the notes that followed.  In many ways, this is the most exciting time in the rehearsal process for me, as remembering lines and blocking become second nature. Now I can focus on the character, his inner journey, choices, intentions, fears, passions and regrets.

There is always a fear of a show peaking too early.  I could be wrong, but it feels like this play is so rich that we'll be exploring its nuances right up to the final light cue on closing night.  I hope you will decide to join us for this fast-paced deconstruction of the race to invent television.  It's going to be quite a ride!

Springtime in Saskatchewan

We had dodged a bullet, completely missing the spring snowstorm that slammed into the Capital region of Alberta.  Our long drive, scheduled for the following day, meandered around the affected areas giving us more than pleasant conditions.  As a family, it was our first attempt at making the 1,200 kilometre journey from Fort McMurray, Alberta to Kamsack, Saskatchewan in one fell swoop.

"If this trip were a football game, we'd be done the first quarter," I said as we pulled into Lac la Biche for breakfast.  Getting on the road by 5 am allowed us to be a quarter of the way there by the time we were slopping down our eggs and coffee.

As we crossed the border into Saskatchewan just south of Cold Lake, the clouds off in the distance suggested that we might be heading into weather of some kind.  By the time we traversed Saskatoon on a quiet Good Friday, the lightly coloured clouds on the horizon began turning a darker shade of gray .

By the time we pulled into the gas station at Humboldt, the snow began falling in earnest, flying almost parallel to the earth driven by a fierce north wind.  By the time we pulled into Watson, it was a full-out blizzard and I really didn't know if we could make it.

"Call Mom," I asked Heather, wanting to know what was happening at our destination, now less than three hours away.

Trying to find some trace of the road, now covered with six inches of wet, slushy snow, we heard from Mom that Kamsack was still enjoying a warm spring rain.  With that news, we decided to push on, through the intense blowing snow and driving conditions that were becoming more perilous by the moment.

My hands, intently placed on ten and two, gripped the steering wheel, eyes focused on the scene ahead as we cut through the worst of it.  Several vehicles had succumbed to the ice and sat in the soggy ditches waiting for the tow truck to arrive, getting a supreme workout on this holiday Friday.

As the names of the towns went zooming by - Quill Lake, Wadena, Invermay - the biting snow turned into driving rain.  Suddenly, we had gone from sliding through the slush and ice to hydroplaning over pools of water that had collected on the highway near Canora.

The weather system seemed to pause as we pulled up to the house of my youth in Kamsack, giving us just enough time to gather up our bags and get settled inside.

I was glad we pushed through, as the spring snowstorm intensified, eventually finding its way to the eastern side of the province.  Our decision to cut through about 100 kilometres of blizzard conditions gave us two full days at home, a great chance to spend time with Mom and Dad, and many other members of our family.  We were 19 around the table for Easter Sunday dinner.

By the time we packed up and began the long drive back to Fort McMurray, the wrath of the storm had completely fizzled, leaving us with beautiful road conditions and lots of sunshine, all the way back to our front door 1,200 kilometres away.

Farnsworth Chronicles, 9

As we wait to get slammed with a spring snowstorm, clouds looming in the sky ready to release their treasures, my coffee cup is full and I'm ready to dive into the 9th episode of the Farnsworth Chronicles.  I hope you're enjoying reading along and finding out what it's like behind the scenes of a Keyano Theatre Company production.

Last night was the first time that none of used our scripts and apart from a few minor stumbles, it went remarkably well.  I personally dropped a few lines here and there, but for the most part captured the essentials -  kind of like tossing your swimming suit aside for a swim in the ocean the way nature intended, getting off book is an intensely freeing experience.

I thought it would be fun, less than four weeks away from opening night (April 27th), to give you 10 compelling reasons to buy tickets to Keyano Theatre Company's production of The Farnsworth Invention, written by Aaron Sorkin (The West Wing, Social Network, A Few Good Men) and part of the TELUS Drama Series.

