Profiles & Interviews

Actress and jazz singer Gabi Epstein is certainly appreciative of the many opportunities she has had in her twenty-year career

Just like her brother, Jake, whom I saw in his one-man show ‘Boy Falls from Sky’ at the Royal Alexandra last year, Gabi is just as humble as he is.

I saw her perform as Audrey in ‘Little Shop of Horrors’ at the Stratford Festival. I also had the chance to see her perform as part of a tremendous ensemble of artists at London, Ontario’s Grand Theatre, and the production of a heart-warming ‘Home for the Holidays’ which put me in the Christmas spirit.

Just recently Gabi played the office spy Roz in a fantastic ‘9 to 5: The Musical’ at Port Hope’s Capitol Theatre. She’s off now to be part of Barrie Ontario’s Talk is Free Theatre’s ‘Giants in the Sky’ two-week festival this month.

What is ‘Giants in the Sky’ apart from a song title in Stephen Sondheim’s ‘Into the Woods’?

According to Talk is Free Theatre’s website: “Over September 9-11, 2022, and September 16-18, 2022, culture, music, and theatrical performance are bringing rooftops, balconies, and fire escapes of the city of Barrie, Ontario to life, and it’s all free.”

Growing up, Gabi attended The Claude Watson Program in elementary and high school at Earl Haig as a vocal major but also had an interest in the drama program. She then decided to pursue her studies in Music at McGill University and loved living in the city. She holds a Bachelor of Music. At that time, she had put so much work into her music studies that she decided to specialize in that one area and be an expert.

When she returned from Montreal after obtaining her degree, she said she was already a few steps ahead. Gabi went into music knowing she wanted to do theatre. After school, she took some scene study acting classes, but did not attend theatre school nor have any formal acting training through a theatre program. She started auditioning right away and working about one-two years after her graduation. She learned about theatre on the job through osmosis, watching other actors, and very happily stated: “I thrive in rehearsal because that’s my training.”

What a great way to learn about the industry.

There’s that little thing called Covid still out there that the live performing arts scene and industry must still consider. When Covid hit, like all the artists I’ve spoken to, Gabi had some time to think and reflect about who she was if she wasn’t a performing artist.

So, what did she do?

She started self-producing everything from her own cabaret evenings to full productions of shows. Her friend, artist Sara Farb and Gabi self-produced a show called ‘Edges’ that they performed themselves that ended up being a co-production with The Musical Stage Company (but at that time called ACTING UP). Gabi also teaches singing.

If there was a time when there wasn’t a period of work for Gabi (as there wasn’t for many artists during the pandemic) she made work for herself. Over the pandemic, she said she had a newfound confidence that was tested in trying to make a profitable time for herself while continuing to be an artist. She and her husband ventured into online performances and started a company called ‘The New Local’ where they paired up with local restaurants and did a virtual dinner and show which kept them inspired.

How does Gabi see her place in a five-year trajectory of the Canadian artist moving forward slowly?

Whatever that trajectory may be going forward as we all deal with Covid, Gabi says whatever path she takes she will be performing for as long as she can in whatever she can to keep herself open. The reason why she has stayed in this industry is that she has learned to enjoy not really knowing what’s going to happen Whether it be through recording audiobooks, some administration, or teaching singing lessons – she’ll keep herself open. Being in the industry professionally for over twenty years is not a very long time, but long enough to know all of the different opportunities that are presented to her.

What drew Gabi to Talk is Free’s Theatre Festival celebration of ‘Giants in the Sky’ where audiences can look up and there are going to be performances on rooftops in Downtown Barrie. It’s a boundary-pushing extension of the immersive theatre that both Arkady and Talk is Free do so well by expecting theatre in different ways.

Gabi and Arkady Spivak have known each other for many, many years. She finally confided it has been 15 years of involvement with Talk is Free although she was hesitant to state how many years. Her second professional show was performing in ‘Bye, Bye Birdie’ with Talk is Free. Gabi smiled and told me this foray led to “a series of exciting and wild roles that I’ve played with them” and fondly recalled a five-person version of ‘Candide’ directed by Richard Ouzounian where she played a split track in playing Paquette and the old woman. She played the Beggar Woman in ‘Sweeney Todd’ in Toronto which was outstanding on so many levels. Gabi said she just can’t say No to Arkady because she is always inspired by what she called the “wild ideas that come out of Talk is Free and Arkady. The experiences are always going to be fun and will expand my repertoire just a little bit.”

Gabi’s set as part of ‘Giants in the Sky’ is called ‘Broadway Broads’ where she will sing the great songs by women of Broadway – everything from ‘Cabaret’ to ‘Funny Girl’ to ‘Wicked’ and ‘Waitress’. She says: “I’m not quite a Broadway broad, yet. I’ve still a few years ago to be put into that ‘broad’ category but these are songs by women who have inspired me over the years.”

Where does she see herself in that proverbial five-year plan we’ve all had ingrained in our minds? It’s continuing to be open to new opportunities and to learn. She loves not knowing what’s going to happen and for Gabi, that’s what’s exciting about this industry and what keeps her on her toes. It’s not helpful to set goals by the number of roles you’d like to play. She feels lucky that she has had the chance to play a couple of dream roles; however, she’s also aware that if it happens, it happens AND if it doesn’t, it doesn’t.

As we concluded our conversation, I asked Gabi what the one piece of advice is she would give her vocal music students who want to enter the business as she did:

“If you are lucky enough to find the thing that makes you unique and different from everyone else, just focus all your energy on that because that is the one thing no one will be able to do but you…It takes time to figure it out and it’s tough to discover what makes you unique.”

And what’s next for her once ‘Giants in the Sky’ finishes its September festival run?
It has been an extremely busy year for her from ‘Home for the Holidays’ at London’s Grand Theatre last Christmas to just finishing up ‘9 to 5: The Musical’. She now calls this: “an exciting fall/winter where she will be doing several things. Gabi spoke about workshopping a couple of new musicals in which she is involved. She’s recording another audiobook and will have an album release concert in October and several concerts throughout the upcoming months. She will also be completing some educational outreach through Talk is Free.

What she is most proud of at this time is being at home in her own house with her husband where they just celebrated their third-year wedding anniversary.

To learn more about ‘Giants in the Sky’, visit www.tift.ca.

Genny Sermonia is one person whom I hope to see on stage again very, very soon. The first time I had seen her work was in ‘A Chorus Line’ where director Donna Feore and the Stratford Festival had received permission to stage the production in a unique way to fit the Festival Theatre. And my goodness, every part of that stage was used to full effect. It was a terrific performance.

