Whenever I see Dora Award winner Jonathan Wilson’s name mentioned or if there's an upcoming show of his, I play ‘Six Degrees of Kevin Bacon.’ (It is based on six degrees of separation—connection to others in six people or less.) Jonathan’s late sister, Christine, is the wife of a friend and pal whom I’ve known for over fifty years. It's interesting how time connects us all back together.

It’s nice to reconnect with Jonathan again, alongside his director (and Studio 180 Artistic Director), Mark McGrinder. The two are busy rehearsing for Jonathan’s new solo show, the world premiere of ‘A Public Display of Affection.’

Wilson and McGrinder have known each other for over thirty years. They’ve shared the stage as actors, and Jonathan trusts Mark implicitly. Mark was the first to propose that Studio 180 assist in developing ‘Public Display.’ For McGrinder, it’s an honour that Jonathan trusts him as he aims to respect the ownership and protection of the play.

“A Public Display of Affection” refers to differing ideas of what is considered public and private. The show's context is mainly about Jonathan being able to hold hands in public with his husband and how provocative that can be for some people. The jumping-off point for Wilson is being asked to speak as an elder in the queer community and then diving into some Toronto history both public and private.

Mark agrees that the title speaks to society’s acceptance of public displays of affection, and it’s about the intimacy of revealing oneself to the public. He also added a thought that I hadn’t considered about this solo show:

“In many ways, it feels like the word “plot” doesn’t apply entirely to the play. It’s a journey, to be sure, and our challenge has always been to ensure that there’s a transformative present for Jonathan instead of him serving as an outside narrator of happenings in a distant past. ‘Affection’ is part memoir, part history and all storytelling.”

Solo show rehearsals and performances may seem effortless to produce, but they are anything but. Both men have a history of improvisational work, so a collective sense of ‘Let’s Play’ serves the process well.

McGrinder emphasizes that an eight-hour rehearsal day can be feasible for a large cast. It is demanding on the solo performer's mind, body, and stamina. Jonathan acknowledges this reality, noting how rehearsal profoundly tests one’s focus. It necessitates time to engage the actor’s brain for rehearsal and performance effectively. It’s a challenge he eagerly anticipates, despite the changes in his mind, body, and stamina since performing his first solo show, ‘My Own Private Oshawa,’ over three decades ago.

There’s an emotional element at work in ‘Public Display’, and Wilson believes: “The emotional work is something actors are able to discuss much more in today’s arts workplace (thankfully), whereas in the past it really wasn’t taken into account.

Within the theatre, there’s an ongoing discussion about trigger warnings for audience members during performances. Mark notes that trigger warnings have been a contentious issue for quite some time. Whenever individuals engage with a work of art, they take a risk. From the perspective of Studio 180’s Artistic Director, McGrinder believes the company has worked diligently to build trust with audiences, who have come to understand that the work presented will always be challenging. He further comments on trigger warnings, which I find interesting:

“…it’s worth noting that the word “trigger” isn’t particularly useful in this scenario. No one can anticipate an individual’s triggers. A trigger could be a sound, a scent, or a word. It’s something linked to legitimate trauma, and I think we use the term without really understanding what it means. That’s why, when we engage in the conversation, we choose to refer to “content warnings.”

Mark believes the human individual is complex, and Studio 180 is continually interested in exploring the complexities of personhood.

What messages do both hope audiences will take away after seeing “A Public Display of Affection”?

Studio 180 is focused on work that sparks conversation. For Mark, any artwork inevitably elicits a myriad of responses based on the audience. As the play's director, McGrinder is fascinated by how “Public Display” differs depending on the viewer's lived experiences. Readings of the play include high school students, and for them, it’s primarily revelatory. The common reaction is, “I had no idea.” However, for many, the play serves as a source of nostalgia and memory, sometimes evoking unpleasant feelings. Nonetheless, there exists a shared sense of community within the theatrical experience.

Once ‘Public Display’ concludes its run, what’s next for Jonathan and Mark?

Wilson is working on a multi-character play and plans to have a reading sometime in the fall of 2025.

And for Mark:

“Grants. And then some grants and also applying for grants. With any luck, we’ll be able to sneak in a little bit of art here and there.”

Mark thought he sounded glib, but I don’t think he is at all. I’ve spoken with several artistic directors, and they are all currently completing grants.

Although he cannot publicly announce anything at this time, some exciting new partnerships are in the works.

Plus, the development of a handful of new scripts.

That’s why theatre lovers like attending.

To see some of the new stuff out there.

The world premiere of Jonathan Wilson’s new solo show, A Public Display of Affection from Studio 180 Theatre, runs from March 25 to April 20 in the Crow’s Theatre’s Studio Theatre at Streetcar Crowsnest (345 Carlaw Ave., Toronto). Tickets are available at CrowsTheatre.com.