By Elizabeth Holliday
@femme.path
It was a failed audition that brought Pippa Mackie and Kim Senklip Harvey together 10 years ago, and work on a theatrical success—Rumble Theatre’s 2017 production of Titus Bouffonius—that solidified their friendship. Ever since, the two theatre creators have shared a lot with one another, including the frustrations of their jobs in a contemporary theatre scene that often seems not so contemporary. “We both believe in the philosophy of the theatre being a place to play and to have fun,” Mackie says. “[And] theatre can feel exclusive; either the ticket’s too expensive, or it’s a play by an old dead British white dude, and it’s like, how the fuck does that relate to me right now, and why would I pay $50 to see that?” As Harvey expresses, the theatre scene leaves them “bored, frustrated, disappointed, annoyed […] Especially as an indigenous woman and a woman of colour; however much a white person doesn’t understand these old white people plays, I understand them far less […] I think it’s dangerous if we don’t see the full scope of the ecology of what our society is.”
Enter Pitch, Bitch, or Ditch, Mackie and Harvey’s antidote to the contemporary Coast Salish theatre scene and an opportunity to showcase how these two “shit disturbers” think theatre can move forward, and to bring the playfulness they seek in their own work into the conversation. And that starts with the audience.
“I don’t understand why the only time the audience is invited is on opening night,” Harvey says. “That really disturbs me, because what if we’ve totally missed the mark?” “I think to push things forward,” Mackie seconds, “not only do you have to invest in writers who are living here and have stories to tell, but also look to your patrons, look to the people who are paying for tickets, who actually keep your theatre afloat. I’ve noticed at talkbacks, people have a lot to say, and I think this is a fun time to see exactly what those ideas are.”
Pitch offers a low-pressure and low-barrier environment for audience members to anonymously pitch their ideas, and witness Mackie and Harvey research and debate their viability (the “Bitch”) and ultimately, choose to ditch the pitch or not. Audience debate and comment is welcome, and there’s a bar on-stage for folks to get drinks throughout the evening. Tickets are $10, and Mackie and Harvey have offered assistance to those for whom the price is too high.
Pitch kicks off the Cultch’s Femme Series, a series of shows like Dakh Daughters and Power Ballad that highlight femme voices, experiences, and creators. “If you listen to a lot of men or are inundated with male and patriarchal topics,” says Harvey,
“I think you’ll be very refreshed that […] here you have two female-identifying artists having specific and very particular opinions about something. That alone is a reason to show up, because that doesn’t happen enough. […] This shouldn’t be the exception, it should be happening all the time in every institution.”
Pitch, Bitch, or Ditch debuts Jan 14, 2019, 8PM at the Historic Theatre in part of the Cultch’s Femme Series. Tickets are only $10. Get yours here.
Elizabeth is a writer, actor, and full-time nerd living on Unceded Coast Salish Territories. With a BA in Gender, Race, Sexuality, and Social Justice, she is passionate about media that challenges norms, beliefs, and mainstream representation. You can find her listening to true crime podcasts and trying to find good places to dance (she’ll take recommendations).