I had a chance to peruse her resume, and Genny’s work on stage, in film and television is extensive. Her training is top notch as she is an Honours Graduate of the Sheridan Institute with further study at The Charlottetown Festival Young Company and Shaw Mandate Intensive.

We conducted our interview via email. Enjoy every moment with your new baby girl in your lives, Genny:

It has been an exceptionally long six months since we’ve all been in isolation, and now it appears the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion?

I’m not going to lie; I am beginning to feel a little anxious again about the numbers edging up because it broke my heart to not be able to see my family at the beginning of isolation. Summer allowed us to safely be socially distant outside and so going back into isolation indoors, though we’ve already experienced it. I am not looking forward to remaining away from family and close friends.

How have you been faring? How has your immediate family been doing during these last six months?

Well, I was pregnant all throughout quarantine and so I wasn’t sure if my anxiety was because I was pregnant, being afraid of contracting COVID-19, or just my anxiety in general. I’m an introvert and so staying in wasn’t so bad at first, but not having the option to leave our condo unless necessary made me feel a little trapped.

My family and I are very close so in the beginning of isolation we Face Time’d quite often and also kept in touch through Facebook Messenger where we have a family group chat. We’ve safely seen each other this summer but there’s definitely an invisible barrier around each other that I wish wasn’t there.

As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally?

I was actually supposed to perform in this season at the Stratford Festival but my husband and I were blessed with news of being pregnant! Even though we were over the moon to become parents, a part of me was sad to let go of not being able to be in one of my favourite dream shows, ‘Chicago’, and to be in the world premiere of ‘Here’s What It Takes’ in the newly built Tom Patterson Theatre. It was a whirlwind of emotions coming to terms with letting go of my professional dreams for my personal dreams but oddly in the end, I wasn’t the only one who wasn’t able to perform this season. Is that weird to say?

Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon?

I guess I sort of answered this question with the previous question. I’m not quite sure what is to become of these two musicals. Donna Feore, who is the director of both ‘Chicago’ and ‘Here’s What It Takes’ invited me to sit in on a technical rehearsal one day for ‘Chicago’ and it was incredible. I would hate for all of Donna’s work and the work of the actors and creative team to never see the light of day. The talent and caliber were out of this world.

What have you been doing to keep yourself busy during this time?

During isolation I was taking dance classes through Zoom, reading up on pregnancy and parenting, baking, self-tape auditions for commercials, and lots of yoga and meditation to keep me centered. As of late, I’ve been giving all of my time to my newborn baby girl and now teaching Jazz technique to the Music Theatre Program at Sheridan via Zoom.

Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty given the fact live theaters and studios might be closed for 1 ½ – 2 years?

You know it’s such a dark time for many right now. I feel like while we’ve been going through this pandemic for months now; we have also been seeing many social and racial injustices come to light. So much is coming out of us mentally and emotionally, and as artists our job is to portray and mirror society, and so my advice for fellow performers and colleagues but really for anyone who is trying to find light in such a dark time is to be gentle with yourselves.

Take this time to reflect on how we treat each other, and how we’ve been treating each other while we have time…and we have lots of time right now. Take that Zoom dance class, brush up on vocal scales but pace yourselves and remember to work on your well-being. We rarely get that chance to slow down in our fast-paced “God, I hope I get it” industry. How are you able to mirror reality as an actor if you’re not grounded as a person?

Do you see anything positive stemming from Covid 19?

I am actually seeing a lot of positives coming out of COVID-19. Me personally, I have been able to spend time and LIVE with my husband in Toronto for almost an enter year now as I am usually living and working in Stratford or Niagara on the Lake. I’ve seen many friends develop new skills and create their own businesses. I’ve been able to be present and have a baby!

I am hopeful that if and when theatres are back that the talent is going to be show stopping because many of my colleagues are itching to get back and have been keeping up with their training and finding ways to keep themselves grounded which I find so important as an artist.

Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene?

Like I said, my colleagues are itching to get back to work and already Canadians are known for their talent and work ethic it being such a smaller theatre scene in Canada already. I can’t wait to see what’s in store when we eventually get there!

Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown?

I think it’s great that artists have been showcasing their work online. We are entertainers living in a new era where we have to be even more creative wit how we share our art because our job is to remind people how to feel. I’m not saying it’s our duty because not all artists feel open right now, but it’s certainly an outlet for some and I’m enjoying watching our theatre community come together if not for an audience but for each other.

Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you?

Performing is a feeling, an emotion. I can’t ever fully put into words but when I act and dance it says it all. Even if it’s just dancing in my kitchen right now or looking at stage photos it makes me happy. A recent clip of ‘What I Did for Love’ from ‘A Chorus Line’ that I performed in at the Stratford Festival in 2016 popped up online that I didn’t even know was filmed. The song, the scene, the moment was a good reminder that there will still be dark days, but what I did for love and what I still hope to do was and is still worth it.

I look forward to the day theatre comes back.

Follow Genny on Instagram and Twitter @gennysermonia

The first play of George’s I had read during my undergraduate at Western over forty years ago was Zastrozzi. I had the opportunity to see a rather solid production of it performed well several years ago at a local community theatre group here in Durham Region.

I remember my Canadian Literature professor stating during the lecture the play was rather controversial for its time, but it was an extremely important one as part of the Canadian theatre mosaic. As an eager undergraduate of English Language and Literature eons ago, I waited patiently for Walker’s response to this rather brief analysis during our recent telephone conversation.

What he said made me wonder if other playwrights did or now do the same thing.

George has thought a lot about Zastrozzi over the years since its 1977 premiere at Toronto Free Theatre directed by Bill Lane. Walker felt accomplished with the work that was done with the original cast because it was so different at the time from all the other plays on the Toronto stages then. Zastrozzi had all the elements necessary to make it a good production: swashbuckling scenes, melodrama, selfishness, greed, playfulness, sexual references, psychological wordplay. Yet Walker and Lane wondered where the play fit in because it wasn’t like others in Toronto at that time.

Hmmm…and thus the reason why he has returned to think about Zastrozzi. Walker’s pleased that it is still an actor’s piece and that it still speaks to the community theatre and professional level because actors love to perform it, but that question of fitting in remains.

I wonder if audiences now, and in the future, will look at Walker’s newest play Orphans for the Czar and consider how it fits into the current Canadian theatre mosaic? Will it be considered an actor’s piece? Will the actors allow the story to speak for itself? Possible discussion I guess when the production opens on March 29.

