5 Real honest and good actions to build a relationship to your community: Philanthropy for the modern age #WRArts #WRHealth #WRAwesome

I have been thinking about another response to Michael Litt and the tech sector leaders, and not just one that explains why arts are the way they are but goes beyond into how we can fix real issues in the community.

My partner asked at a dinner party to “name me ten important business people from the 18th-19th centuries” – and we could name a few. All were white, all were men. But also, all were philanthropists. Several, I struggled to name what they did as a business leader, but I could remember them for their support of culture. Carnegie and his libraries, Rothschilds and their arts, Guggenheim and the museum. They all gave back in massive measure setting up some of the most important cultural institutions in the world, with several entirely changing the tide of literacy and culture forever. The obvious point of this exercise is also that that we could only name a few business people, but literally hundreds of artists and culture makers. And the business people we could name were because their contributions to the world extended well beyond their crumbling offices.

There is a funny bit of irony here: We had one of the most important scientists of the 20th-21st centuries living here in Waterloo Region, and I cannot for the life of me think of anyone outside of Waterloo who knows the story of this. Even most residents here have no idea that the top floor penthouse on Princess on Waterloo, above Loloan Lobbby Bar was home to Stephen Hawking… The time to support the arts is long, long overdue. What a critical lapse in telling the story of our community.

I touched on it just a bit in my last several paragraphs on supporting the arts directly. But there is so much one can do.

1 – Support the Working Centre

Few organisations have more direct impact on our civic core than the Working Centre. With multiple locations and a full suite of services that directly assist all members of the community, there is hardly a Waterloo Region home-built and maintained service that touches more community members than this. From poverty relief and street level advocacy and aid, to excellent food and cafes, and even a sophisticated storytelling unit in Commons Studio which also serves as a film equipment rental for working artists and creatives in film, The Working Centre has a bit of something for just about everyone. We even enjoy a cleaner downtown because of programmes devised by the Working Centre that pay folk a few hours to sweep the streets several times per week. There are co-working studios, a small film studio, community kitchens, thrift stores, training programmes, settlement programmes, affordable housing, tax filing assistance, neighbourhood programmes, community supported agriculture – in the city, job counselling and work support, bicycle recycling… Their programmes and outreach are darn near endless and the good they do is uncountable.

2 – Give directly to hospitals, care centres, but also community outreach.

There are cancer hospices, palliative care institutions, treatment centres, cardiac centres, and many health related charities that need a bump. They exist and are fantastic here with many people finding themselves better cared for in our small community, connected to their families and their doctors’ practices locally. But all of these need financial support beyond government.

Check out the Waterloo Wellington Local Health Integration Network.

There are hundreds of health related charities in Waterloo Region. These include ACCKWA – a charity working entirely around blood born and sexually transmitted infections. SPECTRUM, OK2BME and Plan B Cooperative KW – charities and not for profits organised around the holistic health of sexual and gender diverse people. There are homes for the care of young mothers who have found themselves without supports in their families and communities, there are places that directly support women’s health, trans health, and several initiatives around the health and well being of immigrants and refuges, and people who get targeted with hate crimes. There are Indigenous outreach centres that are critically and chronically starved of resources, lost in the shuffle between layers of bureaucracy who could deeply use an infusion of philanthropic funding. Find something to care about in health, and contribute. Definitely add your funds to their pots, but also find a way to speak about what they do when talking about the strength and diversity of our community.

3 – Support arts organisations, use your voice to get behind their bricks and mortar.

I mentioned in passing that the Kitchener Aud is a budget line building. Parks and recreation and several other departments at the city and municipal levels in Waterloo Region maintain buildings and programmes at auditoriums and pools, and in many other great places in the region. This makes sense. These are city-owned assets representing the homes of cultural gems – like the OHL Rangers.

Did you know that the cities and region largely own most of the cultural institutions as well? Unlike auditoriums and recreations centres, these are not budget line. These institutions have to individually fundraise to repair a leak in the roof, and the entirety of the staff comes out of operational budgets. These are supported from a variety of places. But one thing also rings true – when it comes time to make decisions on cultural funding, a large – extremely large piece of cultural funding goes to operation of these city-owned properties instead of the artists and culture makers. Having these buildings and their operations become budget line would allow the organisations to “up-level” (power up? level up? insert an action sounding term here) their programming and support of community initiative.

