Volume 23 Issue 3 - November 2017

Fringe so really I haven’t even had my first 100 days yet! But on the
artist side of things, yes I did know about the space, had been in it a
few times for other performances and was quite enamoured with it.
Never did I think I’d end up here doing what I am doing.
Are the “executive” and “artistic” challenges ahead distinct and
different from each other in your own mind at this point? Which
ones wake you up in the middle of the night?
The two roles are distinct and different from one another. Executive,
to me, is about managing all the moving parts which make the facility
function: from day-to-day, nitty-gritty matters to more big-picture
items like fundraising, strategic planning and marketing. This role is
about making the venue go so that the art can soar.
The artistic director role is where my artist side can be creative,
where I get to play. Discovering and showcasing the creators, thoughtleaders
and visionaries of our city is truly inspiring and satisfying.
I say satisfying because being an artist myself, I am grateful for the
opportunity to give other artists a space to do their thing and as a
result, contribute to Toronto’s cultural landscape.
What keeps me up at night more are the items on the executive
side of the checklist. Now being in this role, I can understand how
presenters would talk about their bottom line. There truly is one! I
find myself, when I am talking to artists, saying things like “I still need
to keep the lights on,” which shocks me at times, like a parent saying
“Because I said so.” But this is the reality. I want to keep this space
running, sustainable and viable so that all creators can do their thing –
and how to do that? THAT keeps me up at night.
And why are you the right person for the job?
Why? Well, first I don’t see this as a job. I have been in the arts all
my life. I bring love, passion and hard-earned wisdom to this role. My
skills set comes from the school of hard knocks, not an MBA program
(not that there’s anything wrong with that). I have a drive and truly
a passion to showcase the arts. I am driven to give an audience an
experience. Whether it is through my own shows as an artist or from
presenting other inspiring creators, I am motivated by the desire to
move an audience member, to give them a moment where they can
suspend themselves, be present and have an experience like no other.
I have the impression that much of the artistic and musical
programming over the years has taken the form of the Centre being
available to partner organizations (so mainly as a venue). But does
918 have plans for more events/series of your own?
Yes, I do have intentions of creating our own programming. 918 has
not done that for some time. I see our programming as multidisciplinary,
with strong emphasis on music. But as our tagline suggests:
Where It All Happens. THAT is what I would like to see.
From art to theatre, music to dance, film to literature from all
cultural groups, I want to see 918 be the place where it all can happen.
I want 918’s reputation to be the place where people come to find out
what is happening in the Toronto cultural landscape, what artistic and
cultural contributions are being made. To be life-enhancing. Tall order
perhaps but I’ll try.
Planning arts and culture in the city seems to fall into two camps:
there are those who talk about big plans for “making Toronto into
a real music city,” and those who think it is already one, and worry
about “keeping it real” in the face of forces, economic, political,
social, that weaken the existing social and cultural fabric. I’m interested
in your own thoughts on this. Also, where 918 Bathurst fits in.
First and foremost, Toronto is an amazing music city. We are finally
coming into our own. Developing a personality, a character. Having been
born and raised in this city, I have seen it grow, shape, form itself. No
more are we comparing ourselves or thinking ourselves less than our
American colleagues. We have it going on – and we are proud. Finally.
How I believe 918 fits into “keeping it real” is by staying committed
to quality. By staying committed to giving audiences what is good and
not what is expected. The moment you lose sight of that commitment
is the moment it all starts to fall apart, when you do start to fall prey to
the forces.
Perhaps this all sounds like new-agey rhetoric but if you ask
what does it take to keep things real, you will observe that it’s about
being true to what one believes. And when one is committed to that,
nothing can shake it loose.
thewholenote.com November 2017 | 15