From Crow’s website: “George F. Walker’s newest high-stakes comedy [Orphans] ruefully explores the duplicity, revenge, and self-interest at the core of a culture about to go up in flames. Suggested by [Maxim Gorky’s] ‘The Life of a Useless Man’ and set before Bloody Sunday in St. Petersburg, a hapless double agent tries to stay on the right side of both the revolutionaries and the czarists…a comedy of pathos about the fragility of people in unstable times, Orphans for the Czar is a plea for the possibility of decency.”

Some very heady stuff here in Orphans’ brief plot description so I asked George why he felt the play was an important one for 2022 audiences.

It was during the Trump era that Walker became fascinated with those Americans who voted for the Donald. Were they vulnerable people easily convinced to join any group, or in this case Trump’s group? One wouldn’t know it from seeing the recent news reports of the terror emanating from Russia on Ukraine right now, but George spoke about the Russian people as a vulnerable people in his play. I’m curious to see how this possible vulnerability might play out in Orphans.

The play will be directed by Tanja Jacobs with some cast members whom I’ve seen on other stages and in other previous works. She spoke in a recent online conversation with George about the love she has for Orphans and how he has been inspired by her enthusiasm. George told me he hasn’t sat in on any rehearsals at this time and is hoping to sometime this coming week as he has been at his home with his seven-month-old granddaughter. In our conversation, George told me he trusts Tanja, and this cast completely and is not worried at all. When he sent some re-writes to the cast, everyone fell in love with the new pages.

George further commented how he has fallen in love with writing for the theatre once again. There was a near ten-year absence as he was working on television shows: This is Wonderland, The Line, and Living in Your Car. Yes, he had control over the writing he was completing for television, but he felt that at least in Canada you can’t go that far in writing regarding elements that might be either too emotional or too personal.

Walker writes freely. He likes digging deeper into the psyche of individuals and he’s now having a hell of a good time writing again for the stage. From listening to his voice at the other end of the line, I could hear a jokester tone as he acknowledged whether the plays get produced is another question. Whether his children and grandchildren will make sure his plays are produced in the future is another discussion as well.

I promised George that I would not turn this phone call into a Covid related pre-show/profile for Orphans, and again he laughed, and I could tell from his voice he was pleased that wouldn’t occur; however, there was one Covid related element regarding the theatre and how it will look post-Covid for George and I wanted to hear his perspective.

And again, his response was something that I hope all theatres will take to heart as we all move forward after two years.

In his conversation with Tanja, George spoke about “the higher the stakes in the world, the higher the stakes there must be in anything he writes about the world.” I asked if this statement could also be applied to Canadian actors as they move forward.

George once again confirmed how actors nearly had almost everything taken away from them during these last two years. Everyone involved in the theatre is thankful to be able to return and has recognized how lucky they are to be back, but for George, it appears that audiences have been left out of the conversation.

It’s important to have that connection to the audiences and let them feel things once again. There is going to be a hesitancy for some audience members, but there will be a voracious eagerness for those who want to return. There’s nothing in the world like a live connection to a theatrical piece where the audience can see the sweat on the actor’s brow or the tear in the eye. Walker wants to get back to theatre touching us on so many levels. Perhaps more blood will be spilled, but if that provides a live connection to an audience to feel emotions, so much the better.

Thank you so much for the phone conversation, George and for re-connecting me once again to experience those emotions that make all of us human.

The cast for Orphans for the Czar includes Christopher Allen, Shayla Brown, Eric Peterson, Kyle Gatehouse, Patrick McManus, Michelle Mohammed, Paolo Santalucia and Shauna Thompson.

The production previews March 29, 30, 31. It opens April 1 and runs to April 17, 2022, at Crow’s Theatre, 345 Carlaw Avenue, Toronto. Call the Box office to purchase tickets at (647) 341-7390 ex. 1010 or visit www.crowstheatre.com for more information.

To learn more about George F. Walker, visit his website: www.georgefwalker.ca.

Performing artist George Masswohl has graced Canadian stages in highly charged performances over the years. I had the opportunity to see him play opposite Fiona Reid in a solid production of ‘Sweeney Todd’ at Canadian Stage. A little tidbit of information I also discovered. George sang the title role of ‘Sweeney Todd’ off stage for Vancouver Opera at the Queen Elizabeth Theatre when the actor playing the titular role developed vocal issues. Wow! I applaud George’s dedicated professionalism to ensure a quality production for the entire community.

Recently, until the pandemic was declared, George also appears in some little play in Toronto with packed houses called ‘Come from Away’ where he plays Claude, the mayor of Gander, plus other roles. By the way, the Toronto company is extraordinarily wonderful, so if you haven’t seen this production make sure you do when we can all return. I’ve had the opportunity to interview some of the Canadian and Broadway cast members for this column, and ‘Come from Away’ is one show I do want to see again.

George is also a member of The ROWDYMEN, a band dedicated to the preservation and the propagation of the vibrant music of the people of Newfoundland. Hopefully, the band will play somewhere in Toronto when it’s safe for all of us to return.

I also discovered from his Facebook page that George studied English Language and Literature at my alma mater, The University of Western Ontario (Go, Stangs!) Excellent choice, by the way.

We conducted our conversation via email. Thanks for the conversation, George:

It has been an exceptionally long eight months since the pandemic began, and now the numbers are edging upward again. How are you feeling about this? Will we ever emerge to some new way of living in your opinion?

If I’m being perfectly honest, I feel differently from moment to moment. As things drag out, and confusion reigns, despair and hope come in waves. But so far, I’ve always managed to come back to hope. I renew this effort every day. That is my current way of living. I’m keeping it in the moment.

How has your immediate family been doing during these last eight months?

It’s been tough on my family. My partner and stepson and I have all been shut down. She is a dancer and yoga teacher and he was working, variously, as an usher at the Royal Alexandra Theatre, at an escape room business, and at the Beer Store – which is a filthy job in an environment where most patrons seem to be non-compliant vis a vis Covid protocols, and management less than vigilant. Almost all of these have become impossible for me now.

Beyond our household, it’s even tougher. My sister struggles with the new difficulties in her already difficult work as a counsellor at a women’s shelter and with caring for our 90-year-old aunt, who lives with her. In addition to all of this, we are still in the aftermath of having lost our mother last year after a long and difficult series of illnesses. Having said all of this, we are remarkably upbeat and, as mentioned above, fiercely committed to coming back to hope, finding the joys where they can be found…and doing our damndest to incorporate fun into our days wherever we can.