In a good circumstance, cultural institutions serve as pillars of a cultural community. They not only support the cultural needs of their communities by providing excellent programming (as ours currently do) but have a positive outreach into a community that then can foster programming, arts and culture existing elsewhere. Strong public galleries make for cities that can home strong private galleries. And the infusion of all of these can make a scene. Same with music houses and large concert halls. Music lovers will go to large shows, but music lovers also support the strong current of new music seen in small, private venues.

As a short list: THEMUSEUM, Centre in the Square, Kitchener Waterloo Art Gallery, IdeaExchange, Canadian Clay and Glass Gallery, Homer Watson House and Gallery, Button Factory Arts, and others all need support around their buildings. Advocating for these to be supported as the locational gems that exist is a start. The little theatres in Waterloo Region are home to excellent community creation for those who want to be involved in the deeper processes of amateur creation (and don’t be fooled by the word “amateur” here – which bespeaks more the collaboration of community way over any lack of proficiency and excellence in their theatric output – many of these productions can stand with some of the best theatre companies in quality).  Another one not to be forgotten is the ever beloved Registry Theatre with their fantastic business model. However, if the Registry needed a new roof, this would be a separate fundraising initiative. Libraries also serve as cultural underpinning for everything from the arts, to literacy. The connections they have to community are deeper than a home for books – with poverty relief, places for engagement, or necessary detachment. All of these need support, and the young community concerned should include them within their philanthropy.

Also support the development of more. We desperately need another theatre space with the Registry packed to the gills with success. We need more studios for artists, and storage for completed works. We are desperate for jam halls that are safe, secure, and are clean enough for real working musicians. When a call comes up for community support, you should be among the numbers clambering for more accessible, and downtown spaces for these practices. This is how you will have a safe, active, and diverse downtown.

4 – Support arts organisations and festivals

The buildings host programming and their day to day constant areas of culture. Sometimes these host organisations such as the Kitchener Waterloo Symphony, the Grand Philharmonic Choir, and a veritable cluster of smaller but stunning music initiatives. They also play host to the multiple theatre and music creation and production companies located here, and many, many of these have toured the world, been featured as some of the best theatre in the country in festival and have created festivals to showcase their work and the international best of the best in emerging contemporary work. Look at IMPACT, Kultrun, CAFKA, Open Ears, NUMUS for a small taste of the world come to Waterloo Region.

Also here are several ad hoc and organised collectives who build shows based on fair remuneration to artists, or cooperative efforts around generating sales. Notably, these include Collective Identity (link opens to Facebook page), The Art District Gallery, Uptown Gallery Waterloo, Kitchener Waterloo Society of Artists, KW Artists Co op, Globe Studios and many others that you can find once you descend down the rabbit hole of amazing initiative.

The festivals need direct fundraising support in the form of corporations, businesses, and companies giving back to the community and its stories. Many of these have been stripped down to barebones in the past 6 years, which is stunning because they were lean machines well before. Some of the collectives need funds to be able to pay artists for the loans of their work. Others just really need people to attend shows and purchase pieces displayed.  All need you – the philanthropist community to attend and talk about their work.

5 – Give to the United Way.

I know I sound pretty old fashioned in this one, but the United Way has a laundry list of vetted and important charities ranging from poverty alleviation to education, to neighbourhood support programmes. One of the distinct challenges in Waterloo Region is that neighbourhoods are stated as being dull and lacklustre. This isn’t without whole existing organisations trying to make a difference. But a difference requires investment of time and money. The United Way is hands on, neck deep in to what the community needs and has stringent requirements around their support. No need to reinvent the wheel with this one… the United Way has decades of doing what they do, and doing it well.

 

If you really care about our community, about “attracting talent” – then care about the health of the community that lives here. If you think that areas are underserved and you have a platform of publication like the Globe and Mail, instead of delineating our weaknesses, tell people how they can build better communities for themselves and others. Waterloo Region may have one blight that rises above the rest: we are becoming known as a communities that don’t care. We are seen as a civic area that continually fails women and minorities, that continues to underperform in culture, and that lacks a diversity of places where people can enter and participate into a civic life that matters. Use your public platforms for good. Start building a new generation of Guggenheims.

I Love My City, Always Have, Always Will. But I Need YOU to Support It: A Letter to Michael Litt and the Tech Sector Leaders

Culture isn’t expressed through clean, gentrified space.