10 REASONS TO SEE FARNSWORTH (in no particular order of import or significance)

1. This is live theatre at its best - a talented ensemble cast of 21, tight scene changes, compelling story.
2. Michael Beamish as Philo Farnsworth is terrific.  A graduate of Keyano who went on to the U of L, Michael has injected great excitement and creativity into our grassroots theatre scene since he moved back to the community.  He's also tall...very, very tall, which provides an interesting picture when he is fighting with little ole me.
3. If reading this script is an unforgettable trip, then seeing it played out in front of your eyes is going to be something else! Aaron Sorkin is a genius.  That will be clear come opening night.
4. There won't be a dull moment.  This play is a race to the finish, a dash to see who will invent television.  You'll get swept up by the intense stakes that were in play in the latter part of the 1920's. 
5. The strength of this production is the great work that is being done by the talented ensemble, actors who fly from left to right, up and down, in and out of a handful of different characters.  They are incredible and so much fun to watch.
6. Everyone deserves to hear the story of how the television came to be so much a part of our lives.  This is an accessible, entertaining, and thrilling piece of history worth experiencing.  You'll be glad you did.
7. Why is there so much advertising on television?  This play takes us back to that watershed moment when this technological advancement became the ultimate device for delivering consumers to advertisers. It has something to do with what happened on October 29th, 1929.
8. Discovering Francis.  Not meaning to be too specific, but being able to watch this talented actor originally from South Africa flip seamlessly through various accents (Russian, American north, American south) is just plain fun.  Incidentally, while he is rehearsing for this show, he is preparing for a Fringe tour of his interPLAY hit Rubbish.
9. The lens we see through.  This play challenges us to imagine life before we had technology and embrace the genius of those who saw the future.  From the genesis of how to actualize electronic television to the genius of imagining the key ignition lock system, from wrapping your brain around fusion to sending man to the moon, "We were meant to be explorers."  The Farnsworth Invention is a tribute to the crazy ones, the misfits, the rebels, the troublemakers, the round pegs in the square holes, the ones who see things differently.
10. Supporting live theatre is important, and it provides a superior evening out.

There you are.  How did I do?  Convinced yet?  Click here and find the line that says "Purchase Tickets Here" and select your seats.  It's just that easy.  We'll see you at the show.

Farnsworth Chronicles, 8

As soon as the TEDx event was over, I began to feel the cold descend into my throat.  In the hours before my presentation, I felt it tapping on my shoulder, letting me know it was patiently waiting for me to be done with my stuff.  I got through the following day and well into Sunday before it really settled in.  By Monday morning my throat felt like it had been invaded by razor blades.

I'm OK with it.  In terms of a rehearsal/production process, it picked a good time to pay a visit.  Getting this over with now improves the odds of me remaining healthy through the rest of the process.

After a full day of learning and running lines on the weekend, I'm pretty much off book.  The proof will be in the pudding tonight when we put it on its feet.  It's hard to predict what the recall level is going to be when you integrate the blocking with the words.

I find the long speeches the easiest to learn.  The dialogue scenes with one other person are the next easiest, followed by dialogue scenes with many different characters.  By the time I landed on the final two pages of script, which is all me, it only required a couple of minutes of review as we had been through it so many times before with the script in hand.

We rehearse tonight and tomorrow night then take the Easter weekend off.  Our family is heading back to Kamsack, Saskatchewan at the crack of dawn on Good Friday, tackling the 12-hour drive in one fell swoop for the first time.  We're going to shoot for breakfast in Lac la Biche, then on to Cold Lake, Meadow Lake, south to Battleford, through Saskatoon, Humboldt and on to Kamsack.  We'll have two full days at home before heading back.

Farnsworth Chronicles, 7

The arrival of April means that we are less than four weeks away from the opening of The Farnsworth Invention.  It was fun giving a brief, ever so subtle, gratuitous plug for the show during my TEDxFortMcMurray presentation.  The invention of the television, which is what the play is all about, was my first example of a watershed moment.

We completely and utterly take the electronic transmission of moving images for granted, but back in the 1920's when a rash of scientists were rushing to figure out how to make it happen - chief among those being Vladimir Zworykin and Philo Farnsworth - the idea was the stuff of science fiction.

"At best it was going to be considered a nifty parlor trick." And putting aside the valiant attempts, according to the scientists working for RCA it was "never going to work."

Like my character David Sarnoff says, his guys "may have called that putt a little early."

The idea of looking through an historical lens at the tools we have today (like television) provides a fresh perspective on technology that has become commonplace, faded into the landscape.  It is a fascinating trip going back to the formative years of a device that has morphed into 50" flatscreen monstrosities that dominate our living spaces.

Apart from a few choice words - mostly uttered by my character - this play offers an accessible and entertaining glimpse behind the curtain of invention.

We were displaced from our regular rehearsal space yesterday, as the Rehearsal Hall was the venue for last night's Keyano A Go-Go event. So we crammed into the smaller choral ensemble room and proceeded to do a run of the show, focusing as much as were were able to on not using our scripts.  Michael Beamish (playing Philo Farnsworth) was brilliant, slamming through act one with ease and braving act two sans text, calling "Line!" whenever he came up empty.

I made it through act one, but not without more than a few prompts.  Act two is my challenge for today as the expectation is that the entire cast has all their lines learned by Wednesday's rehearsal.

At one point, I found myself at a scene transition with no bloody idea of what was next.  I completely blanked.  In case that ever happens again, I've given my onstage wife, Mrs. Sarnoff (Humberly Gonzales) , permission to give me a good swift kick in the pants to send me moving in the right direction.

We've already begun to witness what happens when the books get set aside and the actors fully engage in the moment.  There is a lot of hard work yet to come, but the show is shaping up nicely and will be an outstanding way to end what has been a great season for the Keyano Theatre Company.