As an artist within the performing arts community, what has been the most difficult and challenging for you professionally and personally?

The part of me that thinks it’s over…that 35 years of constant hustle has come to a dead end. Watching my colleagues, all at different phases in their journeys, going through similar angst. Trying to imagine, at age 53, what I’ll do for the rest of my life if that part of me, heaven forbid, is right.

Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon?

I was working on recovering from hip replacement surgery to return to my cherished community and the role that I love in the Canadian company of ‘Come From Away’.

What have you been doing to keep yourself busy during this time?

I have been working with my band, ‘The Rowdymen’ with Greg Hawco and Gerry Finn. It has been a saving grace for all of us. Not a money maker at this stage, but it has kept me creative, and for that and them, I am very grateful.

Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty?

I think it’s best for me to defer to their wisdom and ingenuity. The smart money in this business has always subscribed to the credo that the best way to ensure your employment is to create your own work. If they were to ask me for advice, I think I’d offer that up, and encourage them to do whatever they can to reimagine and rebuild the industry. I’d also pledge to continue to do the same – and pledge my support.

Do you see anything positive stemming from Covid 19?

Oh, well, there has to be something. Can I tell you in a year?

Do you think Covid 19 will have some lasting impact on the Toronto/Canadian/North American performing arts scene?
You better believe it. Many theatres, like many other small businesses, have shuttered forever. Our associations are tapped out and struggling to maintain relevance in a desert landscape. Funding is stretched beyond previously imaginable limits. Our artists are suffering immeasurable psychological stresses. On top of it all – and not surprisingly as it has ever been thus – much of the rest of society seems blind to the connection between the content they voraciously consume and the value of the artists who create it.

Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown?
I’ve been involved in quite a bit of it, mostly as fundraising for various entities struggling to survive. I’m not sold on it as a vehicle for theatre. We need communal experience…book clubs, concerts, poker games, choir, sports, church, THEATRE. Having said that, I’ll be involved in a live stream on Boxing Day. Stay tuned.

Despite all this fraught tension and confusion, what is it about the art of performance that Covid will never destroy for you?
My creative spirit. The fire of creativity in me is burning hotter than it ever has. I went through a bunch of years where, for various reasons, I didn’t care about anything. I was telling everyone I was retired – and they were starting to believe me. But even through that, I was, somehow, able to preserve an ember to carry forward. I never really know quite how, but I know that I have an undeniable drive to survive. My creativity is at the centre of that flame.

To learn more about The Rowdymen, visit their Facebook page: The Rowdymen,

Twitter: @TRowdymen Instagram: @The_Rowdymen

From Gerard’s website and our Zoom conversation:

“Gerard Gauci is the Resident Set Designer for Toronto’s Opera Atelier. Educated at the Ontario College of Art and Design, he graduated with Honours in 1982. He was in the Communication and Design Department. Gerard wanted to work in the applied arts, and he studied to become an illustrator.

The theatre has always been at the back of his mind.

His work encompasses art, theatre, and museum design. He has worked with Atelier since its first fully staged production in 1985. He has designed the company’s complete repertoire, spanning Monteverdi to von Weber. His work for the stage has been seen across Canada, throughout the United States and Europe. Gauci’s sets have been presented by Houston Grand Opera, The Glimmerglass Festival in New York State, and the Opéra Versailles.”

During our conversation, Gerard mentioned that his designs are all done by hand and rarely uses a computer.

Ever since I’ve had the opportunity to attend some of Atelier’s productions, I’ve been highly impressed with Gauci’s designs.

How did Gerard connect with Marshall Pynkoski and Jeannette Lajeunesse-Zingg from Toronto’s Opéra Atelier?

While working as an illustrator, he was commissioned to do a magazine cover for the monthly CBC Radio Guide (the TV Guide for Canadian radio). There was always an illustrated cover, and Gerard was asked to produce one about theatre. He’s always been interested in the fine arts and decorative arts of the eighteenth century, particularly in France and Italy. Gerard created a published cover that featured a Baroque dancer in a kind of allegorical costume set on a stage.

Marshall and Jeannette subscribed to this monthly Radio Guide, saw the cover, and found it interesting. They tore it off and stuck it on the fridge door. Jeannette happened to be working with some photographers, and one of them said she and Marshall should meet this ‘guy’ who’s interested in all this Baroque stuff “you’re interested in.” Through one connection leading to another, Gauci received a phone call from them and wanted to meet one day. He did.

Marshall and Jeannette asked if Gerard would design some props for “The Choice of Hercules,” a production they were doing in the theatre at the Royal Ontario Museum theatre. Gerard agreed and enjoyed the experience. Marshall and Jeannette then continued to ask Gerard to work on set designs.

Thus, his connection with the two of them began, and a new chapter opened:

“Thirty-five years later, I’m still here.”

Where does Gerard see the world of opera and theatre’s trajectory over the next five years?

He paused for a moment. First, he said that’s a good question as the industry is still in recovery from Covid. Many of the artists whom I’ve interviewed have also agreed with this, along with the fact everyone wants to establish once again where they were before 2020.

He then added:

“Technology is becoming a bigger and bigger factor on the stage itself. In terms of scenic design, projection is a huge part of what one now sees on the stage. There’s talk of exploring AI scenically on stage. I’m not sure where that will go, but eventually, it will have some role on stage for certain kinds of productions.”

Gauci can’t speak as a director. In terms of set design, the world of printing is changing everything. For his entire history with Opera Atelier, Gerard has everything painted on stage: backdrops, set, and flats. He has a team of painters who do all this work. Gerard creates a small-scale rendering, and the painters reproduce it at a large scale on canvas with scenic paint. This is all changing now dramatically.

In the early days, one couldn’t print anything at that scale. Today, if something is 25 feet by 25 feet, it can be sent out and printed. Gerard foresees that printing will probably overtake the world of scenic painting. Atelier did a production in Italy several years ago where all the drops would be printed in Germany. Gerard had to send scans of paintings. He called this both technological and concerning because he had no idea what the quality would be like coming from a printing press instead of the hands of a team of painters.

Gerard was astonished when he saw the quality of the work:

“These were drops that were 60 feet X 25 feet. They were enormous. The quality was superb, and it looked exactly like my painting. When you have someone physically paint it, there’s a kind of translation that has to happen because their hand is not the same as my hand. It doesn’t look exactly like me. What I had printed looks exactly like me and done in a fraction of the time and cost fraction of what it would cost to have something painted by a team of painters.”

