Change It Up
A Plea for Something Better in Montreal’s Stagnant Anglo Theatre Scene
“The only way to make sense out of change is to plunge into it, move with it, and join the dance.”
Forget The Box, as it currently exists, is a testament to the necessity of change. When I resurrected this publication in 2023, it wasn't a mere dusting off of archives, but a full-fledged reinvention. With that, I stepped into the role of Creative Director with a vision for the magazine and its future, yet acutely aware of the inherent transience of the position. I fully believe that leadership within any artistic or creative organization, particularly one seeking to maintain its relevance, necessitates periodic renewal. Fresh perspectives and novel ideas are the lifeblood of any creative endeavor, preventing stagnation and fostering continued evolution. My sooner-rather-than-later departure from my current role will ultimately benefit the magazine. It will prevent the roof from caving in. While I see myself being part of Forget The Box’s inevitable Board of Directors, perpetually working to ensure its continued success, the day-to-day creative vision eventually demands a fresh pair of hands, preventing the magazine from being burdened by my own ingrained patterns and predilections as an artist.
This principle extends far beyond the confines of this publication. Within any creative organization, theatre, dance, music, film, etc., leadership should not remain static. Stagnation is anathema to creativity, and entrenched power can breed terrible consequences. Recent years have witnessed successful Montreal theatre companies revitalizing themselves through new artistic leadership. Black Theatre Workshop, Infinitheatre, and Imago (and soon Repercussion Theatre), have all appointed new Artistic Directors with a hunger to innovate. Each of these ADs have been in their positions for less than five years. The results are undeniable: these companies are thriving, taking risks, and championing diverse voices, shining stars in Montreal’s Anglo theatre scene.
“Without change, there is no innovation, creativity, or incentive for improvement. Those who initiate change will have a better opportunity to manage the change that is inevitable.”
Conversely, consider the long-tenured Artistic Directors at other Montreal theatre institutions. Eda Holmes has helmed the Centaur Theatre since 2017, Lisa Rubin the Segal Centre since 2014, and Amy Blackmore Mainline/FringeMTL since 2011. Think about that last one…Obama was serving his FIRST TERM. What a time to be alive. Chronological references aside, these extended tenures are cause for imperative, immediate concern in an Anglo theatre landscape that is increasingly polarizing in quality.
First, let’s address the concept of stagnation. When a single individual dictates the artistic direction of a company for an extended period, a creeping conformity will take root. The once vibrant ecosystem of ideas gradually homogenizes, becoming resistant to the pollination of new vision. Risks, once embraced with boldness, are now perceived as threats to a carefully constructed equilibrium. This calcification of artistic vision can stifle creativity, leading to a predictable and uninspired programming slate. The sheer number of repeatedly re-mounted plays in this city is staggering, considering the breadth of talent and creation in the scene. Audiences, once eager to be surprised and challenged, sense the staleness, the lack of vital engagement with the evolving artistic, and cultural, landscape. This is reflected in dwindling ticket sales theatres refuse to acknowledge. Long-serving Artistic Directors, despite their initial eagerness, will find themselves trapped within the echo chamber of their own past successes, struggling to adapt to the shifting currents of contemporary discourse and the evolving needs of a diverse community. The result is a company that feels increasingly out of sync with the times, a relic of a past era, rather than a vital force in the current cultural conversation.
“The greatest enemy of progress is not stagnation, but the illusion of progress.”
There’s also the undeniable potential for abuse of power. When an Artistic Director's tenure stretches well over a decade, their influence becomes insidious, seeping into every corner of the organization, shaping not only the artistic vision but also the very culture of the company. This creates an environment where dissent is not merely discouraged, it's practically unheard of. Emerging artists, eager to contribute their fresh ideas, find themselves navigating a labyrinth of unspoken rules and ingrained hierarchies. Seasoned professionals, once brimming with innovative ideas, may gradually succumb to self-censorship, their voices muted by the fear of challenging the established order. This can even, shockingly, lead to the attempted censorship of free media.* The result is always a company that operates less like a collaborative artistic community and more like an exclusive clique, where those on the "inside" maintain a tight grip on power and resources, while those on the "outside" are left to languish in the shadows, feeling alone and excluded. Speaking with Fringe artists in 2023 for my “Fringe From Away” feature, I heard a repetitive pattern of lament, a mixture of sadness and fear. Each out-of-town artist I spoke with mentioned feeling isolated or alone, unable to find a social place in the festival, or commercial success, missing out on integral publicity because they weren’t part of the established “inner circle”. Worse, these disappointed artists (some of whom the Forget The Box team reviewed, and thoroughly enjoyed) only spoke with the promise of anonymity, worrying about reprisal in an already difficult situation. One Frankie Award winner confided to me that, “FringeMTL is the hardest one in the tour for me, I feel so alone,” while another admitted, “I’m not in the circle, not even close, no matter how many times I’ve been here.” For historical context, Amy Blackmore, the “Newsmaker”, took over the leadership of the organization through the purge of another tenured and corrupt leader, Jeremy Hechtman.
“The more power you have, the more likely you are to lose your humanity.”
The "insider vs. outsider" dynamic can manifest in various ways, from subtle biases in casting and programming decisions, resulting in copy-paste shows and seasons, to outright exclusion of artists who dare to challenge the status quo. It fosters a culture of favoritism, where opportunities are granted based on personal connections rather than artistic merit. This not only stifles creativity and innovation but also creates a sense of disillusionment and resentment within the artistic community. Moreover, it can lead to a lack of diversity in programming and perspectives, as the Artistic Director's personal tastes and preferences become the sole arbiters of what is deemed "worthy" or "acceptable." Ultimately, this concentration of power in the hands of a single individual, or a few select individuals, for an extended period can erode the very foundations of a healthy and vibrant artistic ecosystem.