I wrote this in 2013 (Why The Art and Culture Fail: Waterloo Syndrome), long before so many other cool initiatives came about. Since then, NIGHT\SHIFT, a festival almost tailor made for tech (STEAM) has come and gone. Neruda Arts has pushed Kultrún World Music Festival into bold existence despite a city that has constantly undermined it by placing the epic failing Big Music Festival on the same weekend, twice. Summer Lights Festival has started up in spectacular ways as well. NUMUS is beyond cool, has been successful for decades, and I bet you have never even heard of it… it isn’t for their lack of trying. 

We bring in world class talent, Michael. We have for decades. I invite you to comb the lists of artists presented in many of the festivals I have mentioned in this and the linked posts. Check out the institutions and look at the artists that have presented in this community. But also… In 2009, seven artists in downtown Kitchener alone received emerging artists grants from the Ontario Arts Council (OAC) – this is a distinction and honour indicating that a practice is well received and supported by the second highest level of artistic funding available to Canadians living in Ontario. We bring in interesting and beautiful things from all over. We export world class talent as well, with many many artists who start here find themselves unsupported and unable to stay. Only one of those seven remains in the region. Many more have been conferred this honour, and most have left for better places to build an artistic practice.

We attract world class because we are world class. Many artists from here have moved, toured vastly, won international acclaim and awards, only to come back without a whisper of their actions and wild successes cracking through the provincial veneers of our media, or indeed your own scene: The Tech Sector.

Oddly, 2009 was the last year I felt like we had a real crack at making multiple scenes emerge. By 2011, I knew we were on a sinking ship. This lines up with two major changes – the Prosperity Council making noise and arts and culture eventually falling under Economic Development (big, big mistake), and tech pushing its way into downtown. If there was any combination of two substances made to kill creative practice, this was RoundUp to the grassroots.

It isn’t just the lack of support for our festivals, our work, it is also that between you, Communitech, and so many other heavily funded, sponsored, coddled and supported tech initiatives have entirely displaced our workspaces and homes.

Tech leaders LOVE to talk about how the Lang Tannery was an empty shell, disgusting and unused before they received millions of dollars of funding to retrofit it into being an office space. This is such a ridiculous misplacement of truth. There were large unused spaces in the Lang Tannery, much like there are in many buildings downtown, but it was also home to several artists, artisans, skilled trades people, dance and yoga studios, and other creative workers. Large “unused” spaces were sites of massive and tremendously cool art parties like the legendary Blue Dot parties (which attract art and culture lovers from as far as Berlin and New York for a single, very cool event that has become increasingly rare because of the lack of space and support). These are things that you and other tech leaders have displaced and removed through your own occupation of space. Know your history. Know especially those you have snuffed so that you can understand now why you miss their contributions, because what you are bemoaning is exactly what we used to have.

The Boehmer Box Factory on Breithaupt was our final large, extremely run down area that we could afford that didn’t have a waiting list a mile long for space. It was unsafe, terrifying especially for women, lacked any security so theft was such a thing, and had leaks in the roof that could transgress a first floor studio, and often packed with studios. It is now being gentrified for… can you guess? No, not cleaned up to provide space for the folk who build the identity of a community that lives into eternity. No. It’s offices. And this last space gentrified is a nail in the coffin for new inexpensive and viable studios anywhere accessible to a community of creatives.

(Also, just to be clear… a small office is not a studio. I know someone is going to make an argument about the Gaukel building so I am stating it ahead: We have a micron of space for minuscule offices for organisations of two. Great if all art was a person and desk… but that is you. Not us. I do imagine your office is not cubicle-sized even still. And this space represents administrations, which are important and do need this affordable space, not the practice of art making itself. Plainly put: it’s just not enough, and simply unsuitable for the bulk of creative practices.)

Any small bit of infrastructure we had left was destroyed by the tech sector.

City of Kitchener Council

Government is so clean looking… so is bureaucracy and red tape

It is true that art gets made in these places when they are run-down. So many good and great artists have occupied downtown walkups, run down factories, and many other areas that would not be deemed fit for most of your colleagues but this has a lot to do with the fact that a huge purse of money in the arts is in the thousands, nowhere close to the millions. The arts, especially in this region, cannot get a break. Where tech has seen literal millions of gvt funding in just the last couple years, the arts are displaced, moved, underfunded and completely left without space. And it isn’t just a lack of space, there is an almost complete lack of interest in making viable, affordable space. But then there is a lack of support around every aspect of art making in Waterloo Region, and yes, you are indeed a major part of the problem. 