Gauci concurs something is lost because there’s an ineffable quality about a painting versus a print. It’s not the same thing. Printed versions usually have a bit of sheen, whereas scenic paint is designed to be very flat and not reflect light but absorb it.

This kind of technology in the theatre has revolutionized the world of scenic art and will continue to do so. Unfortunately, as Gerard sees it, the world of scenic painting becomes less and less of a profession. It has been used less and less over the years because scenic designers have been thinking digitally for an entire generation.

Why should people continue to see the opera?

The pandemic proved to everyone the value of live theatre. Everyone watched online offerings when everything shut down, yet Gerard found that experience unsatisfying. He couldn’t be engaged with that screen in the way he was engaged in the theatre.

When everything ‘returned,’ Gerard said he rushed back like everyone. He saw some shows – in his words, they were fine, but they weren’t great productions. The experience of being back in the theatre reminded him of how irreplaceable it is. As audience members, we participate in that production because there is an energy exchange between the performers and the audience. Then, there is the added exchange of energy among audience members. It’s a human resonance. There’s some life-affirming about the experience of being in the theatre.

Gerard added something that many artists I’ve profiled have intimated the same thought:

“I found I was moved far more in the theatre than I was looking at the screen.”

For Gerard, opera strives to combine all the arts. The exciting thing about Baroque opera? It was seen as a synthesis of the arts – scenic, orchestral, vocal, and balletic. Emotions were big. It allowed spectators to participate in the opera. It’s about life, but it’s bigger than life.

He also added:

“It was an age of invention in the theatre. The Italians were the great genius of scenic design. They could create very magical effects that would happen before the eyes of spectators. Seeing these changes on stage was an exhilarating experience for an audience.”

Gerard admires Marshall and Jeannette’s commitment and tenacity. It takes incredible energy and determination to run any theatre company, even if for a very short period to keep it running and lively for almost forty years is an amazing achievement. They are high-energy people and have never wavered in their commitment to the company and its vision. Marshall and Jeannette’s energy is infectious, and most of all, it’s fun. For Gerard, these qualities are scarce, and he has always admired them for these qualities.

As we concluded our Zoom conversation, I asked Gerard where he sees himself within the next proverbial five years:

“Oh, gosh. That’s a good question. Throughout my career, I’ve worn three different hats – a theatre designer, a painter and a museum exhibition designer. I just like to keep going. I love juggling all of these things because ultimately one thing influences the other. There’s a nice relationship between these three things.”

Gerard still loves painting. He has always been interested in curation and decorative arts of museums. The theatre has been his life for so long. Opera Atelier is not going anywhere so he hopes he will continue designing sets for the company.

His final words: He’s just going to continue going on.

To learn more about Gerard Gauci as artist, visit his webpage: https://www.gerardgauci.com/

To learn more about Opéra Atelier: https://www.operaatelier.com/

I’ve read many of Glenn Sumi’s articles in Toronto’s NOW Magazine over the years. At the conclusion of his profile, he speaks about being balanced and fair in his commentaries on live theatre and film. Whether we are critics, reviewers, columnists or simply theatre and film goers, let us hope as we emerge from this Covid world in which we now find ourselves that we can also be ‘balanced and fair’ in how we view any work of art.

Glenn is the Associate Entertainment Editor at NOW Magazine, where he’s written about film, theatre and comedy since the late 1990s. A member of the Toronto Film Critics Association and the Toronto Theatre Critics Association, he’s written about and discussed the arts for a variety of outlets, and for three years was a weekly pop culture commentator on CTV News Weekend. He misses live theatre and seeing movies in actual theatres. Being part of the recent Canadian Screen Awards feature jury – done on Zoom – was the most fun he’s had in 13 months.

We conducted our conversation via email. Thank you so much for adding your voice to the discussion, Glenn:

It’s a harsh reality that the worldwide pandemic of Covid 19 has changed all of us. Describe how your understanding of the world you know and how your perception and experience have changed on a personal level.

Wow, what a place to begin. Bare minimum, this crisis has made me think about the enormous social and economic gaps in society. Most office workers have been able to work remotely from home, but that’s impossible if you’re a supermarket clerk or factory worker or security guard. It’s cracked open how badly run many of our institutions are. Did any of us know how long-term care homes were run until last year?

Did we ever think that we’d get more useful and practical vaccine information from a pop-up Twitter account called Vaccine Hunters (@VaxHuntersCan) than from our government? Seeing anti-mask and “freedom” demonstrators has been utterly demoralizing and has made me think a lot about personal vs. collective freedom. Seeing how places like Taiwan, Australia and New Zealand have handled the virus – strict lockdowns (including limitation on how far you can travel), contact tracing, quarantining – has shown it’s possible to return to some normalcy if you follow the science and work together.

On a personal level, I didn’t realize how important even casual day-to-day interactions were before this: working in an office, sitting in a café, sharing small talk. Your world is so much richer and more interesting when you’re exposed to other people and ideas on a regular basis. I live alone, and I haven’t hugged anyone in 14 months. I was never a big partygoer, but I miss being in small groups eating, drinking, and laughing, meeting friends of friends, that sort of thing. I miss big family gatherings, catching up with people in person and not via social media or email.

With live indoor theatre shut for one year plus, with it appearing it may not re-open any time soon, how has your understanding and perception of the live theatre industry been altered and changed?

I guess I instinctively knew it before, but only after the pandemic did I fully grasp how many people are actually involved in the theatre industry: everyone from the box office clerks and ushers to the photographer who does the season brochure to the restaurant workers near the theatre. I’ve also been thinking about the economic realities of theatres – things like the minimum audience capacity needed in a theatre to break even. And it’s made me think about something that’s been troubling me for the 20+ years I’ve been writing about theatre regularly and interviewing its artists: how so many people in the industry come from privileged backgrounds and have families to fall back on in tough times.

On a more positive note, some of Toronto’s more creative companies have found ways to keep the theatrical spirit alive, via phone plays, audio dramas and other creative substitutes.

What are you missing the most about the live theatre industry?

Live theatre? I miss everything. The artistry, of course. The energy communicated between the performers onstage and the audience. The 3D-ness of it all – watching a filmed play on a screen doesn’t come close to being at the play. (I was wondering why, in the single time I visited the Art Gallery of Ontario last summer, I was so drawn to the sculptures, and I think it was because I was so tired of looking at flat surfaces.) I even miss annoying things, like the crush at the box office and intermission refreshment stands, the fidgeting and talking. The live theatre industry? Harder to say. The excitement around opening nights, I suppose. Seasons that don’t have the word “virtual” in them.

