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Lee Su-Feh

Marg Specht

Bill Millerd

Manami Hara

Max Wyman

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Guest Editor:
Rachel Ditor

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editorial: sacrifice

It was a hot day and I was idling in traffic, the window rolled down and my forearm quietly burning while I turned over the notion of sacrifice. I was wishing for a conversation on the subject in part because I realized that my own response to it was confused. That intrigued me. Sacrifice is everywhere in the plays we produce from the Greeks on, but hard to find in discussions about our profession. I observed that we have conflicting notions about it; that never let them see you sweat is diametrically opposed to the idea that great art exacts great sacrifice. I wondered whether the subject was too personal to ask people about, though rehearsal hall and dressing room conversations can lead one to think that there is nothing too personal for us to discuss - in large groups - loudly. Are we embarrassed by our sacrifices? Or are they so commonplace we don't stop to consider them? Or, as we appreciate the grace of anonymous charity, is it in bad taste to speak of sacrifices? Does sacrifice always imply judgment - the weighing of one thing against another? Is it by nature hierarchical - with the greater good at one end and the slaughtered lamb at the other? It can be employed civically or selfishly, heroes are lauded for it and villains despised. Grand and extravagant notions unrelated to my personal relationship to the word, which by contrast, feels small and personal and not well lit - like the back of the drawer that holds my stockings.

The following essays are a wildly eclectic mix which makes for great reading. I've arranged them in an order that heightens the contrast between them, wrapping up with Max Wyman's thoughtful article that holds the whole subject in a large embrace. Lee Su-Feh of Battery Opera launches this edition with her eloquent observations and vivid images of sacrifice on stage and off. Marg Specht reflects on the subject with the muscle of an arts administrator who has a soft spot for lottery tickets. Bill Millerd provides a behind-the-scenes look at the costs and rewards of 31 years at the helm of the Arts Club Theatre Company. Manami Hara looks at sacrifice, secrets, and family ties through the experience of her acclaimed production of The Pillar Clock. I was looking for a good conversation over a drink the day I thought of this subject. Three months later I'm pleased to share the results of my quest with you, and honoured that the contributors broke open the subject with such honesty and intelligence.

Lead by Associate Dramaturg Rachel Ditor, Pilots is a unique partnership with the Playwrights' Theatre Centre program that fuels the creation of new writing. On board this season are local writers Aaron Bushkowsky (Soulless), Lynn Coady (Make Me), Patti Fraser and Marcus Youssef (The Cool Market). Guest Artist Theatre SKAM touches down, re-fuels and charts new destinations.

You are invited to a free public reading of Aaron Bushowsky's new play Soulless November 24th, 2003, 8:00 pm at

Playwrights' Theatre Centre
1398 Cartwright Street,
Granville Island

...to be followed by an Annual General Meeting of Rumble Productions Society. Wine and cheese is provided!

Soulless is part of Rumble's Pilots program - a new writing initiative in partnership with Playwrights' Theatre Centre.

Letters to the editor - email: transmissions@rumble.org

transmissions is a publication on "theatre, art and ideas", dispatched by Rumble Productions Society in print and via the Internet. The views expressed in transmissions are those of the editors and writers. All rights reserved. Letters to the editor are always welcome.