In the article linked above, I made a single proposal to fix this. Keep in mind that this was 5 years ago, and nothing has been done to amend this creative drain. The need has grown but the fixes are still remarkably simple. But they require support, funding, and political will. They require you and others like you to listen.

The problems have only gotten worse, but it isn’t because artists don’t know what is happening, it isn’t because we haven’t been attempting stop gaps (literally a small festival here is called Stop-Gap, and Collective Identity partnership with THEMUSEUM has also been about giving artists a much needed platform), and then collectives like Art District Gallery. It is because we haven’t been listened to, and instead, patriarchal approaches have reigned with leaders such as yourself who do not have the research, the knowledge, or the simple facts of creative practice under their belts. You and your equally unknowledgeable colleagues are listened to and regarded as experts instead of the real experts in our community who live this reality, study this reality, research this reality and watch other communities overcome this reality through measures well considered, well researched, well applied work there, and are ignored here. Or even worse – turned into talent attraction schemes – money thrown at symposia or yet another consultant that confirms what leaders in the arts and culture communities have been saying for the better part of a decade.

“Biggest point is that you’ve got it wrong. You can’t use the arts solely as a talent recruitment device… cause then you fund the wrong things. You build the wrong things. You focus on arts that you think make sense. What you aren’t seeing is that the artists who live here moved here for the same reasons why anyone else does. They are also in love with the vibrant and crazy stuff in the water that makes Waterloo Region shimmer and pulsate and their arts reflect this. Pulling in one-off acts and shows may be good for a night, but they do not celebrate that common thread that we all possess that only this geography can lay claim to. They are not the bread and butter, or the culture development that we need.”

It isn’t about the great outfits. It’s about having grit.

Clean cities aren’t great and interesting cities. Jane Jacobs had a lot to say on this but a thing that stands out to me are that cities that are truly exciting and vibrant are cities where the narratives, the voices, the creative heartbeat of the city rises to the surface in a cacophony of joy. An interesting city is a messy city. Toronto’s Queens Quay is a dead zone despite its clean glass towers but Kensington Market is thrumming with life, thriving and breathing with every person rich or poor, every walk of life, pigeon, millionaire or rat blended in to a crowd of bright shining beauty, and the tireless beat of curious and living feet on the streets – art, music, live theatre, and economy singing from the very asphalt, especially before it too started to gentrify because it was so damned cool. San Francisco was seriously interesting when it was messy – a hodge podge of queer folk, sex workers, artists, People of Colour all finding homes in the Mission, in the Castro. It is a paling and increasingly sad version of its older self, especially when I talk to those very mentioned who made the place interesting get displace into further reaches, and dangerous accommodations outside of the cores they built.  Heaven forbid we ever, ever become the sad, gentrified, racist, classist, sexist cities of Silicon Valley. We are already deep in with hate crimes and being uninhabitable for women – tech isn’t going to change this.

 

It isn’t the artist you pay to graffiti your walls who is making a statement, making a change. They are delivering a corporate statement to a corporation. Their narrative isn’t a community narrative. It is your company narrative paid on your company dime. Yes, office art is important and please keep giving artists opportunities to make your walls match your aesthetic sense and sofas. But art that sounds like the heartbeat of a community isn’t clean. Hamilton is exciting for a reason. It isn’t clean, polished, devoid of the messy corners. Now that it is beginning to gentrify, Hamiltonians are railing against it. There is a creative pulse because of the affordability of space and support for artists to settle there.

But this didn’t happen because a business leader painted a corner and said “artists come here”. It happened because the arts community could have a chance to organise, and make their city worthy of an artistic practice. In 2013, I also wrote an article about how it was less expensive to put an entire audience on a bus to a theatre in Toronto that has been been rented, buy this audience dinner and drink, and then get them home – cheaper than renting space in Waterloo Region for making theatre happen here. This has deepened significantly in the last five years. At this point, we could charter a coach, bring the audience to a casual fine dining restaurant, serve several premium cocktails or whiskeys, bring them to the show, and take the chartered coach home with a bottle of wine and gift bag for each person – all for the cost of space rental. This is without the audience paying a single red cent.

You are starving us.