What is the one thing you will never take for granted again in the live theatre industry when you return to it?
The importance of a group of people sitting together in the dark experiencing something together.

Describe one element you hope has changed concerning the live theatre industry.

I hope last summer’s Black Lives Matter protests and the recent anti-Asian racism incidents have made the industry seriously question who runs theatres, who sits on theatres’ boards of directors, and how that affects the art form.

Explain what specifically you believe you must still accomplish within the industry.

Encourage and support more talented BIPOC writers to consider arts journalism and criticism.

Some artists are saying that audiences must be prepared for a tsunami of Covid themed stories in the return to live theatre. Would you elaborate on this statement as an audience member observing the theatre?

It’s inevitable. I’ve already seen lots of COVID-related material on social media and in comedy – both sketch and stand-up. You have to address the elephant in the room. And some TV shows that have taped seasons after the pandemic began decided to set their show during the pandemic, showing proper health protocols, etc. I’m very curious to see how theatre artists respond. Back in December, the satiric Beaverton already predicted how painful this trend might be, with the headline: “Health Canada Warns of Inevitable Spring Wave of Terrible COVID-inspired Fringe play.”

As with all things, it takes time for the full effect of an event to inspire original and lasting art. I think at first, audiences may be so exhausted and fatigued by the real thing that they may want to experience escapism.

Personally, I’m looking forward to plays that don’t rely on traditional narrative. Like millions of others, I’ve watched a lot of film and TV over the past 14 months, and I want to engage with theatre that’s less story-based and more abstract and metaphor-based, stuff that doesn’t necessarily work well on Netflix.

What specifically is it about your work that you want future readers to remember about you?
People don’t have to agree with what I write, but I hope they feel I’ve been balanced and fair.

To connect with Glenn Sumi on social media: Twitter: @glennsumi Instagram: @goaheadsumi

I’ve begun a check-in on some artists. In 2020, I held my first conversation with artist Gregory Prest. You can find the link to his earlier profile here: www.onstageblog.com/profiles/gregory-prest.

Last time I saw Gregory on stage was as Ron Weasley in the now-closed Toronto production of ‘Harry Potter and the Cursed Child.’

For the last several weeks, he has been the adaptor and the director of the world premiere of Soulpepper’s ‘De Profundis: Oscar Wilde in Jail’, now in previews. The production opens on February 8.

Before we even talked about the opening of ‘De Profundis’ this week, I wanted to check in on him to see how he’s feeling professionally and personally about the theatre industry:

“It’s not NOT alarming…I don’t know what to think about it. I’m unsure about it. I really don’t know what to do other than to continue doing the work. I don’t have the responsibility of running an institution and trying to figure out how to make it all work in this new world. I feel my job right now is to continue making work.”

That reminded me of the motivational UK poster in preparation for World War 2: “Keep Calm and Carry On’. Now, I’m not saying there will be a war of any kind; however, when challenging times continue, we all need to continue what we do daily and keep busy.

Prest sees this as an opportunity for the theatre community to continue supporting each other, showing up, and buying tickets to see the work.

His latest venture, ‘De Profundis: Oscar Wilde in Jail, ’ opens on February 8. According to the Soulpepper website, [it]is a musical fantasy based on the letter Oscar Wilde wrote while incarcerated for two years at Reading Gaol to his love, Lord Alfred Douglas. The letter was written a page a day over a period of three months, collected at the end of each day, and handed over to Wilde on his release from prison.”

Prest is the adaptor and director for this world-premiere production. Rehearsals have gone well, as did the technical rehearsals. Part of the exercise was to come in every night of the preview and watch as if he had never seen the show. There was so much historical context that had to be taken into consideration. The text of ‘De Profundis’ would have probably created fifteen shows, so the entire letter is not in this production. Selections had to be made, and audience experience was essential at this time.

Gregory doesn’t call the week before opening Hell Week but rather the ‘wildly unstable snipping section of time.’ ‘De Profundis’ is an experiment in a lot of ways. The creative team is trying something exciting and moving, challenging, interesting, and engaging. Part of the preview period is seeing what the show does and responding as a creative team to how the audience reacts. Prest sees the show changing significantly during previews as the time right now is seeing what is clear for audiences and what is not clear:

“A show like [De Profundis] that is abstract in nature is not really linear or narratively driven but emotionally and narratively driven. There’s so much space in it; sometimes that’s a good thing, and sometimes it’s a confusing thing and a puzzle to figure out.”

Gregory does not want to leave anyone out in the cold. He jokingly said he doesn’t want audiences coming in and wondering, ‘Who’s Oscar Wilde?’ We shared a quick laugh over that, but again, that’s a fear a creative team must keep in mind.

For Prest, Wilde is an incredible artist. ‘De Profundis’ is not meant to be a piece of theatre; it’s a letter.
Yet something is fascinating about this letter. It feels like this letter has become the first celebrity trial. Wilde was someone at the top of his game with significant influence, power and reputation who publicly fell, failed, and was the target of scorn and humiliation. The experience of this process for Prest himself is being on the inside. One of the things that became clear at the end of the letter was how to move forward when everything has fallen around you. How does one deconstruct an ego when you’re alone? How do you move forward with sorrow and disappointment?

What is so moving about ‘De Profundis’ for Gregory?

It’s the piece’s dynamic, along with Wilde’s slow movement toward walking with the disappointing facts of his life hand in hand with acceptance. The transformation in the piece is one of moving with a former self as opposed to becoming something new. Prest finds this really interesting right now.

The process for the generation of ‘De Profundis’ started with Prest and Original Music and Lyrics by Sarah Wilson and Mike Ross in a room. They spent three days reading the letter, going through it and then realizing the need to break it. Prest calls himself conservative and said if it were up to him, he’d like to stage the entire letter. He had a good laugh, knowing that wouldn’t be possible. The task of bringing ‘De Profundis’ to the stage has been humbling.

The team had to: “pull things out and explode things as an act of love.” Out of love, they’ve had to destroy the letter and try to re-build it again. ‘De Profundis’ is not a natural idea for a musical, but it’s challenging and worth pursuing. Mike and Sarah then went to work, and the three came back together, worked again, and then went away to work. Eventually, Damien Atkins (who plays Oscar Wilde) was then brought in. It was continuously creating material, putting it side by side and seeing how everything spoke to each other.

The music in ‘De Profundis’ reflects something underneath the plot, a bird’s eye view, perhaps of a moment with Oscar and then coming back down.