The case of Amy Blackmore at Mainline/FringeMTL exemplifies the damage caused by leadership that has atrophied. Her last year alone has been marked by unacceptable missteps, including the "forgotten" re-filing for charitable status, which severely disrupted the organization. This “gaffe” (as reported by the ever-sterile and increasingly irrelevant Montreal Gazette) resulted in a loss of approximately $50,000. But any community member speaking out against this absurd error in 2024 would undoubtedly find themselves exiled from the cult of personality Blackmore has built around herself.
For this piece, I spoke with a successful local producer about a series of events they recently mounted at the Mainline Theatre. While the events were a success on the surface, what happened behind the scenes was egregious. Mainline failed to meet any of its contractual obligations (something Forget The Box can attest to being a trend with the organization). Amy Blackmore and Kenny Streule’s mismanagement led to blame, lies, heartbreak, and a very real loss of money for the producer. Speaking on the condition of anonymity (a trend when discussing Mainline/FringeMTL and its leadership), the producer shared, “Disappointment. After the contract was finalized, they were hard to get a hold of. Much of the promised tech was outdated, or missing, which led to me scrambling at the last minute. And the lack of liquor license was a surprise when I arrived at the venue. I had so much promise at the beginning of the planning process with Mainline, but the state that it's in will lead me to never work there again and not recommend it to other producers.”
To further exemplify the ability to abuse power in this particular situation, I must point out that Amy Blackmore serves a consolidated role in the organization, as both Artistic Director and Executive Director. Though not against any law, it’s certainly an ethical oversight.
“Concentration of power always leads to abuse of power. It’s the iron law of history.”
While some may cling to the notion that long tenures provide invaluable stability and institutional knowledge, these perceived benefits can be readily achieved through alternative, and arguably more effective, means. Strong board governance, composed of diverse voices can provide the necessary oversight and guidance, ensuring continuity and preventing the pitfalls of insular decision making. Clear succession planning, with a focus on mentorship and knowledge transfer, allows for a seamless transition of leadership, preserving institutional memory while embracing fresh attitudes and viewpoints. And meticulous documentation, a practice often neglected in the whirlwind of artistic endeavors, safeguards critical information and ensures that valuable insights are not lost in the passage of time. By embracing these practices, theatre companies can reap the rewards of stability and institutional knowledge without sacrificing the responsiveness that comes with periodic leadership renewal.
My argument for shorter tenures extends beyond mere reversal of institutional damage. It is an impassioned plea for a theatre scene that pulsates with the rhythm of the city itself, a vibrant ecosystem where artists are empowered to take risks, challenge conventions, and ignite imaginations. It is a call for inclusivity, ensuring that our stages reflect the multifaceted voices of our communities, not merely the echo chamber of a select few. A theatre scene dominated by the same creators and players, year after year becomes a pale imitation of the very dynamic it seeks to capture.
“The measure of intelligence is the ability to change.”
To be clear: I am not saying that these leaders are inherently bad. In their lengthy time in charge, these Artistic Directors have created numerous opportunities and programs that continue to benefit the community. But success in 2015 shouldn’t, it can’t, justify maintaining the same AD on the cusp of 2025. I understand that many of you reading this may think I’m popping off. You may be sitting there asking “what is his problem”? I am writing this, addressing this important issue, because I can do so without fear of retribution. I don’t work for Eda, Lisa, or Amy. As Creative Director and Editor-in-Chief of Forget The Box, I work for the artistic community at large. I work for the people who are too afraid to speak up. Think about that for a second: there are many, many people in the community that are afraid to stand up for themselves. This fear has not developed from the ether, this fear developed from real, lived experiences. I know there are many reading this that agree. It would be an abuse of my privilege and position to be silent after hearing so much.
To those institutions clinging to the antiquated notion of the "long reign," I challenge you to relinquish your grip. Leaders, please step aside. Take a vacation. Read a book. Embrace the invigorating potential of change, the fertile ground of the unknown. Term limits, sabbaticals, shared leadership structures, the mechanisms for revitalization are abundant. It is time for Montreal's Anglo theatre scene to fully transcend the limitations of the currently firm and fixed power, and embrace a future where artistic leadership is a catalyst for innovation, not a barrier to it. While organizations like Mainline/FringeMTL may make it next-to-impossible for the public to find information on board meetings, I beg of you to be diligent. Find the information, share the information, and attend! (Mainline’s next meeting is “sometime” in December, according to their website.) Get involved, build a movement to replace these long-tenured Artistic Directors, and those who work for them, maintaining the status quo. (Please don’t make me do it, I’m very busy.) You’d be doing it for a good cause. For the best cause. We must ensure that our city’s theatre scene remains a vital force, a mirror reflecting the ever-evolving and startlingly beautiful cultural landscape of Montreal.
*In the spirit of full disclosure, Amy Blackmore outright demanded Forget The Box censor a free and fair review during our coverage of FringeMTL in 2023. A review requested by the performer himself. Forget The Box will always maintain journalistic integrity and condemn such behavior. In the face of attempted censorship, everything is “On The Record”, and always will be. For more, please read Creative Director Andrew Jamieson’s Letter to Fringe Artists.
