Category Archives: Artist Producer Training (APT)

End-of-stage Testing - 17 November 2016

APT at Generator – Second Iteration (2016-2017)

The second iteration of Generator’s Artist Producer Training (APT) initiative began in October 2016, and will be complete in spring 2017.

APT Participants Working Together

APT Participants Working Together

APT participants in this second round are studying and practicing within a wide range of subjects. For example, the following is the list of the focus for the first stage of classes (October-November 2016):

  • FIELD TRIP to see LITMUS THEATRE’s Brave New World
  • Budgets – Naomi Campbell (Luminato Festival)
  • Information Management – Katie Leamen (Generator)
  • Production Management – Pip Bradford (Freelance PM and The Bellows organizer)
  • Grantwriting – Shira Leuchter, Chris Hanratty (UnSpun Theatre)
  • Social Design – Michael Wheeler (Generator)
  • Case Study: Litmus Theatre – Matthew Thomas Walker, Adriano Sobretodo Jr., Claire Wynveen
  • FIELD TRIP: AHURI THEATRE’S This is the Point
  • Grantwriting – Pat Bradley (Ontario Arts Council) & Leah-Simone Bowen (Toronto Arts Council)

Current information about the Artist Producer Training initiative at Generator can be found at  http://generatorto.com/#/artistproducer-training-program/

More information will be shared as this session continues.

The second class of APT: (L to R BACK): Maddie Bautista, (Generator's Katie Leamen), Michelle Langille, Ishai Buchbinder, Emma Westray, and Christopher Manousos. (FRONT): Chiamaka Ugwu, Mamito Kukwikila, Brian Postalian, and Ruthie Luff.

The second class of APT: (L to R BACK): Maddie Bautista, (Generator’s Katie Leamen), Michelle Langille, Ishai Buchbinder, Emma Westray, and Christopher Manousos. (FRONT): Chiamaka Ugwu, Mamito Kukwikila, Brian Postalian, and Ruthie Luff.

APT at Generator – First Iteration (2015-2016)

APT at Generator – First Iteration (2015-2016)

The first iteration of Generator’s Artist Producer Training (APT) initiative was conducted between October 2015 and April 2016.

The goal of APT is to have its graduates “create and implement projects and budgets that have the goal of paying a better wage to artists, gain skills to sustain a career in the arts, and improve the overall health of the theatre ecology”.

APT involved some regular classroom-style learning in the Generator offices, led by professionals working in the Toronto theatre community.

Fundraising with Outside the March

Learning about Fundraising from Outside the March’s Mitchell Cushman and Katherine Devlin Rosenfeld – 29 October 2015

Often these professionals were independent producers themselves, including staff of Generator’s Resident Companies; sometimes the discussions were led by others including funders and art critics.

Jon Kaplan from NOW Magazine, sharing some thoughts about the "Art of Reviewing" - 18 February 2016

Jon Kaplan from NOW Magazine, sharing some thoughts about the “Art of Reviewing” – 18 February 2016

APT participants studied and practiced within a wide range of subjects. For example, the following is the list of the focus for the third and final stage of classes (March-April 2016):

  • Cultural Diversity – Marjorie Chan (Cahoots Theatre)
  • Corporate Sponsorship – Alicia Rose (Framework)
  • Community Engagement – Brendan Howlett & Kaitlyn Riordan (Shakespeare in the Ruff)
  • Artistic Producing — Aislinn Rose (Theatre Centre)
  • Touring — Jeremy Smith (Driftwood Theatre) & Charles Ketchabaw (Fixt Point Theatre)
  • Production Management — Pip Bradford
  • Creativity within Constraints — Matthew Thomas Walker (Litmus Theatre)
  • Producing Model Case Study: The Riser Project Dead Roads and The Archivist – Owais Lightwala & Ravi Jain (Why Not Theatre)
Presenting assignments - 19 November 2015

Presenting assignments – 19 November 2015

APT is much more than a set of workshops, though. Participants were required to practice their developing skills and showcase their knowledge throughout the process: there were in-class exercises for most subjects, assignments related to planned productions, and participatory quizzes and capstone projects at the end of each stage to allow for a synthesis of the learning.

There were also field visits, to learn more about the practice of theatre producing from a different perspective.

Learning about The RISER  Project at The Theatre Centre, prior to seeing two RISER productions - 19 April 2016

Learning about The RISER Project from Why Not Theatre staff at The Theatre Centre, prior to seeing two RISER productions – 19 April 2016

APT field trip to The Riser Project at the Theatre Centre. Left to Right (Standing): MoP Evaluator Sherri Helwig, Troy De Four, Sehar Bhojani, Rose Hopkins, Generator ED Michael Wheeler, Andrea Scott, Why Not's Artistic Director Ravi Jain, Why Not's Associate Producer Kelly Read.  (Crouched) Kevin Wong, Generator's Dir. of Comm. Katie Leamen, Taliesin McEnaney, Why Not's Artistic Producer Owais Lightwala.

APT field trip to The Riser Project at the Theatre Centre. Left to Right (Standing): MoP Evaluator Sherri Helwig, Troy De Four, Sehar Bhojani, Rose Hopkins, Generator ED Michael Wheeler, Andrea Scott, Why Not’s Artistic Director Ravi Jain, Why Not’s Associate Producer Kelly Read. (Crouched) Kevin Wong, Generator’s Dir. of Comm. Katie Leamen, Taliesin McEnaney, Why Not’s Artistic Producer Owais Lightwala.

Participants were also afforded hands-on learning opportunities during placements with theatre companies.

Participants in this first iteration of the program discussed their experiences in a video (produced by Generator):

Current information about the Artist Producer Training initiative at Generator can be found at  http://generatorto.com/#/artistproducer-training-program/