Jonathan Corkal-Astorga and Colton Curtis appear with Damien in the production.

What has each of them brought to the story according to Prest?

Jonathan has brought professionalism, skill and heart with care, interest, and sensitivity. Colton brings incredible skill as a dancer and is the most generous person in the room you can find. With sensitivity and skill, Colton brings an enigma to the character of Lord Alfred Douglas (Wilde’s lover). To play him is not an easy task.

Damien is all humanity, humour, rage, camp, and talent. This is why it’s so beautiful to have him play Oscar Wilde. Prest calls Damien a ‘great’ friend. When you’re in his presence, and he is ‘on,’ Prest calls it as if you are sitting next to the sun. For him, this is what it must have felt like to be around Oscar Wilde.

Just to be clear: Damien is not making an impression of Oscar Wilde; there’s no dialect as we’re not in that world for ‘De Profundis.’ The story is set in a different kind of dreamlike place but with that sense of celebrity.

As we begin to close our conversation, Prest recommends reading the entirety of ‘De Profundis’ because it is a beautiful experience. The letter is such a coded document. Wilde could say things and couldn’t say certain things. Even though the letter was very private, it was also public.

Prest smiled and said they were being reckless about some things. Without being weird about it, Prest believes some people will really dig ‘De Profundis’ while others are really going not to do so. The flip side to this thinking is if you really like Oscar Wilde, you may really loathe this ‘De Profundis.’ Prest also quickly adds that the production is not meant to be definitive, as there have been many stories, plays, and films about Wilde.

What’s next for Gregory once ‘De Profundis’ completes its run?

He begins rehearsals as an actor for Canadian Stage’s ‘The Inheritance.’ For these last few days, he has been doing double duty of rehearsals at CanStage in the morning and heading back to Soulpepper in the afternoon for final tweaking and juggling. A remount of ‘A Streetcar Named Desire’ will be performed at Soulpepper, and he’s involved in that production:

“It’ll be very good and healthy after this process [of De Profundis] to land in someone else’s room with a big ensemble and have a change of pace as an actor.”

Is there time for Gregory Prest to be just Gregory: son, partner, brother, and friend amidst all this rehearsal?

“Never!!!!!!!!!, but we’ll see, we’ll see.”

‘De Profundis: Oscar Wilde in Jail’ is now in previews. It opens on February 8 and runs to February 18, 2024, in The Young Centre for the Performing Arts, 50 Tank House Lane, in Toronto’s Distillery District. For tickets, youngcentre.ca or call 1-416-866-8666. To learn more about Soulpepper Theatre, visit soulpepper.ca.

Gugun Deep Singh’s name periodically appeared liking some of the profiles I had compiled. When I saw his picture, I kept wondering where have I seen this man before. And once again it dawned on me. Gugun was part of a solid ensemble cast of ‘Men in White’ staged at Factory Theatre and directed by Philip Akin.
His resume is impressive. Gugun was born in Toronto, raised in Mississauga but moved to Los Angeles with his family when he was in Grade 12. He graduated from high school in LA and attended university out there.

Medicine was his sole goal at that time but theatre was his elective so he changed majors. Gugun spent a year discovering many new ways to fail while attending the Theatre School at DePaul University in Chicago. He took a year off, then moved to New York City. He completed the musical program at Circle in the Square Theatre School followed by a fellowship with the Shakespeare Lab at the Public Theatre. He has bee working as a professional actor ever since.

Notable film credits include the ‘Pirates of the Caribbean’ films and the forthcoming ‘Scrapper’. On television, he has appeared in ‘Nurses’, ‘The Expanse’ and ‘The Detectives’.

Our interview was conducted via a Zoom conference call and boy, oh boy did I ever have a good time asking him these questions and seeing sometimes his facial features when he answered. What struck me as very respectful after some of the questions was the way in which he paused to think before he spoke. Thanks for doing that, Gugun. I wish more people would be like that:

1. It has been the almost three-month mark since we’ve all been in isolation? How have you been doing? How has your immediate family been doing during this time?

My parents live in California on the west side of Los Angeles. I’ve been ok. Some days are tougher than others. I’ll admit that I do consume a fair amount of media. It’s not always just television. I get a lot of energy from interacting with folks. I had just returned from the US before Covid-19 hit. They didn’t even have a name for it. I had gone a week ahead before my partner joined me the week after. We had a great trip visiting family, but to come back and feel the shift was very interesting. Some days are tougher than others, but it’s great to have purpose. Being disciplined to institute some structure. I look at the days as opportunities to do things rather than trying to structure the day.

It’s been a complex time as well because I’m thinking about my parents and not being able to see them. They’re in their seventies so there is that possible threat to their health from Covid. On top of that, the cultural and social tumult has been on my mind and the issues coming to the forefront. Isn’t it interesting that we are now living through some chapter in a history book for future readers? I rarely leave the house without wearing the mask, carrying the hand sanitizer and practicing the distancing. No one in recent history in the western world has placed this much attention. Everything is covered. Gosh, this is one hell of an answer, isn’t it?

To sum it up, I’ve been managing to keep positive, sustain my energy, remain curious remain healthy, check in on friends and family and maintain healthy practices. I’m maintaining these connections and encourage them to do the best they can because we all have a lot on our minds today from the threat of Covid.

2. As a performer, what has been the most difficult and challenging for you professionally and personally?

In this time, I’ll caveat this by saying I moved back to Canada to be in Canada, to work in Canada as a Canadian, and to a lesser extent as a Canadian of colour. I wanted to be up here, to return home, and to check in on my peers. I have a lot of friends who work in film, television and theatre in Los Angeles and New York as that’s where I went to school and I do consider it my second home. I’ve been thankful for the opportunities in LA and New York as it has been a privilege.

The creative market of film, television, and theatre in Canada and in the Toronto area is wonderful. I don’t have the relationships yet even though I have the experience. In the time of Covid, this has been rough to be in Canada in wanting to connect with others. Big time. I was looking forward to seeing with a freshness who was building work and where I wanted to work in the summer. Last summer I worked on a show in a park with ‘Shakespeare in Action’ in Weston.

I’m very keen to collaborate with new artists to build relationships and longevity as a performer/actor and possibly diversify as writer, producer, and director perhaps. So, the loss of connection and the distance that Covid has brought with my peers in trying to achieve this goal has been difficult and getting the wind knocked out of me has been tough.

The other challenge might be getting right to the point and returning to brevity in answering the question and carrying on.