And your talent attraction schemes makes even the most beloved of artists cringe. Gross.

monty python fart trumpet“I am more and more convinced that we fail so miserably at retaining artists, building arts and culture scenes because we use the building of these scenes as a marketing device. There is barely a market in the city for the most commercialisable arts (paintings and take home items that you can purchase), never mind a market or even an appropriate case built for creating, building and maintaining artists, an arts scene or culture beyond the most banal. There is a place for marketing an arts scene, and we are in desperate need. However, using a non-existent culture as a centre point for attracting talent is really not wise, and creating a scene for this purpose is desperately misguided.

Somehow I think the arbiters of taste (those who make financial decisions on culture) either don’t understand their constituents, or don’t understand the implications of supporting mostly banality – it’s quite likely both.”

You want brain drain? It isn’t engineers that we are missing. From Arts and culture fail miserably in Waterloo Region – I need to hear from YOU

About this Vital Signs report

It’s only gotten worse.

“From 2011 – 2012, people working in the culture sectors have declined from nearly 9000 in Waterloo Region to 6000. That is a whopping 3000 fewer arts and culture workers in a region that already suffered from too few to begin with.

“Now look at that pie chart. The largest piece of the pie represents all the gears and mechanics going into the arts and culture sector: technical employees.

“The creative arts on that pie represents 1120 workers. That means just a little over 1/6th of people doing cultural things in the city are actually involved in the creative arts instead of creative commercial business. Not negating the rest of the culture pie you see there, but this is a miserable number. Half a million people in Waterloo Region.. 1120 working in creative arts – likely includes organizational administrators and others similar – not purely the creative artists themselves – I wonder what that number would be. Your odds of meeting someone born  with 11 fingers or toes (1:500) are close to your odds of meeting a genuine, bonafide working artist in Waterloo Region.

“This is abysmal. What a hell of a failure, Waterloo Region.”

And then the part that I never wanted to attach to you because I have such memory of you as a compassionate person who lets his strength flow from a deep and good place…

The lack of authenticity and concern

“Can we stop listening to business people about building the arts community now, and start talking to the arts community about building their own? If I need to know about a car, I ask a mechanic. If I need to know about my persistent toothache, I talk to my dentist. Why does the city think the mechanic can cure the toothache without making the pain worse??

“Successful business acumen doesn’t lead to understanding in the arts. These operations run on a shoestring budget – some hiring up to 200 artists in a year (MT Space) on an operating budget less than a single C-Level executive salary in a tech company – and they persist! Condescension on behalf of enabling organizations (there’s a backward thing for you), goonish behaviour on behalf of our bureaucrats and a serious desire to be hands off is destroying the core culture of this Region. The problems are extensive: From funding to facilities. From zoning to endless red tape covered permits. Art here needs to be more than a function of economic development, even if it does develop the economy.”

So for goodness sake, Michael Litt, and all the other tech leaders bemoaning our lack of scene – you are killing the thing you are crying over.  If you want it back? Start supporting what’s here.

Put your money where your mouth is. I challenge you, and other tech leaders to stop with the bs rhetoric about how we need the arts to attract talent and start supporting the talent you have.

We should have a Christie Digital Centre for Inter Arts

We should have CAFKA and IMPACT both floated with unique budgets of over 200k just by industry/tech here alone

Kultrun needs to be supported as a cultural home for the many, many people who benefit from their programming in music that makes the soul connect to here even if “home” is a notion of distance and separation

We should have Night\Shift (most recently defunct and deeply mourned) and Summer Lights be thrumming with energy for their one-night art party wonderlands, instead of having them struggle to pay the artists who make this happen for the entire region

We should have the Vidyard Grand River Film Festival

We should have the OpenText Kitchener Waterloo Symphony

The Conrad Centre should be the Waterloo Region Centre for the Performing Arts

We should have KWAG have a list including you and your colleagues as diamond level sponsors

Boehmer Box art throwdown

If only they didn’t treat artist like children.

Much like a startup’s needs are wildly different from OpenText, an individual artist has entirely different needs than a theatre company. A big complaint is about our lack of unity… and this, frankly, does not exist. We are all artists, but we are not cut from the same cloth. Asking us to toe a line and ask for the same things is like trying to sandwich Christie Digital in with company of two that develop wicked websites. There is no lack of unity but instead a diversity. And this is what makes us so damned strong, so completely resilient enough to stay in one of the toughest cities in Canada to get a break despite the endless attempts to throttle anything from happening here in any real, connected way.

We should have an arts centre that is strongly supported, funded, and a home for an arts council who can express the diverse needs of our community. There needs to be homes for visual arts, for theatre arts, for music that are not top down governmental impositions placing banal and boring speakers and workshops in front of our talent.

