Old thread--but the Vancouver Theatre was The Ford (now just The Center.) It's a beautiful theatre and a nice alternative to the big barn The Queen Elizabeth that touring shows usually play at.
Garth seems a horrible person. But I will say, that recently watching a video with him, Hal Prince, Kander and Ebb and Chita when Spider Woman came out, Prince said that Drabinsky was basically the only old school producer still left. And there's some truth there--he always had some genuine interest in the artistic side and did make many risks.
Having worked with him, he could be extraordinarily difficult to be around. He treated many people poorly, but he treated the creative folks like gods, which is why they all support him and would work with him again in a minute.
Well every few years we get an article (by the same journalist, no less) that re-iterates basically the same thing.
Well, maybe that's the clue.
Let's be serious, folks: Drabinsky is not going to be able to come back. Technology has sped up, opportunities have slowed down, and his reputation has not improved. The constant reuse of the old method of "timely release through a trusted press source" shows he has no idea how things work these days. He's been gone too long to make a big splash in the game, and every potential project mentioned in these articles sounds like a non-starter even if he could get the money, which is highly unlikely.
Well, considering it's the same guy writing these boilerplate articles every time, chances are it's a friend of Drabinsky's, or at least someone who can be trusted to polish the old saintly ikon now and again. Pity it's not working.
Dayton/Walters Casting will be hosting General Musical Theatre auditions in Toronto with Producer, Garth Drabinsky, and Associate Producer/Senior Resident Director, Anne Allan. Mr. Drabinsky is in the development phase of several new musical theatre projects. The goal of these sessions is to introduce Mr. Drabinsky to those musical theatre artists (and actors who sing) with whom he is not familiar, as well as to reacquaint him with established artists in the Canadian theatrical community whose work he admires and respects.
Here we go! There should be a disclaimer *audition at your own risk.
Even the wording of the ad is honest: he doesn't know what to look for anymore. No one willing to put in money, plus Canadian authorities trying to circumvent his ability to raise capital (he's clearly trying to call their bluff with an ad like this, and it's not gonna end well), plus being gone too long, equals dead in the water. Even were none of the above true, anyone worth their salt could find the info about him in a millisecond, and he can't seriously imagine he's going to be given free rein. I could be wrong (I've been wrong before, and everyone is wrong about something at least once), but I don't think Drabinsky's got a shot.
The problem is, many performers out of work (not endemic to Toronto) are so desperate for the days of Ragtime/Show Boat/Sunset Boulevard, that they are overlooking what actually was happening at that time.
The bottom line is without him initially, we would not have had a number of great musicals. In addition, the old Oriental theater in Chicago might still be languishing & rotting away or might have been demolished altogether. Instead, it is a beautifully restored historic operating theater. The jury is out on how much better off we are with the Lyric.
Having said that, he should not attempt to go back into producing. Anyone who invests in his shows would have to be insane or in the market for a quick tax writeoff.
Garth will find PLENTY of artists willing to work with him, since he never did anything but treat the creative like gold. Just don't give him any money.
The word here is "ATTEMPTS" but I caution all who get involved with any aspect dealing with Drabinsky as he is a crook...just saying as it's all gonna end up as a waste of time and money!
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George