3. Were you in preparation, rehearsals, or any planning stages of productions before everything was shut down? What has become of those projects? Will they see the light of day anytime soon?

I was not currently contracted on anything. There were projects to which I was attached. I have some small things I’m developing myself, planning, putting notes together and having more time to work on it. I have the time, but I don’t know if I have the inspiration as other things take your energy. I have a couple of days to finish up on this indie feature.

I want to remain on people’s periphery for my talents as an actor. To be hired because producers think I’m the one for the role.

It’s going to be exciting to return with new conversations with new and established companies who might want to do things a different way.

4. What have you been doing to keep yourself busy during this time?

Well, I’m trying to improve my culinary skills. That’s been a nice change of pace. I’m grateful for the time. I’ve pivoted a bit in learning other things I’m keeping in touch with family and friends. I’m in a writer’s boot camp learning about writing and producing of children’s television. John May has been running this workshop. I was invited to audit and now the nature of the health crisis has allowed me to focus on the writing camp.

My partner and I are spending more time together which has been wonderful.

I’m still approaching things as a performer first, but I’m also learning how to improve my producing and directing skills. I see this transition as an archipelago. I figure I’ll get to that island as long as I’ve come through the other islands.

I remain excited for the day I can go back to work.

5. Any words of wisdom or advice you might /could give to fellow performers and colleagues? What message would you deliver to recent theatre school graduates who have now been set free into this unknown and uncertainty?

It’s okay not to be okay. That’s a bigger lesson as our ever-increasing understanding of mental health is key and how taxing it can be. There is no cookie cutter approach. In this time there are opportunities still opening up, but you’re going to have to re learn certain things.

For example, a self tape.

“Take a breath. What is it you want to say?” These are words I would also say to theater graduates.
Theatre grads have received a certain group of opinions. Those opinions might be great training. Training is not any substitute for experience and the wisdom that comes from the experience. I would tell theatre graduates – “Get ready to apply your wisdom. Learn, read, invest as it’s the experience which is far more useful in the business.”

Invest in who you are and distill what it is you want to say. We don’t get an opportunity to pause like this so take advantage of this opportunity to learn instead of receiving as you would have done when you were at school.

6. Do you see anything positive stemming from Covid 19?

It’s slowed everybody down. And that’s good. Running at a breakneck pace is tough. It wears you out.
Learning how adaptable, flexible and resilient you can be is important. This takes time and it’s okay that things take time. We also need to find the stillness, to breathe and to consider. The lessons coming out of the crisis – the crisis was already in our head and heart.

If we’re speaking, we’re not listening. Turn it around. We need to listen more.

7. Do you think Covid 19 will have some lasting impact on the Canadian/North American performing arts scene?

There’s an estimate that it might take ten years for the greater economy to recover. I’m trying to focus on something I learned in school – When on stage, distance can give you strength and perspective. If the distance will help give us perspective, then the nature of how endangered arts and culture has been will become apparent.

I have no idea when we will come back. There’s a culture here in Canada of how we secure the grant and the money for arts and culture.

I think ‘drive in theatre’ might become a thing. Old school skills with vocal training will come in handy; learning how to sustain the voice in an in the round space that doesn’t maintain the sound. Revisiting the Greeks and how they presented their plays will probably come back.

Resources will be lean, but the collaborative spirit of communication and community will survive from the Indigenous community to the LGBTQD2 spectrum. The business will suffer a bit, but the arts will survive because the ingenuity is there.

The rallies being reported around the world will have a far greater impact on us. The lasting impact will be the conscientiousness coming out of it. The awareness is there. The door is now open, and we have to step through it. The arts will remember this. We’ve had this awakening and the arts will continue to remind us to keep moving forward. There will be positive change and shifts in the arts as we move forward and become available.

8. Some artists have turned to You Tube and online streaming to showcase their work. What are your comments and thoughts about streaming? Is this something that the actor/theatre may have to utilize going forward into the unknown?

Streaming has become part of our reality. The entities that are most greatly invested in the business have realized the opportunity of streaming for the need to survive. Not all the entities need it to survive. It will be necessitated in certain live streams of performances. People have adapted how to adapt and film a work where you feel like you are right there in the audience. It’s film making but how to adapt the energy of the moment in the play and how to bring it to life.

I like the union has adapted so the artist continues to get paid. Residuals and buy outs are now on the table but it’s important the union brings this forward in this new reality.

Presenting a play is different from a film and theatre. The theatre actor will have to become aware of the streaming. It will become part of the business. You Tube and streaming are not going away.

9. Despite all this fraught tension and confusion, what is it about performing that Covid will never destroy for you?

Performing is human, especially as a theatre artist. That’s just my belief. Covid can’t take away the imperfections of the human, which becomes perfection for the theatre artist. Covid created distance but I can use that distance to create connection from distance. Remember, the plague didn’t destroy William Shakespeare and the theatre. He wrote about life which is messy. That’s life. Covid will not destroy the spirit of human imperfections of life.

As a respectful acknowledgment to ‘Inside the Actors’ Studio’ and the late James Lipton here are the ten questions he used to ask his guests:

1. What is your favourite word?

It’s a Punjabi word – RUDG-KAY. It’s an inside joke. It means ‘with enthusiasm’/ ‘with gusto’.

2. What is your least favourite word?

‘Um’ – I say ‘Um’ a lot. It’s a place holder, just a sound. It’s filler. It’s a non word. It’s onomatopoeia.

3. What turns you on?

Audacity/courage/authenticity (I feel like I’ve contacted these)

4. What turns you off?

Cruelty

5. What sound or noise do you love?

The bullfrogs at night by my partner’s cottage.

6. What sound or noise bothers you?

Hesitation (it may be silent, but it remains very noisy)

7. What is your favourite curse word? Horseshit. It’s specificity, makes someone pause and it’s just waste.

8. Other than your own, what other career profession could you see yourself doing?

I’d want to help people. Something where I’m caring for others where I could take pain away and help others. I have moments where I wonder if I did complete my medical training as a doctor or nurse.

9. What career choice could you not see yourself doing?

Whatever anything repetitive, monotonous, uncreative. It doesn’t matter the field – ‘life in a cubicle’.

10. If Heaven exists, what do you hope God will say to you as you approach the Pearly Gates?

I would want God to wrap me up in a big hug, look into the centre of me, and ask ‘Are you at peace?’ I would like very much to be able to meet that gaze and nod my head.”

You can follow him on both Twitter and Instagram: @gugundeepsingh.