We should have governmental support around our bricks and mortar institutions. Where the Kitchener Aud building is budget line, Centre in the Square, THEMUSEUM, the Canadian Clay and Glass, the Button Factory all struggle to keep their roofs from leaking. And most of these are owned by the cities and region… This is egregious and desperately sad. We are a region that does not cherish its cultural assets and this needs to change. By saying this, I am saying that we are a region that doesn’t cherish its stories. We are a region that doesn’t cherish its people. Because always, and ultimately, art in all of its differences and manifestations are narratives representing our reality as a society. By killing the arts, you kill your own stories, the voices of the people who live, work, and play here. You drop out of the timelines of history and out of public importance. No wonder your perception is that no one wants to move here (despite the ever growing vast suburbia encroaching on wild and farmlands at every turn). No wonder you think we don’t exist. You haven’t listened to our stories.

We need you to support us because you need us. Just like we need you. Symbiosis.

So I add to my challenge of supporting the arts financially – get outside, here in Waterloo. You chose to stay here for good reasons but you seem more divorced than ever from these. Go to openings. Go to shows. Get to the galleries. It may be intimidating at first but just in the same way I used real, alive language here, there are so many of us who would love to tell you the stories about why the things here, made here, being shown here matter – including me. I would love to be a docent to show you an entire world of voice that you and your tech sector colleagues are missing. Support the arts, Michael. Don’t just be an industry leader but become one of the many important Canadians who truly help to build our cultural narratives representing diversity and change right here in Waterloo Region. Stop spouting this nonsense put out by the bureaucrats and bean counters. You and your colleagues are the people who can make a difference – a real honest difference, just by looking into the grassroots and putting your time and work into caring.

Cultures clash between mother and son in comedy Brimful of Asha

Brimful of Asha

Image from http://theatrewhynot.org/brimful/

Brimful of Asha by Why Not Theatre comes recommended by several sources – with high ratings from national and international critics. Within the first minutes of curtain it’s easy to see why.

We are welcomed into the Studio at Centre in the Square by friendly ushers who inform us that we should make sure we are ready to sit for 80 minutes without an intermission – those who leave will not be able to re-enter the theatre. This becomes important. In this production, not a single line, quip, or anecdote is extraneous, and the production itself is deeply immersive. They all weave together in a tapestry to create a big-picture story about an Indian son and his mother.

Asha (the mother) was born in India. She moved to Canada to be with her husband in the context of an arranged marriage. (Important – In Jainism, parents arrange marriages based on data about the individuals and their families… but the marriage does not happen unless both of the people to marry agree.) Her two sons are born in Canada, and the story unfolds to show not only how cultures cross with differences between Canadian and Indian expectations around marriage, but also how the characters are also prone to generational expectations in rapidly changing times.

Asha is not an actor (she tells us), but her son – theatre creator Ravi most definitely is. As he tells a story, he welcomes his mother to contribute her angle on the circumstance of marriage, and when she and Ravi’s father attempted to arrange a marriage for Ravi. Asha is not shy. Throughout the storytelling, she interjects and clarifies details according to her perspective and reckoning.

The set is minimal. An iridescent curtain of lush Indian fabric drapes the back drop, a digital display which serves the purpose of display of information hangs mid-way down the curtain. And finally, a table decorated with a cloth, set with tea and samosas complete the set. Upon entering, you are greeted by Ravi and Asha, offered a homemade samosa, and then welcomed to sit. This simple act has the effect of transporting the audience away from a theatre, and into Asha’s kitchen.

As the story is told, the display takes the form of a laptop: Showing bio-data for match-making of potential marriage partners, Facebook profiles, videos and photomontage of the family. The effect is clever and suits the immersive quality of the show. The fourth wall is non-existent.

Brimful of Asha is co-presented by the MT Space – a local theatre company that focuses on multiculturalism. One of most interesting aspects of this piece is how plural identities collide within a single Indian-Canadian family. Both characters find themselves clashing with their own identities as much as with each other. When it isn’t geographical, religious, traditional culture related, it’s generational.

The layers of depth beneath the light-hearted comedy left this audience member thinking deeply about the implications of assimilation, identity, progress, the things we have gained, and what we have lost – and how much we are willing to compromise.

The show runs at Centre in the Square until Saturday the 3rd of May, 2014.